No Kind Of Home

I feel super lucky to have found, as an adult, the kind of friend you might have had as a kid where you would spend all day at school chatting and then you’d spend the bus ride home from school chatting and then you’d instantly phone each other up as soon as you got home and continue chatting. Geography is kind of the worst, but I am so delighted every time I get to hang out with loquaciousquark in person!

instead of getting runny noses or whatever when they’re sick grubs just kind of. Ooze. From their entire bodies. 

Karkat comes home and Dave’s sitting on the floor in the bathroom, covered head to toe in multicolored slime, with a pathetically overwhelmed look on his face. The bathtub is full of warm water and chirping grubs. There’s a slime trail through the whole house. 

Dave looks up at Karkat and goes “on the one hand I’d like reassurance that they’re not dying but on the the other hand if this is going to be normal I want to die” and Karkat, who’s aware of the reasons behind this situation, just loses his shit.

anonymous asked:

for the room ask, could you do living room and bedroom for saizo? thank you :)

Saizo is yummy and yes. <3

Living Room:

  • How does the character spend weekends?
    • Saizo spends his weekends with Yukimura and Sasuke, usually doing some sort of outdoor activity (vaguely against his will). 
    • His evenings and nights are spent with his MC, perhaps on a date, or a picnic, or just at home with a bottle of wine. 
  • What kind of movies does the character watch?
    • Porn (He needs it for research for his books)
    • He doesn’t mind most things, he isn’t very picky. He actually has a soft spot for historical dramas, but he would never tell anyone. 
  • What do they do with friends?
    • Kendo, hiking, soccer, running, anything sporty (hello, Yukimura). Saizo would rather be napping, but it keeps him in shape.
  • What’s their favorite pastime?
    • napping
    • writing, with his MC snuggled beside him. 
    • eating dango
  • What’s their favorite TV show/Film?
    • Again, he has no preference, Saizo is pretty indifferent to this sort of thing, just nothing too childish. 


  • How does this character sleep? (Position, sleeping habits, bedtime routines)
    • On his side, taking up as little space as possible. 
    • He makes nearly no noise, it is almost unnerving
    • ends up being the little spoon sometimes, because of his napping tendencies. 
  • What are their pajamas like?
    • Boxers or sweatpants slung low on the hips. No need for a shirt. 
  • What do they dream about usually?
    • probably blood and terror. 
    • Saizo doesn’t really have good dreams
    • lots of bittersweet dreams about cherry blossom trees
    • perhaps a good dream about dango every now and again. 
  • How neat/tidy is this character?
    • very neat and tidy, his apartment is always clean but no one ever sees him clean it.
    • Yukimura does not understand this.
  • How affectionate is this character?
    • He isn’t very outwardly affectionate, but deep down he is very affectionate. When it is just he and his MC, he keeps her at his side, making excuses to be near her. 

likeyouknowright  asked:

I think I was a complete prude the last time. I have joined in just a week back and am really not into the Tumblr community yet. But the kind of love u seem to inspire in others surely speaks a lot about you. My inability to have know u earlier brings this comment about an Indian monument to mind "No man can be sad, when he looks at that sight. But a blind man's blindness would feel twice as wretched" Hope u enjoy a happy life!!☺

You were most definitely not! Welcome to Tumblr and I hope that you make yourself at home here, it can be quite a lovely home. You are very kind for saying that, thank you for your words.This message was quite a lovely surprise. Please take care and have fun on here! 


“There’s no way I’m ever going to end a movie on a negative note.” 

ㅤㅤ ㅤㅤㅤㅤㅤ ㅤ — John Hughes (1950 - 2009)

[TRANS] non-no Magazine 2018 Jan Issue - 100 Answers w/ BTS

JPN - KRN © 전정국 DC갤러리, 뷔 DC갤러리, ha_ru_man, BTSR_613
KRN - ENG © ktaebwi


Q1. Your dream job when you were a child?
A badminton player when I was in elementary school. After that my parents bought me a computer so I got into gaming and wanted to do a job about gaming.

Q2. How did the members celebrate your birthday in 2017?
We were all practicing singing and dancing and the lights suddenly went off, then the door was opened and Jimin-san and V-san came in holding a cake.

Q3. When do you feel like you have become an adult!
I turned 20 in Japanese age in September! But actually I’m still a kid at heart, so truthfully I don’t really feel like I have become an adult.

Q4. In which moment do you feel like you’re still a kid?
For example, when I watch and think about a video or an interview. When I read people’s comments, I feel like even with the same question, they think from a much bigger point of view than me. That’s when I feel like maybe I’m still lacking in depth.

Q5. A work that touched you recently?
“Love, Rosie”. It made me touched because it’s a sweet but sad love story.

Q6. The kind of song you’re planning to compose?
Song of styles like future base and chillstep which I enjoy and listen to a lot.

Q7. Favorite dessert?
The Japanese snack kinako mochi. I like that it melts in my mouth because it’s just so fluffy! Also I ate cheesecake before the photoshoot for <non-no>. That one was delicious too♡

Q8. How do you take care of your beautiful voice?
I don’t pay particular attention to it… Like I just sing with my original voice I’ve had since I was born…

Q9. Any habit?
Covering my nose when I yawn. Not mouth but nose somehow. (laughs) And I pull the baby hair on my face unconsciously. I know about these things because fans told me.

Keep reading

Tom and Lin-Manuel: An Appreciation/Jealous Rant

Every writer has a golden period – a chunk of time when her brain is ripest, when the veins he is tapping are the richest, when the ideas, big and small, spill out over the sides of the bucket instead of having to be patiently collected like drops of rain off a leaf. This is true for songwriters, playwrights, novelists, screenwriters, anyone who writes anything in any genre. Go look at John Hughes’s IMDb page and marvel at his golden period, which I would bookend as 1983-1990. It’s outrageous. He wrote Vacation, Mr. Mom, Sixteen Candles, The Breakfast Club, Weird Science, Pretty in Pink, Ferris Bueller’s Day Off, Some Kind of Wonderful, Planes, Trains, and Automobiles, Uncle Buck, and Home Alone in eight years. Eight years?! That’s absurd.

But then look at his next 20 years. You won’t find one movie that is better than the worst one he wrote in those seven years. The vein ran dry. It always does. That’s just the deal.

Tom Petty’s golden period never ended. Or, at least, the silver periods on either side of his golden period were seemingly infinite. No matter where you think he peaked – Full Moon Fever, or Wildflowers, or Damn the Torpedoes – the decades on either side were wonderful. He was great from the moment he released his first album in 1977 to the day he died last month. For forty years he wrote, and wrote, and wrote, and the songs he wrote were good or great or amazing.

Tom Petty wrote “Breakdown” and “American Girl” in 1977. He wrote “You Don’t Know How it Feels” seventeen years later, in 1994. He wrote “You Got Lucky” in 1982, “King’s Highway” in 1992, “The Last DJ” in 2002. He wrote “I Won’t Back Down,” “Runnin’ Down a Dream,” Free Fallin’,” “Love is a Long Road,” “A Face in the Crowd,” Yer So Bad,” and “The Apartment Song,” and “Depending on You,” all in 1989, and they were all on the same album, and that’s absurd.

He wrote “Stop Draggin’ My Heart Around” in 1981 and “Big Weekend” in 2006. He wrote every song on Wildflowers – and they are all great – in or around 1994. He wrote fifty other great songs I haven’t named yet, like “Don’t Come Around Here No More” and “Jammin Me.” He wrote great songs you’ve heard a million times, and great songs you’ve maybe never heard, like “Billy the Kid” (1999) and “Walls” (1996) which was buried on the soundtrack to She’s the One.  He took a break from the Heartbreakers and casually released “End of the Line” and “Handle With Care” and “She’s My Baby” with the Traveling Wilburys in 1989-90. He wrote “Refugee” in 1980 and “I Should Have Known It” in 2010. Is there any rock and roll songwriter alive who wrote two songs that good, 30 years apart? (Paul McCartney wrote “Hey Jude” in 1968, and only 12 years later he wrote “Wonderful Christmas Time,” which is so bad it nearly retroactively undid “Hey Jude.”)

He wrote about rock and roll things, like ’62 Cadillacs, getting out of this town, and dancing with Mary Jane. He wrote about love and loss and heartbreak. He wrote legitimately funny jokes, and moribund memories, and personal narratives, and imaginative flights of fancy. One of his characters calls his father his “old man” and it somehow isn’t cheesy. He was from Florida and California and wrote about both of them, and every time I’m on Ventura Boulevard I think of vampires, because the images he wrote are indelible. 

Petty didn’t just write songs directed at women, like most rock stars. He wrote about women, and he wrote for women, and he wrote with women. He treated the women in his songs as lovingly and respectfully as he treated the men. He cared about them as much, he spent as much time thinking about them, and he liked them as much, and all of that is rare.

He wrote simply, but not boringly. He made his characters three-dimensional, somehow, in a matter of seconds. There’s a famous (probably apocryphal) story about Hemingway bragging he could write an entire novel in six words, then writing: “For sale: baby shoes, never worn.” I prefer the 18-word novel Petty wrote as the first verse to “Down South” –

Headed back down south
Gonna see my daddy’s mistress
Gonna buy back her forgiveness
Pay off every witness

When I was working on Parks and Recreation, whenever we needed a song to score an important moment in Leslie Knope’s life, we chose a Tom Petty song. It started with “American Girl,” when her biggest career project came to fruition. It was “Wildflowers” when she said goodbye to her best friend. It was “End of the Line” at the moment the show ended. For the seven seasons of our show, Tom Petty was the writer we trusted to explain how our main character was feeling, because he wrote so much, so well, for so long.


It seems like a joke, Hamilton – a joke in a TV show where one of the characters is a struggling New York actor, and is always dragging his friends to his terrible plays. Like Joey in Friends. There’s an episode of Friends where Joey is in a terrible musical called like Freud!, about Sigmund Freud, and you get to see some of it, and it’s predictably terrible. Freud! the musical is arguably a better idea than Hamilton the musical.

I’m far from the first person to say this – I’m probably somewhere around the millionth person to write about Hamilton, and the maybe 500,000th to make this particular point, but it needs to be said – a hip-hop Broadway musical about the founding fathers is an astoundingly terrible idea. Lin-Manuel Miranda should never have written it. As soon as he started to write it, he should’ve said to himself, “What the fuck am I doing?!” and stopped. And after he got halfway through, he should’ve junked it, gotten really drunk, and moved on with his life, and made his wife and friends swear to never mention the weird six months where he was trying to write a hip-hop musical about Alexander Hamilton. I literally guarantee you that when Lin-Manuel Miranda first told his friends what he was writing, every one of them reacted with at best a frozen smile, and at worst a horrified recoiling. Some of them might have been outwardly encouraging – “sounds awesome bud! Go get ‘em!” But then later, alone, they would call each other and say What the fuck is he doing?

There is a moment, in Hamilton, when what you are watching overwhelms you. (It’s not the same moment for everyone, but most everyone has one, I suspect.) It’s the moment when the enormity, the complexity, the meaning of it, the entirety of it, overpowers you, and you realize that what you are experiencing is new – new both in your specific life, and new, like, on Earth.  The first time I saw it, that moment was a line in the middle of “Yorktown.” Hamilton sang the line And so the American experiment begins / With my friends all scattered to the winds, and I burst into tears in a way I hadn’t since I was 10 and a baseball went through a guy’s legs in the World Series. Something about how casually he says that – And so the American experiment begins – just settled over me, like a collapsing tent, and this thing I was watching wasn’t in front of me, it was everywhere around me, and it was exhilarating and transformative.

(If I could put this part in a footnote, I would, but I don’t know how to, so: I should mention that I am very far from a musical theater aficionado. I have seen maybe eight musicals in my life. Not only did I not expect to cry, hard, during Hamilton, I did not expect to enjoy it. I saw it like a week after it opened on Broadway, kind of on a whim, knew nothing about it, and the last thing I said to my wife, as the lights went down, was: “We’ll leave at intermission.”)

The second time I saw it, that moment came much earlier (I knew what I was getting into, this time, so I was more ready to be subsumed). It came barely three minutes in, when the entire cast of the show, in a piece of choreography that can best be referred to as “badass,” all walk down to the very front of the stage and stand, shoulder to shoulder, and sing very loudly about how Alexander Hamilton never learned to take his time. The cast has, to this point, trickled on stage, slowly, one by one, telling you Hamilton’s origin story, and then suddenly there they all are, all of them – maybe 20? 50? It seems like 1000? – as close to the audience as they can get, and they are every size and ethnicity and gender, and their voices are loud, and I thought to myself, oh my God, this is a cast of people descended from every nation on Earth, all singing about the foundations of the American experience, and yes I “knew” that, intellectually, but holy shit, now that I see them all, I know it, like in my stomach, I understand it, and what a thing that is.

The third time I saw Hamilton, that moment was during “It’s Quiet Uptown,” when this enormous, sprawling, improbable, otherworldly, multi-ethnic, historical, art tornado presses pause on all of its historical-cultural-ethno-sociological-artistic investigations, and spends four and a half spare minutes with a couple who are grieving an unimaginable tragedy.  Specifically, it was the lines

Can you imagine?
Can you imagine?

What a thing to do, for your characters – to give them four and a half minutes in the middle of an enormous, sprawling, historical swirl, to just be sad. What a piece of writing that is.

(Again, should be a footnote, but: as long as I’m talking about writers here, I should point out that if the late Harris Wittels were alive, he would, at this moment, text me and hit me with a “humblebrag” for writing about how I have seen Hamilton three times, and he would be right. Miss you Harris!)

In the hundreds of hours of my life I have spent thinking about Hamilton since I first saw it – far more hours than any other single piece of art I have ever experienced – I have revisited that same thought over and over: he never should’ve written it. It was an absurd thing to do. It took him a year to write the title song, then another year to write the second song, and how did he not give up when two years had gone by and he’d written two songs?  He must’ve known in his heart it needed to be a 50-song, 2 ½-hour enterprise, and he had two songs after two years, and he kept going. How did he keep going? I’ve been trying to write this blog post about two writers I admire for different reasons since the week Tom Petty died, and I’ve almost given up five times.

At this point, the entire musical is that “moment” for me. It’s the whole thing, now – the thing that overwhelms me is the whole thing. The conception of it, the writing of it, the rewriting of it. The music and the motifs and the themes and the threads and the dramatic shape and the characters and their inner lives, and the eagle-eye writer’s view it took to keep all of that in his head, all of it, the whole time. The writing of it. The utterly impossible writing of it. 


I’m super excited at the prospect of lots of Sarek is Discovery, but also…a bit… concerned??

Idk how to explain it, but I feel like I worry they will make him out to be this great guy whose a pretty supportive Cool Dad and just kind of conveniently forget that he’s also the type of father who disowned Spock for like 18 years essentially for not going to his Alma Mater for college

"it's Disney!" Okay, I hear's going gay though

Jyrus most likely won’t happen….who knows, though.

Malvie most likely won’t happen….who knows, though.

Raven and Chelsea most likely won’t become more than friends….who knows, though.

Two…five…TEN years ago, answer me honestly, would you have seen these clips below on t h a t Disney Channel? I would think not! They were aware people would get the wrong idea. And if you saw something like this, it was usually an honest slip up and only happened on like…one show, two at the most. IF THAT. So tell me…look at these gifs below very carefully and tell me honestly, would you have seen this on Disney Channel ten years ago? ALL AT ONCE, COEXISTING THE SAME TIME?





A little more context/background on all 3:


(Andi Mack, S1E12 “Best Surprise Ever”) Amber is accusing Jonah of liking Andi as more than a friend, and tells him there’s one way to know if Andi likes him back.

[Andi and Cyrus are walking in the opposite direction of Amber and Jonah]

“…if she turns to look back at you, it means she likes you. Not just as a friend.”

[Jonah leaves before he sees Andi look back in slow motion…and then Cyrus in the same fashion]


(Descendants 2, “Space Between” sung between Mal and Evie) “I didn’t know what you were going through I thought that you were fine Why did you have to hide? - Evie

I didn’t want to let you down But the truth is out It’s tearing me apart, not listening to my heart - Mal

I really had to go - Mal

And I would never stop you - Evie

Even though it changed - Mal

Nothing has to change - Evie

And you can find me in the space between

Where two worlds come to meet

I’ll never be out of reach

‘Cause you’re a part of me so you can find me in the space between

You’ll never be alone

No matter where you go

We can meet in the space between”

[Ben told Mal he loves her, tried giving her his ring back, and she rejected it - this could have been a good moment to insert a love song with Ben trying to convince Mal to “come home” to Auradon with him and Mal insistent on the fact she believes she can’t be what Ben deserves, something very Troy and Gabriella-esque. But no, he walks out, resigned, Mal goes back to spray painting like nothing happened, and then we get an emotional breakup song between Mal and Evie and how they’ll always have a grey area between cookie cutter princesses and edgy villain kids to be together. Yes, it could just be platonic. No, I for one don’t think it is.)

“I know you have to stay

But I’ll never really leave you

Nothing has to change

Even though it changed

And you can find me in the space between

Where two worlds come to meet

I’ll never be out of reach

‘Cause you’re a part of me so you can find me in the space between

You’ll never be alone

No matter where you go

We can meet in the space between

There are no words left to say

I know you gotta find your place

But this is not the end (no)

You’re part of who I am

Even if we’re worlds apart

You’re still in my heart

It will always be you and me, yeah”

(Again, it’s totally fine seeing this as platonic. But darn, I’d be lying if I didn’t hear the romance in how someone is letting their favorite person in the world go because they know they have to and it’s right and instead of pleading with them to make a “better” decision they let them choose what they want and assure them they’ll always be with them in the space between their two different worlds…like, if that was sung between Mal and Ben? It’d be categorized a total love song!)


(Raven’s Home, S1E2 + 3 “Big Trouble in Little Apartment” and “The Baxters Get Bounced”) There were a few instances where Chelsea mentions a mysterious getaway/event that happened between only her and Raven and then they both smile at the memory and make faces like parents would about their honeymoon or rager of a college party they once went to because it was something they could do together on a weekend. This one may be a reach, however in the third episode where Chelsea mentions a second mysterious event that happened yet again only between her and Raven - leaving the audience wondering what the heck happened - she smiles at the ceiling after telling it and Raven narrows her eyes and a small smile forms as she nods at the memory. It’s just rather weird how they’ve spent this much time together even though they were married before, but then best friends do make time for each other and who knows when their marriages fell apart, really. Though we do know Chelsea had to have been recently divorced because she talks of her ex-husband in the first episode as if it’s just happened and Raven makes a point to ask Nia if it really is okay for Chelsea to stay in her room, meaning Chelsea and Levi’s move into Raven’s Home (teehee) had to have happened recently….off topic BUT anyway! Again, it could be a reach. However, I’ll just leave one more gem that’s a bit more telling but a lot sweeter than it is gay (still pretty gay tho).

“They’re two families!”

“I only see one.”




That’s all I’ve got to say about that. Whether you ship these characters or not, are pining for more gay representation in Disney (like me) or are just okay with it or not even caring or completely against it, you can’t deny……..there’s gay nearby!😏 Lame rhyme I know, I know. But eh whatever.

So in conclusion,

Will gay happen in these instances Disney has presented us the potential with?

W h o k n o w s

Originally posted by buffysdriscolls

Originally posted by malsevies

Originally posted by fredsythe