all her thoughts are

Primum Sanguis Sneek Peak

You’ve been waiting for it (I think?), and here it is! The first sneek peak of my DVD fanfiction. I don’t think the scene require much context. Also, it’s fluff.

Enjoy and let me know what you thought of it :) Also, big thanks to @meridianrose for the editing :)


Her ears were still beating like drums, but the fresh air helped her breathing and made her flushed cheeks cool down. There was always a time when she fled a party, desperate for some calm. The music was nothing more than a faint murmur now, and the chatter had almost entirely faded. She sat on the steps, ignoring their coldness.

The cold weather of the day had prevented anyone from strolling in the gardens. A pity; the bushes were covered in frost, shimmering like gems under the moonlight. But it was all for her eyes, and her eyes only. The thought made her smile.

“Here you are! Signora Fanucci was worried that you vanished on her.”

Keep reading

anonymous asked:

It appears Huma has been photographed with several men while in LA aside from Tony. She told the LA New she was in Cali to attend a ceremony honoring a friend of hers and Clinton supporter. Looks like all the speculation of her w Tony was silly just like we thought.

Maybe she is dating them all!! 😏😏

Emily: “So, Winston. Lena was telling me she used to not be able take off her chronal accelerator, in the old days.”

Winston: “Ah-ha-ha, yes. How embarrassing; those older models were so shoddy. You wouldn’t believe how long it took me to perfect a localized temporal stabilization field over a wide enough area that would allow-”

Emily: *grabs his arm* “THANK YOU.”

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there’s a good reason these tables are numbered honey, you just haven’t thought of it yet // panic! at the disco

Haise’s Birthday Poem begins with the lines [x]:

“Someone said this:
“Even if you have no memories of being loved, for as long as you have memories of loving someone, you can continue to live.”

…But how is someone who has never been loved be capable of loving someone else?

A child who wasn’t able to receive the minimal love they required at the time they needed it the most will continue to gaze at the illusion of affection and never know how to love until the day they die.

Well, how about me? Can I continue to live?”

Furuta grew up without love, surrounded by the products of Tsuneyoshi’s fucked up harem. The only person who seems to have shown any affection at all for him, as seen in the flashback in this chapter, is Rize. Rize who cared if he died when she ate him. Rize who played with him. Rize, whose fate he was fully aware of. Who he saved, because at some point, or maybe deep down still, he understood that that fate is wrong. She was the only thing he had, and he let her go, for her sake.

In this explanation to Kaneki, he mentions explicitly that as a child, he had these childish ideas of love and marriage in the future for them. Things he gave up for her safety from the men of the main Washuu house.

Even when he’s being crude and creepy, talking about Rize having all of those children for him, he references 101 Dalmatians. A Disney movie. And one with some of the healthiest romances, both between the dogs and the humans.

Even now, he’s looking at a Disney movie where two dogs snuggle each other. Where these two dogs have 15 puppies who they risk their lives to save. And who adopt 84 other puppies who would otherwise be dead. When you think about him as someone who grew up surrounded by who knows how many half-siblings, in the Garden like he did - this is basically him saying he wants a Disney Romance.

Which is not to say that the way he’s speaking isn’t terrible. That the tropes he’s using aren’t horrible and misogynistic. They are. Furuta, as he always has, is falling back on farce and drama, on systems of power that he himself as already explicitly told you he condemns. Furuta switches between honest and lying, between truth and exaggeration, between real emotion and fake dramatic flare over and over.

He speaks in this weird mix between a cynical jaded, crude adult, and a desperate, sad, idealistic, stubborn child. Like with his big speech to Eto about V in 66, I think this chapter he is mixing truth and fiction. Sometimes strategically, sometimes just because.

@linkspooky​ pointed out to me that it almost seems that the more honest he’s being, the less of his face is shown. Times when he’s really approaching sincerity and seriousness, he’s shown from the side.

Where as most of the time, he’s hidden under his flare and his masks and his drama.

Furuta, for all his fake emotion, is clearly uncomfortable with the real thing. Uncomfortable when people make him feel things and uncomfortable expressing emotion. Uncomfortable and unskilled and really parsing it.

Instead, he falls back on theatre and performance and lies.

When he says he couldn’t bare the thought of her having a kid after being free for so long… was he talking (just) about jealousy, or was he talking about the fact that the CCG, and thus V, was gaining on her - had almost captured her in the 6th ward and gotten Shachi in the struggle, and was well on their way to tracking her down again? Was he talking about not wanting her to be free, or about after all that time, still not being able to accept the idea of her being recaptured by V and used by the Washuu men like that.

He used her too, of course - and brutally. I think he was mad at her not only for wasting the freedom he helped her win, for almost getting caught again - but also because he still cares. And he doesn’t want to still care about her. So he punished her for his own feelings. Furuta is… not a fan of his own feelings. And he’s childish.

Its not an excuse for what he did to her, but I do think he acted when he did, if not the way he did, because if he hadn’t, there was a very real chance she’d have returned to her old fate. And that, he could not abide. Even now.

What he did, to Rize, in taking her power and undergoing that surgery himself, in killing off all the Washuu, taking leadership of the CCG - he gives multiple reasons for it even in this one conversation with Kaneki. On the one hand, in his proposal to Kaneki, he sets up a clear role for himself - as a villain to unite ghouls and humans against (Kaneki’s team, rather than the CCG and Clowns in this case) and introduces it as a big production, culminating in his own, rather than Kaneki’s death - ever suicidal as he is.

But explicitly, he also claims that people don’t need reasons for what they do. He also claims that he is doing what he wants to do, and that he is doing what he wanted to do as a child.

I think all of these have a grain of truth to them. He talks in such a way that mixes narratives, mixes truth and fiction, and sometimes just because its easier to talk with (half)fake emotion than real ones.

I think that Furuta, the nearly 6 year old child wants to destroy the toxic terrible “family” that used and abused him, and create in its place a 101 Dalmations style family, with him and Rize as Pongo and Perdita. A big loving, new Washuu family. This part of Furuta doesn’t care about ghouls or humans or Kaneki Ken or Eto Yoshimura or any of that at all.

But Furuta is also an adult, and became one probably much too quickly, if he knew what awaited Rize and helped her escape because if it. And the Adult Furuta knows he can’t have any of that. That Rize forgot about him and doesn’t love him back and that he burned that bridge by dropping those beams. His children with her are going to be via Kanou. Anything new will be born from death and fire and war. Adult Furuta has plans. Adult Furuta wants.…something… out of all of this. Some grand finale.

Part of Furuta is still that child - still wants Rize to come back to him and love him and play with him (and maybe kill him). Wants a big happy Disney ending for them. But he also knows he can never really have that. He’s known that he could never have that, because of how he was born. That’s the irony of that line, about the life he has and how he might as well. Because he was born to NEVER get what he wanted, ever. (And yet - and yet he fights back - viciously and endlessly and savagely, despite being born only to serve.) Because he has grown up now, and he’s done terrible things, and he knows that that happiness is impossible. But he’s also 6 years old and desperate and lonely.

I personally have thought for a long time that Rize is being set up as the one who will kill Furuta. I just hope (though I don’t necessarily expect) that they will get a chance to talk before it happens, or when he’s dying, or something. A chance for him to thank her for finally killing him, after all this time. A chance for him to say sorry, or not to - to say he’s glad he did it if it ended there, with him dying in her arms.

I still don’t think Furuta thinks any way about women, in general, though I understand why people see this pattern. It’s certainly a power structure highlighted by his character, either way. I think he probably has a good deal of the background misogyny of the culture and of the Washuu clan in his upbringing, but he also has a deep seeded hatred for everything about that upbringing. His understanding of things is so twisted and bent around this terrible place he was raised in, and the world he was forced to live in, that its honestly a miracle he’s still fighting for something different.

But Furuta sees every structure as a farce, as a mask, as a tool, rather than a truth. And he plays with these tropes of misogyny and discards them just as quickly. He’s making himself out to be a villain, to be crude, to be cruel. And it’s no excuse for his actions - for the very real fate Rize suffered at his hands. But he deals with Matsumae as a failed knight and a hypocrite, not as a woman. He plays with misogyny and its masks and its power system when he’s mock-flirting with Eto, but the next second he throws it away. He has no regard for masculinity or its virtues. Its a game to him. And that is a nasty and dangerous way to look at a very serious thing. Which is a great metaphor for Furuta who sees farce in everything. And is setting up a grand theater with all of Tokyo as its stage, possibly to write his own death into the final act.

“When I unveil this, won’t you come play with me?” He knows what Kaneki wants. He knows who Kaneki will save. He knows who Kaneki will kill. He still wants to die, and he seems to like the idea of dying to make things better, in a sense. And still, he’s speaking like a child. Come play, Kaneki. 

“Doesn’t it make you want to die?
If you die, you can get cured you know. (This is true.)



So if you were planning on giving me something.
In this year, I want four times more of that love or hate.



PS: (Laugh, it’s fun!)” [x]

    '' Tea Party ''

shoutout to my 3rd grade teacher who themed our classroom into Harry Potter, who made our four-table groups into the four hogwarts houses, who made most of our classroom activities based on Harry Potter, who gave us a taste of Bertie Bott’s Every Flavor Beans, who made us butter beer (alcohol free) before we left for Christmas vacation, who at the end of the year made us watch all of the Harry Potter films, and raffled HP merch while all the other teachers were giving the other kids end of the year assignments

shout out to mrs. rhodes who made our year magical

The violin scene at the end of The Final Problem is truly one of the most impactful moments (if not the most) in all of BBC Sherlock. I honestly am still speechless that Moftiss wrote something so profound. Eurus was beyond communication with the outside world after the events of this episode, back to the untouchable genius in her glass cage. But Sherlock. Sherlock, this incredible and kind man, who had lost so much to this woman, understood her and still reached out to help. He wasn’t encouraging her to play her own song, he was initiating a duet–so she wasn’t alone, even in her music. It was a conversation, it was understanding, it was connection. This man went beyond words, where others had failed and stopped trying, and showed her that she wasn’t alone. Sherlock has become- or perhaps he always was- one of the best men I’ve ever seen.

can you believe alex danvers is a lesbian? like a year ago it was merely wishful thinking that she’s not straight but now it’s real and true and beautiful

I want you to tell me about every person you’ve ever been in love with. Tell me why you loved them and why they loved you. Tell me about a day in your life that you didn’t think you’d live through. Tell me about what the word ‘home’ means to you and tell me in a way that I’ll know your mother’s name just by the way you describe your bedroom you had when you were 8. See, I wanna know the first time you felt the weight of hate and if that day still trembles beneath your bones. Do you prefer to play in puddles of rain or dance in the bellies of snow? And if you were to build a snowman, would you rip two branches from a tree to give your snowman arms? Or would you leave your snowman armless for the sake of being harmless to the tree? And if you would, would you notice that the tree weeps for you because your snowman has no arms to hug you every time you kiss him on the cheek? Do you kiss your friends on the cheek? Do you sleep beside them when they’re sad, even if it makes your lover mad? Do you think that anger is a sincere emotion or just the timid of a fragile heart trying to beat away its pain? See, I wanna know what you think of your first name. And if you often lie awake at night and imagine your mother’s joy when she spoke it for the very first time. I want you to tell me all the ways you’ve been unkind. Tell me all the ways you’ve been cruel. See I want to know more than what you do for a living. I want to know how much of your life you spend just giving. And if you love yourself enough to also receive sometimes. I wanna know if you bleed sometimes through other peoples wounds. I want to know about you.