also i don't know what's going on with the background so just accept it


Based off of @letkeithinfodump’s lovely Langst post

Do Not Tag As Sh/@nce or Sh/e!th or any other Sh@/adin ships

Lance could feel himself start to shake as Shiro had announced to them who he chose to lead Voltron in case he couldn’t.

It was Keith.

Lance took a breath and balled up his fist. He swallowed the lump in his throat and tried to blink away the stinging in his eyes as he stared at the floor.

Why should he even be surprised? It’s not as though he couldn’t see Shiro’s obvious bias towards Pidge and Keith. He knew that it wasn’t their fault or that they meant to be favored but it stung and he was getting increasingly frustrated at this.

Lance bit his lip before taking another deep breath and trying to calm himself down before catching Shiro’s shoulder when he told them to disperse.

“Shiro? Can I talk to you about something?” Lance asked

“Uh, yeah sure, about what?”

Another breath. “I wanted to talk to you about choosing Keith as the back-up leader.”

Shiro quirked a brow, Lance could tell he was going to have a hard time with this.

“Well you see Shiro…Keith…Keith isn’t a good choice for leader,” Lance had to fight to keep eye contact with Shiro, “you see he’s…impulsive and a hot-head. He’s a nice guy but he’s put us all in danger on numerous occasions beause he didn’t follow an order and he voted to leave Allura behind and-!” Lance could feel his confidence rise but Shiro raised a hand to silence him.

“Lance, I understand your concern but I’ve made my decision already.”

Shiro turned around and left Lance there with his anger festering and his pride hurt even more than before.

He ignored him.


Lance bit into his lip so hard it felt like it might draw blood. He felt the familiar sting at the back of his eyes and the heat on his neck. He blinked his vision in and out of focus as he felt his body shake with anger.

Lance was the only one left in the console room, so his voice echoed and bounced back to him with just as much disappointment and anger it had when the words left his lips.

You’re not the you I thought you were.”

The next time Lance brings it up is when he’s hardened his attitude towards Shiro’s behaviour. He knows it’s not exactly his fault but the way he brushes Lance off is unacceptable and this time, Lance is Not Having It.

“Shiro.” Lance walked up to Shiro, he rather have missed all of the break between training than have to keep in his feelings.

Shiro turned around and sighed, “Lance, look, I know-” but this time it was Lance who cut Shiro off.

“No Shiro, you look.” Lance took one big breath before starting, “I understand that you are the leader and that you were thrown into this by yourself, but you see, you are extremely biased towards Pidge and Keith and honestly, I just can’t let that stand anymore man.”

Lance paused to see Shiro blinking in stunned silence, he took this as his cue to continue.

“Shiro, I understand that you know Keith the best and probably know what he’s capable of. But your making him stressed because your expectations of him are too damn high and you have to accept that there are things that not even Keith can do- nothing wrong with that Keith, it’s ok that you can’t- but instead you just say “I believe in you” and you tell him to basically change everything about himself so he can act like a good-…no I mean, so he can act like you. Shiro, you can’t expect that to magically fix anything!

Lance took a deep breath and gathered his thoughts before proceeding onto his next topic, “Do you even talk to Hunk ever?”

“Well-” Shiro began

“Outside of giving orders? Do you ever ask, ‘Hey Hunk, how was your day? Did you do anything new?’ Because as far as I know, all you can say to him is ‘Hunk, shoulder canon.’, ‘Hunk, you go with whoever on this mission to retrieve whatever.’, sometimes you can’t even address him directly! It’s just ‘Legs, do this!’ You don’t actually talk to him Shiro.”


“Also? Isn’t Allura the technical leader of Voltron? She actually knows Zarkon. She actually knows the aliens that we fight and that we talk to. Why are you acting as though you know this stuff? Even if Allura doesn’t know, most of the time Coran knows so he should also be consulted.”

“Yes, well I-”

“Not only that, but you didn’t consult anyone else when deciding Keith would be the Black Paladin. You didn’t check with Keith on how he felt about that, and even then he told you himself and you ignored it. What’s worse is that you didn’t even consult with your lion, the one Keith would be the pilot of. How do you know if she was okay with this? How do you know if this is what she wants?”

Shiro fell silent, it seems that this was the one that made him crack.

He felt a presence next to him and he fixed his stubborn gaze from Shiro to Keith.

Lance was getting ready to argue with Keith when the red paladin turned from Lance to Shiro and said, “Lance is right, Shiro.”

Lance blinked confusedly as Keith continued on, “You don’t listen to him at all. Remember the Blade of Marmora? You didn’t listen to Lance, and I nearly got myself killed. Granted, I wanted to go but… the point still stands.” Keith crossed his arms as he finished his argument.

Lance felt a warm hand on his shoulder as he looked to see Hunk sending him an appreciative look before agreeing with the fire and ice paladins.

One by one, everyone from the Team Voltron stood behind or near Lance and agreed with him.


Shiro looked up from the linoleum tiles, seemingly ready to get criticized once more.

“What do you say?”

Shiro closed his eyes as he took in a deep breath before opening them once more and looking around the small group of people. “…and all of you feel this way?”

There was a small murmur of agreement and short little nods.

Shiro sighed, “You’re right Lance. I wasn’t thinking about anyone else but my own beliefs and bias.”

He turned to the two alteans to his left.

“I’m sorry for not consulting you on matters I know you would have more knowledge on. I…I tried to think that just because I lead Voltron I know everything but…not really.”

Shiro continued on down the line of paladins.

“Lastly, Lance…I’m sorry. You were right and….I was ignoring you. Thank you for pointing this out to me and…I know it was probably hard but…I’m proud of you.”

About two weeks later Shiro went to the Black Lion and asked if she would be willing to pick a backup to pilot her in case something happened to Shiro.

She said yes so, all the paladins (+Allura and Coran) would stand in front of her and allow her large, wisdom filled eyes to scrutinize them.

When Lance stepped in front of her he felt as though every crevice in his mind and soul was being checked and scrutinized. Before long, the Black Lion’s eyes started to glow.

She did it. She found her back-up paladin.


Hunk’s and Pidge’s cheers could be heard in the background as they whooped and hollered at Lance.

Lance felt waves of pride crash over him, before feelings of anxiety and guilt replace them.

But what about Blue?

Lance looked to the Alteans, knowing that the other paladins wouldn’t be able to fill out his spot without creating a new spot in Voltron needed to be filled. He played with the idea of Blue Paladin Allura, and while she could certainly fill out the spot with ease, he knows that she’s the pilot of the castleship, and if her was honest, that was a lot harder to replace than the pilots of Voltron.

Before announcing his decision he used his connection to the Blue Lion to ask her about if that was okay or not. She said it was fine so long as it wasn’t permanent and she could have Lance back. Lance smiled, Don’t worry my lady, you’re my one and only. He told her before turning to the alteans.


“Yes, Lance?”

Will you be the back up Blue Paladin?

cindtrillella  asked:

You don't seem to like Jonerys. Why?

A bunch of reasons. Show!wise, it’s officially come down to “These characters seriously piss me off, period.”

Book!wise?There’s two prongs to this. 

The first prong is quite the opposite of why I don’t like Show!Jonerys. I LOVE the book versions of these characters.  I really, really root for both Jon and Dany, want them to succeed, and love their goals and ambitions. I want them to get what they want, and feel that is what they deserve. And I don’t think a romance between the two of them satisfies their characters, their inner hopes, dreams, goals, and ambitions. It simply will not allow them to get the endings they deserve.

Now, let me make this clear: I am not saying their motivations are utterly alien to each other. Both of them have severe identity and displacement issues. Both of them, on some level, yearn for home. But what those things mean to them as people, and the paths that may bring them… the things they want simply don’t mesh in a way that makes room for romance.

Keep reading

kittyichooseyou  asked:

I have a klk question, and I apologize if you've answered it before, but, do you find any significance in Ryuko taking a big bite out of an unpeeled lemon in her introduction? Like, was it just meant to make her seem hard? Or like, does it have some subtext I don't understand? Is she ever seen eating lemon/drinking lemonade as a background thing? I've always wondered about this. Thanks.

I gotta be honest with you: I’m atrocious at talking about symbolism. There’s a reason that my hundreds of essays hardly ever mention it. 

So… I haven’t especially covered this before, but I can provide some Thoughts.

First and foremost, the lemon scene has been largely understood as a homage to FLCL, a coming-of-age anime worked on by Gainax—the studio that Hiroyuki Imaishi and Masahiko Otsuka left to found Studio Trigger, which is the team behind Kill la Kill

In the first episode of FLCL, Naota, the protagonist, refuses to drink the rest of the sour, “Lemon Squash” pop that his friend Mamimi didn’t finish. He claims that he “[doesn’t] like sour drinks” and proceeds to toss the can aside.

However, at the end of the episode, Mamimi offers Naota the sour pop again, and his reaction changes. While he repeats his sentiment—“I told you, I don’t like sour stuff”—Naota doesn’t toss the can aside this time, instead guzzling the drink down.

So, when Ryuko, the protagonist of Kill la Kill, begins the first episode of her show not just forcing herself to consume something sour, but does so purposefully, without flinching… there’s probably something there. Kill la Kill’s director Imaishi did work extensively on FLCL, after all.

But what exactly is meant to be conveyed in either series is entirely dependent on how the “sour” symbol is understood.

On the one hand, the “sourness” could be a symbol of “first love.” For Naota to accept the drink in FLCL would be to accept an “indirect kiss” from Mamimi, who had been drinking from the can previously. The “first love” idea seems supported in Kill la Kill, with Ryuko noting, after Mataro steals her lemon (at least in the original Japanese script), “You’re that eager to learn what first love tastes like?”

Mataro: Bitch, don’t try to be all witty! I’ve had my first kiss!

And with the idea of “first love” comes the idea of childishness. Though it may have some… Unfortunate Implications, in both FLCL and Kill la Kill, it could be said that getting into a first romantic relationship is a sign of growing up. The fact that Naota initially refuses to taste “first love” represents his initial refusal to come of age—and the fact that Mataro in Kill la Kill insists that he has had his first kiss (or “get[s] way more action than [Ryuko]!” in the dub) represents his desire to seem “grown-up” and experienced.

Ryuko’s utterly blase eating of the lemon would then also imply that she has had romantic relationship(s) in the past and is not afraid of them.

However, with all of this, the “sourness” could simply be a larger metaphor: a metaphor of adulthood, maturity, that kind of stuff. Naota deciding to take in the sourness at the end of the first opening episode signifies that his show is going to feature his coming of age—something he initially didn’t want anything to do with, but that the story is going to push him to experience regardless. Ryuko immediately biting into a lemon could then signify that she’s already come of age, but—and more likely, considering Kill la Kill’s ending—it could also signify that she’s not afraid of the hardships, challenges, and “sourness” that comes with coming of age.

In this way, I also see the “sourness” as a bit of a metaphor for moving forward rather than running away. The lemon pop in FLCL is first featured when Naota struggles to tell Mamimi that his brother is seeing someone else—a hard, difficult, “adult” situation that’s not fun and not comfortable. Naota throws the can away, perhaps representative of how he wants to run away from this problem. At the end of the episode, though, Naota has revealed the truth to Mamimi, and he then drinks the pop, signifying that there’s no more running away: he’s growing up, whether he likes it or not.

But disregarding the FLCL tribute, a character introduction that features the character biting into a raw, unpeeled lemon is powerful on its own. It tells audiences right away that this character is badass—whether her lemon-eating is because she’s not afraid of growing up or hardship or “first love” or because of any other reason, you shouldn’t mess with this chick.

Ok so

I’m going to take the time today to remind everyone that “whiteness” is a regional social construct that can be given and taken away.

Whiteness is less about where you are from and more or less a classification that certain groups can temporarily achieve.

I think the best way of quickly describing this is that one scene in Django Unchained where Dr. King demands that Django be referred to with respect to the master of the plantation and a slave girl asks “do you want me to treat him like white folk?” And the master says “NO” but then asks her to treat him like “Jerry” who it turns out is a poor non land owning white man who in the Master’s eyes is something between the status of a Slave and a “white folk”. (

Jerry exists as a masterful example of the status and social construct of “whiteness” not applying to someone who is technically white in a scenario in which most white people are “from” the same place. And as the history of whiteness in America is concerned, Jerry “becomes” white when other groups such as the Irish and the Italians and the polish,etc appear and it’s time to exclude them.

The social construct of Whiteness requires exclusion to give certain privileges to an ever growing upper class of whiteness. In which “new applicants” of whiteness must wait until another applicant arrives in order to be bumped up into the classification. And while the class of whiteness does grow this way, it can also spit groups out.

For example, when people are perceived as being white but then revealed to be not white. At the moment of the reveal,the social construct of perceived whiteness that benefits them erodes away and all social privilege granted is stripped from them (this happens to a lot of mixed people, white passing latin@s, and Ashkenazi Jewish people.)

If the construct of whiteness becomes strict, as it tends to in times of economic distress, sometimes the qualifications become even stricter and it spits out groups that have stronger ties to their mother cultures and languages than to the amalgamation of whiteness and thusly can be “confused” for being non white, such as that Greek couple who were speaking Greek and were besieged by a neo-Nazi.

What does all this mean?

That white supremecy is not something you must adhere to or that will even protect you if you are white. It is so tempting for some people when they hear white supremacist rhetoric to think that they will be “safe”. But the reality is that there is just a pecking order of who to attack and you simply are a bit further from the top than people of color. Also that your association with POC does count and that gives you brownie points that make get you closer to getting very violently hurt by white supremacists.

What can I do about this?

Learn about it. Do some independent research on the concept of race and where it came from. Race and culture are very different things and as things around us get worse, knowing the difference can help protect you from falling in with a dangerous crowd.

But what about black? Is black a social construct?

Yes and no. The first thing to understand is that black refers to two things: people with African descent the world around, AND the displaced African-American people who descended from slaves in the US. Because the descendants of slaves do not know their cultural origins (like you know that you are white but are actually Romanian and French or whatever) black people here had to start over and create their own culture so they are culturally black and racially black.

So if you’re talking about black/white issues, know that you are talking about Culturally and racially black vs. white supremecy/whiteness as a social construct. Not black people vs. Irish/Italian/British/etc cultures.

So does that mean I shouldn’t be proud of being white?

Whiteness is a social construct, so no. BUT! Having cultural pride for your background is absolutely acceptable and worth embracing! If you’re Italian being excited about Italian heritage is great! If you’re Hungarian tell everyone all about it you’re A++++! Everyone and their mama loves German fest in my town. It’s one of the highlights of the year. But the concept of being proud of a structure you can get kicked out of is absolutely ridiculous. Searching for pride in a structure that only serves the concept of a supremecy that you may or may not be allowed REGARDLESS of your skin color is dangerous and doesn’t serve you well. And hearing things like Black Pride! Is more comparable to hearing “Irish Pride!” Or “Swedish Pride!” Than “White Pride”. That Irish American heritage month is what is equal to black history month, not “white history month”.

Accepting that whiteness as a social construct does exist and that you benefit from it is important.

But knowing what the fuck that even means is considerably more so.

anonymous asked:

I struggle with depression and self loathing. It's like not matter what I can not lose weight. I'm 200 and I should weigh 120-125 so I'm very over weight. I want to lose weight I just am always sleeping and eating. And repeat. I just can't find the energy or motivation. And constantly I'm finding something I don't like about my body. I can't stand my double chin/neck and my breasts. Especially my breasts they're just so big and saggy. I don't know what to do. Any tips? Thank you for your time

I’m going to share some of my personal story because I feel that it’s very relevant. when I was 14-15 years old I struggled quite a bit with my weight. I gained and lost, but mainly gained. I had a lot of stress issues and insecurity, mainly because of my mental illnesses, negative comments from family, and society’s bullshit ideals. it truly just made me hate myself more. I often ate in times of stress and boredom and I also ate a lot of dairy which I am actually allergic to. 

when I was 18 years old I went back to england. I weighed roughly 200 lbs at the time, and I made the conscious decision to eat healthier and lose the unwanted weight. I genuinely thought most of my problems would go away if I got thinner. I will not lie to you, I lost the weight at an unhealthy pace. I was very sick at the time. I was suddenly underweight at 5′10 with even more problems than before.

losing that weight did not make me feel stronger. it did not make me feel more proud or accomplished. most importantly, it did not make me feel more beautiful or more desired and my problems definitely did not disappear.

the point of my story is that truly loving yourself and feeling beautiful genuinely starts with self acceptance and fat acceptance for everyone including yourself. since then I have gained 10+ lbs of healthy weight and I am still working on myself physically and mentally. having issues with body image is something that has to be worked on throughout your life. 

I have a few tips for weight loss, and there is absolutely nothing wrong with wanting to lose weight as long as you know that you are extremely beautiful at any size. even with your double chin and your saggy boobs. try to remember that boob saggage comes with weight loss- and that doesn’t make them any less cute or beautiful !!! I am not ashamed to say my boobs changed quite a bit throughout the years. I love them just the same even if I feel a bit insecure about them sometimes.

• start your journey with inspiration and motivation. surround yourself with positivity. change your phone background, put up new pictures in your room, and follow a ton of inspirational accounts. do some research and look for models at any size who inspire you. there is actually a lack of body diversity on this website so I found some gorgeous dolls that might inspire you.

diana veras

brittnee blair

anita marshall

• plan your meals ahead of time. you don’t need to cut back on portions- just add more natural healthy things into your meals. losing weight is not about restricting so eat up !!!! 

• try to avoid processed, high fat, sugar and high salted foods on the regular. save those for well deserved treats. 

• get at least 15 minutes of sun and 25 minutes of exercise every day, even if it’s just a walk around the block. getting into this habit is good for both your body and mind.

• losing weight the healthy way takes a lot of commitment and patience, but it is very much achievable and possible. you can do anything you put your mind to.

• practice self love and self care every day. forget everything negative you have been told and appreciate everything about your body. I made this weekly printable self care checklist that you can download for free if you want. 

I love you darling. I hope these are all helpful to you. please know you are more than welcome to message me anytime, and I wish you luck. remember that you are beautiful. 💖💖

pynch fluff !!

I am writing a 5+1 things fic for my ao3 account, and I finished one of the parts so I supposed I would upload it to here as a little… sneak peak. Enjoy!

After everything had settled down with the Glendower scheme, Adam and Ronan were absolutely and grossly in love. They were officially in the “honeymoon phase”, as Blue called it. It was toothpaste kisses and whispered sweet nothings, long gazes and meaningful touches. They were in every way, infatuated with one another—but, they were… low-key about it (at least around the group).

If there was ever PDA, it was subtle, small gestures. In Ronan’s opinion, there was no reason to be overly showy. For these reasons, their relationship was never really in the spotlight. It was never the topic of the group’s conversations. It was just background music to whatever was taking place. It wasn’t hidden, they weren’t hiding it, there were just better things to talk about. If the group was a little… behind on all things Ronan and Adam, that was why.

However, while they were alone, affection wasn’t hidden—it was on display. They had said their I love you’s fairly quickly, as the both of them had been sure in their feelings for long enough that there was no point in putting it off. Ronan was relieved when Adam said it first, that way the phrase would stop coming up as word vomit—and he would be able to stop choking it down. He was free to tell Adam he loved him whenever he wanted—and he did. They said I love you all through the day, when they went to bed, when they woke up, over text, and even on the phone.

Looking back, it was bound to slip sometime.

Keep reading

Tips for transitioning from 'realism' to 'cartoons'

( this is mostly for @stiles-and-the-sourwolf but you’re welcome to read it either way.)

Okay so the thing about drawing in a ‘looser’ style (or a more cartoonish style) is you must must must MUST learn to trust yourself, and be forgiving. It’s really about loosening up the 'rules’ of anatomy and letting things become more exaggerated and fluid.

It’s a huge problem that I’ve found amongst many of my artist friends who tend to draw in a more realistic and 'refined’ style. They’ve gotten into the habit of working into a piece for long periods of time, and striving for a certain level of anatomical perfection that is often—if not always—on par with photo realism. This means that their process usually involves working into small, key parts of the art until it fits together like a lovely puzzle. This is typically called the 'grid technique’, whether you use actual grids or not, and it’s perfect for creating a well rendered, full-feeling piece.

The problem is is that it tends to set you up for a few different problems when it comes to a more cartoonish style.

For one thing, cartoon anatomy is never as it should be, and things are generally never WHERE they should be, either. Buuut, that’s kind of the point, because the style leans heavily on the motion, the shape of the character, and the fluidity of their form.

What matters most in these types of styles is showing the character through their forms as much as possible, and often as SIMPLY as possible. Think about all the hundreds of Disney characters out there, and think about how each one has a very specific body shape to match their personality.

For example: Bell’s father. He’s the typical Disney short, round-bodied, mustaches father figure that you see throughout many Disney films. He has a sputtering voice, a general doofy personality, typically kind of useless, and tends to bounce around like a bouncy ball. His round form encompasses his character much better than, say, a long, tall, skinny body would.

Another (not Disney) example: Miyazaki’s strong female lead-characters. They all tend to be sort of squat, strong bodied, slightly rounder (more trustworthy) faces, with a stubborn pout. You automatically know that this girl/woman means business, and is going to kick butt and take names and, like, save someone/everyone/herself.

Now, a lot of this all comes down to animation, and the fact that simplicity is necessary for something you’re drawing a million times. The simpler the design, the easier it is to draw frame, by frame, by frame. But, even without animating, a key part of drawing in a cartoonish style is always going to be expressing as much information about the character/environment/story as possible with the smallest amount of effort.

A prime example of that would be the Tintin comics, or Charlie Brown. Each comic has it’s own level of simplicity that is, seriously, basically down to single lines and blobs of color. And if you look closely at a comic panel, you’ll probably feel like you’re falling into some abstract piece of art. But, the thing is… they work.

Tintin’s head is about 14 lines total, and yet somehow Hergé manages to bring forth a vast range of emotions and expressions with very little effort at all.

This, again, is also due to repetition. Comic books have always had a tendency to lean towards the more simplistic styles do to the whole, you know, drawing the character over and over again thing. Not that there aren’t comic book artists who totally ignore that and go into some insane levels of detail for each frame, but as a general rule, you’re going to see the 'cartoon’ style in comics. It’s easier to draw, less time consuming, and is often contributed to easier/smoother reading.

Now, trust and forgiveness.

The thing about shooting out a quick sketch is that there’s a certain level of 'I don’t give a fuck’ that goes along with it.
You’ve drawn it, it’s done, it’s out there, who cares?

And to many artists, that’s a screech-worthy sentence right there.

But, it’s sort of an integral part of loosening up your style.

Sketching or drawing out a cartoonish character takes a lot of confidence, trust, and again, that forgiveness thing. You need to teach yourself to let those lines flow freely, to trust that you can complete this figure with or without mistakes, and to forgive yourself when it doesn’t come out looking 'perfect’. This can be hard, or even next to impossible for certain realism artists to accomplish. It can be infuriating for them, especially when they can render so masterfully, and yet this simple… doodle seems to be the bane of their existence.

The trick, for me, is to set yourself up with limitations.

Try drawing with only an ink pen. No erasing, no fixing mistakes, no sketch layer. It might smudge, it might leak, and the second eye might end up too high up. Take the risk, and draw.

Try doing very light blocking with the pen, try going completely free hand and see where some of your anatomy strengths and weakness are.

Try drawing the same face over and over again, until you can get the same amount of details/information down without a second thought. Try simplifying the first drawing. Try limiting the amount of lines or shading used. Challenge yourself to be quick, to finish a complete character in ten minutes or less.

Try using a medium you’ve never used before. Learn to love it or hate it.

Try drawing with your opposite hand. (Does it look terrible? Maybe, but I bet you automatically tried to simplify and expedite the drawing process.)

Try using only blocks of color or shadow to make a face. Do not add details. See how recognizable it looks just from shading.

Try focusing on character qualities and the shapes, poses/posture, and colors that they brings to mind.

Draw a loud, boisterous person. (What shape would they be? Are they muscular, tall, threatening? Do they stand with their chest out? Do they wear reds and warm colors?)

Draw a quiet, timid person. ( are they small, hunched, slim? Do they wrap their arms around themselves a lot? Do they wear blues and browns and colors that blend in with the background?)

Draw a hunter.
Draw a mother.

Draw types of people/animals/environments you’ve never drawn before. Push yourself to do create people with more exaggerated features or postures. People with bigger, longer, skinnier, wider, smaller elements of anatomy.

And, like I said, it will be a challenge. It will feel silly and frustrating and even demeaning. But trust me, learning to loosen up and trust yourself enough make mistakes and accept them can be extremely freeing no matter what style you use.

semi-slaughtomatic  asked:

I'm genuinely curious and I'm sure you've talked about it before but what're your headcanons on Cas & Dean getting together in the show? How different do you think what you would like to see vs. what might actually happen are? I feel like this season is gonna make it harder and more detrimental to keep feelings "strictly platonic" if that makes any sense. I feel like it's pointless for them to keep dancing around each other considering what they've been through in the past 2 seasons especially.

I actually don’t really talk about this or have more than passing headcanons about how to do it usually right in like the next 3 episodes range of coda fics I approve of sort of level >.> At least not that I’m set on or have any real strong feelings about, mostly because I’ve learned to enjoy the show while still living in fandom you really can not let fandom expectations get too deep into your head to the point you’re imagining the show as a sort of interactive pick your own adventure game where you’re desperately trying to turn to page 83 but the show keeps flicking back to page 6 and you’re like WHYYY and scrabbling around feeling like they’re holding the pages down for you or something… Gah, bad metaphor. Double ear ache. I apologise for the quality of blogging around here this week :P 

So I mean what I would LIKE to see or headcanons I have are all of the coda fic formula of just taking the episode a minute past its appropriate end. And I’ll tell you the 2 most jarring moments of my life watching the show were in 10x03 where the episode went past the expected end and Cas walked into the bedroom with Dean but then left again but my heart was hammering the whole time, and to explain it to myself retroactively, 11x04 when the camera stays in the back of the car after they leave the Bunker, talk over the details of the case, and then there’s just this long silence while Dean’s driving and Sam’s sitting there, and it’s just… wrong… The scene is going on past the point we KNOW as viewers it should have cut to the next day when they roll into town, and the silence and the length of the pause were exactly made to pass through a boundary, to transgress what we should be expecting as a viewer. The scene in 12x19 is very similar to the one in 10x03 in set up - Cas walks through the door to Dean alone - but the transgression is only in 10x03 when all the other loose ends are wrapped up and Dean’s cured and Cas could easily have made the same excuse to Sam and left, but instead they pushed through for one character-driven scene of Cas and Dean together, and we were intruding on Dean in privacy with his photos, and we see him react as if he doesn’t want people seeing him doing that, and then Cas comes in and they’re alone together and talk, and there’s no purpose except for personal communication between them. Either Cas leaves, Dean tells him to leave, or he stays and they get together :P And obviously it would be one of the first 2 but it was one of the rare times the show drifted into set up for a coda fic where they were given that privacy and even the hint that this could transgress expectations because it was indisputably the last scene of the episode we could have between members of TFW and all the plot was over so there was nothing for them to discuss except feelings.

I think my expectation for a scene where it’s going to go canon for real will cross some of those same invisible boundary lines and that’s what gets my heart hammering about things on this show. Moments where I’m not sure what it going to happen and I’m out of a comfort zone of being able to confidently say I can predict it all in a rote way, where character reactions are all somewhat reliable. There’s sometimes stray dialogue where they seem to hint so far. The only times recently they got me was the 11x11 line about pining for somebody else. I could feel my heart against my ribs and I got up to walk it off because I thought I would die if I stayed in front of the screen, because it crossed a line of stuff that seemed acceptable to say about Dean in the context of knowing Robbie is very aware of what he’s doing and even on first watch the episode had a lot of Destiel cues in it to go with the Amara surface text (also that means Robbie got me twice in a row and I sort of haven’t forgiven him :P). 

And specifically the giving of the mixtape because the set up to the scene didn’t feel weird at all to me, I was predicting exactly how it would happen until it completely threw me for a loop that they would use an almost always romantic trope (without further context and Dean and Cas are *terrible* context to judge a trope by because they are a trope dispute battleground where mainstream romantic tropes go to Hunger Games it out :P) in the middle of what should have been another round of the subtextually romantic but surface text everything else Destiel is on top of that argument. So yeah that really was a weird moment because it was more like becoming untethered from expectations and I think that’s why 12x23 still hasn’t really hit a place in my heart yet because I’m still seeing the last shot of Dean and Cas in my eyelids when I blink and the boundary-crossing it did is surreal to me because the line I drew behind it once upon a time was how to make it canon in the worst possible way if they were going to fuck with us >.> 

I guess that’s a 3rd one. But anyway. It was so weird. Like… that feeling of not quite believing it? I think there’s a lot of joking we do about it but there’s actually expectations and we will ALWAYS expect Dean and Cas’s language or language about them to single them out as a partnership. Or the oddly specific clarifications like we/I need you, I love you/all of you. Or Dean and Cas to get into a stinking argument while Sam’s eyebrows raise to the moon in the background and he clears his throat until it’s raw. Dean fielding the phonecalls and wandering off in private or going on speaker phone in alarm when Sam comes nearby. There are a LOT of basic expectations I have about how their relationship is written and not many things transcend those lines. Even a lot of the romantic gestures we’ve had since I was watching. Like the end of 10x14, was a “well duh” if you search your heart and only extreme pessimism and distrust in the writing of the show or its patterns and tropes.

Actually 9x18 which got me into the show was another one of those transgressions and a really important one where Robbie (fuck you) really drew attention to stuff you’re not supposed to point out  - not just using the fourth wall break to point out there’s a story, but that it has a subtext and that it’s drawing attention to it. And 10x05 telling us the subtext exists and it belongs to Dean and Cas who are a couple in real life (which is also queer). Now I think about it there are more of these way back when and they’re all Robbie’s fault until recently :P He’s given me at least 4 mild heart attacks. 

Aaaanyway I guess what I’m saying is, the times when I get really dizzy and alarmed about what’s going on is when something doesn’t go like it’s supposed to, and the “supposed to” on this show is a very specific pattern of reactions and stuff which are still romantic and yet because we’re used to them being the telling of Destiel, are actually *boring*. If they repeat them without escalating them, it’s nice to have the continuity and reassuring presence that Dean will always sidle up to Cas and look him head to foot on his arrival in a room (pls someone explain the meeting in 12x12 to me I’m still laughing… You’ve known him how many years and you still do it???) But yeah it’s when things go off-script, as it were, to our expectations. 

So I think it would start normal as hell, the sort of thing you’d always expect them to do, and then something would just be *off* or over some invisible line, like Dean not letting go of a hug too quickly or Cas hovering on the door and not leaving when he meant to, them going to a bar and the conversation halting and one or both of them smiling and looking away after a too-long pause. Something where our expectations can chug along in the moment thinking our smart arse knowledge of these boring old teasy Destiel scenes are doing exactly what they always do - until they don’t, and we’re left reeling. 

(And, incidentally, the mixtape is definitely strike one to my mind, and the escalating panic I felt as the camera seemed to tell us, everything is over now, it’s just Sam and Dean standing outside and Mary and Lucifer are gone and Cas is dead on the floor —– and is Sam looking around at the house and Dean *isn’t* what the FUCK, Sam is going inside - and Dean - he’s still - he’s — they ———— and my brain has been stuck in dashdashdash territory on this subject ever since)

And also sorry for answering this while sick, I hope it’s not terrible but weirdly I think it was something I needed to ramble about even if it wasn’t directly about your question… I don’t think I’ve let myself think about this until new canon is less than a month away and I can start to peer between my fingers after having my hand over my eyes all summer)

anonymous asked:

Why is that everyone on the YOI fandom throws a fit when somebody suggests Yuri on Ice is a yaoi? Because honestly speaking I don't see why it should not be considered as such...

First of all I want to clarify that I don’t feel myself into that group of people that throws a fit (even when I DO agree that it’s not yaoi), but I will reply to you anyways.

Secondly, I’m by no means an expertise on the field but I’ve watched enough series that fall under the category of yaoi to know that YOI is not one. The only thing that links both “genres” if you want is that the protagonist/s have a love interest on somebody of the same gender and that’s all of it.
Yuri on Ice is a sports anime since the plot revolves around the sport practiced by the protagonist/s and advances with it while everything else (in this case Yuuri and Victor having a relationship) adds to that from a secondary place. Actual yaoi series like Junjou Romantica and Sekaichi Hatsukoi to name some have the same gender relationships of the protagonists as the central topic AND are the reason the plot advances (or not).

Also being honest, something I’ve realized all of these series have in common is that sexual advances are used 90% of the time in order to resolve issues, ranging it from an uncalled-for kiss to a raw sex session because suddenly one or both of them had an uncontrollable sexual urgency idk??? That one point specifically is something Yuri on Ice took and treated in 2 whole episodes (episode 4 and episode 7) and smashed it on the floor in favor of a healthy, organic development in the relationship of two adults that love each other while accepting their flaws and respecting their boundaries.

Unlike a yaoi series, YOI is not meant to appeal the viewers obscure kinks or fantasies (like your average soap opera if you want), but to portray something organic and that people would see as achievable or #goals (at the risk that people might not find it intense enough welp they were so wrong ♥)

Originally posted by yandereatheart

Finally, here’s some things that would be different if Yuri on Ice was a yaoi series:

  • The fact Yuuri idolizes Victor would DEFINITELY benefit the later in his advances (aka Yuuri would let him do as he pleases just because he admires him, and by ‘as he pleases’ I’m totally talking about sexual stuff).
  • Yuuri’s anxiety would be played as something cute and a thing Victor would innocently take advantage of.
  • Victor would definitely be a seme, lone-wolf type character and have possessiveness issues and rage fits because of it (instead of the immature, 100% marshmallow-hearted dork we have in canon).
  • Something sexual and DOUBTFULLY consented would have happened in the onsen before the Cup of China hands down.
  • Episode 4 would have never happened (at least not in the way it did).
  • Victor would have kissed Yuuri there in the parking lot during the Cup of China without even asking, and would have done the same every time Yuuri felt uneasy instead of listening to him.
  • Yuuri would spend half of each episode aroused because of Victor.
  • We would have a hard time remembering either of them skate because each episode is full of the drama going on between them and their unresolved sexual urgencies.
  • Yuuri would either have an arranged marriage with Yuuko or be enemies out of resentment with the whole Nishigori family.
  • Yurio would have serious problems with being called ‘androgynous’ instead of using it as a personal strength like in canon.
  • The female cast of the series would be reduced to the half and the characterization of each woman would be super shallow in contrast to the wonderful ladies we have (for one thing, according to the yaoi formula Mila would probably be Victor’s ex and be a bitch towards Yuuri; Minako would be squeeing around about Victuuri all the time; Mari would ‘sell’ private data about Yuuri to Victor uncaring of exposing him).
  • The Banquet night would have ended up in sex between Victor and a beyond drunk Yuuri (and on-camera).
  • The main pairing would probably change to either of the following things:
        -Yuuri x Yurio.

        -Yurio x Victor.

    ( ^ with Yurio having an insane -and obviously sexual- obsession on the adult person of each pair and the later letting him advance).

       -Deaged!Yuuri x Victor (Yuuri would be like 18 or even less).

       -A romantic triangle between the 3 of them.
  • There wouldn’t be rings, at all, because if it’s not illicit it would lose its charm.
  • Phichit would probably be a trigger to Victor’s possessiveness and bitter personality, as in at some point Yuuri would have to resign hanging out with Phichit once or twice because Victor was too jealous.
  • Chris would definitely try something sexual on Yuuri.
  • The rest of the skaters would be background characters we could barely remember unless they do something to spice things up between Yuuri and Victor and their unresolved sexual tension.

A few thoughts on how framing a story influences how it comes across to the reader and why a lot of comics fans will talk about writer agendas and ‘bad writing’ and things like that, and actively attempt to take away that influence and framing to understand the context of a character’s actions without all that influence pushing us in a certain direction. 

Here’s Jim Starlin’s opening panel of a flashback story to when Jason was a new Robin (active about six months). First thing: the monologue is Bruce, not Jason, which automatically distances us away from Jason and closes off his POV, which automatically makes us less sympathetic because we have no clue what he’s actually thinking. 

Bruce’s thoughts also directly contradict things he says and thinks later in this own issue, and in other issues of Jason’s Post-Crisis run. Taken all together, it’s pretty clear that Jim Starlin is doing this for a reason. 

There’s a pretty clear impression of a hotheaded, untrained and impulsive kid who is getting in too deep despite Bruce trying to rein him in, which just…isn’t true. We know he spent at least six months in training before ever hitting the streets (it was like…less than 10 issues ago). We know that Bruce thinks Jason is talented, because he keeps saying it and showing it. And the ‘going off alone thing’, along with contradicting other sources (potentially a retcon), is also not just making Jason look bad, but it also reflects badly on Bruce. We’re in Bruce’s POV so we’re less likely to immediately notice that, but he’s literally saying he can’t keep track of a thirteen year old boy who is new to being Robin? Yeah, right. 

Along with Jim Starlin wanting to kill off Robin, the context of this story is Nightwing coming back to confront Bruce. That adds another layer to this kind of framing. Starlin wants Jason to look new and in over his head so Nightwing can come sweeping in and save him, and culminate in the cute ending scene where Nightwing and Robin join forces and Nightwing, idk, teaches him enough in the span of that one fight because Bruce is like ‘thanks Dick’. Other than the immediate beginning of this comic and then later when Bruce is blatantly lying to Dick’s face (and exploiting Jason’s background to do it, Starlin is really bad), Jason is characterized perfectly fine. The ‘recklessness’ shown in this is to establish the framing for the story Starlin wants to tell, and to make the ending work more. 

It’s a lot of work to unpack this kind of thing, which is why most readers will passively accept that the initial framing is correct and think little of Jason or his skills. 

Contrast this over with Tim’s Robin book, where in the early run he’s just as inexperienced and occasionally hot-headed, but we’re in his POV and thus both automatically sympathetic and get his inner thoughts so there’s no judgement from another character that’s perceived to be ‘objective’ and, obviously, no agenda to hate Tim. His writers want us to know he’s still learning but to find it endearing. 

The context for this is that Tim thinks Bruce is in the museum already, having not brought Robin along (it’s after the Jean Paul Valley thing, Bruce is maybe doubting he needs a partner). Tim suits up and goes to the museum. He’s not able to contact Batman so he’s soloing it atm and Batman doesn’t know he’s there. Pretty similar to what Jason was doing, despite the framing of Jason being reckless and disobeying to go off and fight alone. 

Tim’s obviously still got a lot to learn, and takes out a statue. It’s framed in a very endearing way, without the monologue from Batman going ‘sloppy’ and making him out to be incompetent like Starlin does for Jason. 

Tim hides in the rafters and even falls asleep mid mission. Again, we’re with Tim. He’s been having trouble finding time to sleep all issue, and because we’re with him and his POV, we know this so his behavior is sympathetic and doesn’t make us go ‘what a bad, incompetent Robin’. We know he’s a 14/15 year old kid who is struggling to balance his life at the moment. 

Once you start noticing all the ways the writer is influencing you, you can start unpacking the why and the how and whether you’re going to accept that framing or examine the events that transpire without that and come up with your own conclusion. 

Friends in Accepting Places

Originally posted by amys-support-group

Request: Hey I don’t know if you’ll write this but could you possibly write about the reader coming out to the team about being nonbinary? I’m nonbinary and never really see anything with readers like that and I think it’d be great

Summary: Nonbinary!Reader comes out to teamiplier but they’re afraid of the team’s reaction. Spoiler alert: they don’t care what reader identifies as bc they still love them.

A/N: Hey friends, hope I did this correctly? I’ve never written a fic like this so I’m sorry if it’s bad. Thanks for the request though! Really made my morning when I saw the requests/notifications that the first two fics received! I even saw that the 2 other fics were among the top posts in the ‘markiplier x reader’ tag! Thanks so much for the love! Again, hope I did your request justice-I tried!

Also dammit  I really wish Tyler was in that gif bc it’s so cute.

Wordcount: 443, smol little blurb that took me 20 min to write oops

Requests are open! Request some more! Pls!

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Why Lucy Heartfilia Deserves More Respect.

Alright. Here’s another rant coming your way. There I was watching a tribute for my favorite girl, Lucy Heartfilia, and I naturally go down afterwards to read the comments. There were positive ones, sure, but there were alot more negative comments about Lucy. Any fan of Lucy has probably heard it all; that she’s weak, she’s just a tool for fanservice, or that the show would have been so much better without her. Um. No. 

Before I begin fully ranting, I’ll admit that I am a bit behind on Fairy Tail. College and other responsibilities took its toll. However, I have been keeping up with the story, even if I haven’t gotten to explore it myself for awhile. That said, here we go.

First off, the fanservice. I really get upset when Lucy is called out for her choice in clothing. This girl has lived under her fathers thumb since her mother died. She was made to dress like a lady of her station at all times. When she arrived home after Phantom Lords defeat, we were able to see an example of what she had been made to wear during her time at the manor.

From her shoulders down, she is completely covered. Can you imagine how uncomfortable that dress is? It’s heavy. It’s restricting. It was likely bought for her to wear without her approval or consent. It’s another form of control her father had over her. I’m sure that one of the first things Lucy did when she left the mansion, not home–but the mansion, was find new clothes to wear. Part of it was likely to make it more difficult for people to spot the Heartfilia Heiress, but a bigger part was that she was taking her fathers control over her and his expectations and tossing them away. 

People complain that her clothing choices are way too revealing, but guess what? It’s her body and, after so many years of being told how to present herself, she can finally dress how she wants to dress. And maybe, after she grows older and, yes, more mature, she may start dressing more modestly. But right now, she is literally a teenager who spent most of her life under a domineering tyrant for a father. She’s rebelling even as she gains hold of her freedom, as any teenager would.

Moving on to another statement that ticks me off; Lucy Heartfilia is weak. Um. What? Starting off, what we know about Lucy is superficial. She is a celestial mage who desperately wants to join her favorite guild. We know practically nothing else. As the story goes, we get to see more of her and her growth. Natsu, Erza, and Gray are already obvious BAMFs. They’ve grown up training and fighting and going on missions. You know who hasn’t? Lucy Heartfilia. Again, she was raised in a rich lifestyle with each of her life decisions, besides running away, made for her. Now, maybe she was allowed to train her magic, but was it encouraged? Unlikely. Her father wanted her to grow up and marry someone who would benefit the company. That was her sole mission in life. Magic was not part of the equation. Fighting definitely wasn’t. So she joins the guild with maybe a year of traveling under her belt, give or take. Though we didn’t see it, she had started growing in that time. She collected more Gate Keys and became proficient with a whip. Once she joins Fairy Tail, she has had that one year of growth compared to a decade or more that the others had.

We see her grow more, magically, when she forcefully closes Taurus’s gate once Sherry had taken control of him in the Galuna Island arc.

We discover that Forced Gate Closures should be impossible. This is a fact that is brought up again when Loke is discovered to be Leo the Lion and we are shown through flashback his days with the abusive Karen and how he refused to let her close the gate, despite the fact that it was literally killing him to do so. Lucy Heartfilia has, in one of the very first arcs, done something impossible. Please remember she has only just joined Fairy Tail and has very little experience under her belt. 

Let’s skip ahead now to the Phantom Lord arc. During this arc, we finally learn more about Lucy’s background. She is the runaway heiress who just wanted to be happy and have her freedom. Now, after a year or so of her father not putting much if any effort into finding her, he sends a dark guild after her guild, her family. We see Lucy break in this arc. She is tortured physically and emotionally. She contemplates leaving Fairy Tail and returning to her father, even as she knows that she will never experience the happiness that she has felt during her time in this guild. She would give up her freedom for her new family’s sake. That isn’t weakness, that is strength that not many people possess. That is selflessness. In the end, she is vulnerable. Her life story has been revealed to her guild. They know, or at least have some idea of, the neglect she faced at her fathers hands. She is exposed and she has been all the more accepted for it. Her family fought for her and so now she knows she has to fight for them. She knows that he would do it all again until he got what she wanted and so she decides to confront him, the man who was her tormentor since her mother died. She travels to her fathers manor alone. She once more wears the clothes that confine her. She meets with her father, hears what he has to say, and then makes it clear that he will never again control her. She rips her dress, the physical symbol of her imprisonment at his hands, and she tells her father that she is a member of Fairy Tail and that if he ever tried attacking them again, they would destroy him just like any other enemy. 

She tells him that all she ever wanted was acceptance. To quote the dub, she says, “I’m not Lucky Lucy Heartfilia anymore. I’m Lucy of Fairy Tail. The people there treat me like family. Something that you never did.” She disowns herself from the Heartfilia name. She confronts her tormentor, she destroys her shackles, and she makes it clear that he cannot and he will not seek to control her anymore. Physically and magically, she may not have shown her strength here. But she did so emotionally. Lucy Heartfilia freed herself. 

I could go on and on with further examples of Lucy being strong; saving Loke, smiling through her pain when against Kain, holding Natsu back when in Edolas upon discovering the Lacrima, forgiving Cana when she betrayed her and later encouraging her to confess to Gildarts, letting Flare torture and humiliate her in front of the entirety of Fiore in order to save Asuka, time traveling in the hopes of saving her guild and others, sacrificing Aquarius, her oldest friend, in order to save her guild, even though it was likely the most painful experience she had ever endured, etc. etc.

Without Lucy, Team Natsu would have never formed. Makarov and the other guild masters might have died under Lullaby’s sound. They never would have met Gajeel and Juvia. Loke would have died. Angel would have continued using and abusing her spirits. It’s very likely that Fairy Tail would have never left Edolas without Lucy there. Fairy Tail could have ended at that point, and what a sad ending it would be. 

Lucy Heartfilia, physically, may not be the strongest person in the guild. But emotionally? Magically? She is so, so strong. She’s there for her friends. She won’t abandon them when the going gets tough. She will fight to the death for the people she cares about. She may get knocked down. She may need help getting back up sometimes. But she always does. She has broken and put herself back together, stronger and even more steadfast than before. Strength is more than punching through a wall or beating up the bad guy. Strength is also facing your fears head on, even with the uncertainty that you’ll make it out alive. And Lucy does this constantly. 

Lucy deserves all the respect in the world. This girl is a survivor, if people can’t see that then they need to rewatch the show because it’s all there, from the very beginning, and it just becomes more clear as the story continues. 

Here’s to Lucy of Fairy Tail.

anonymous asked:

You don't seem to be very bothered by the current Berena angst, so I was wondering if you could maybe share what helps you keep positive about it because I'd like to #KeepTheFaith too but it's getting hard with all the recent spoilers.

I’ve been asking myself that too, tbh, because I see so many people are upset and I wonder if I should be too, but I’m just not? It’s probably because of a number of factors, but here are at least two that I think affect my viewing the most: (behind a cut because, oops, it turned out quite long)

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calculatedmadness  asked:

So, I have trouble doing world building for short stories, especially when it comes to places/cultures. I don't want to burn through word count doing expository stuff, either. What are some suggestions you have for subtly working in world building details without overloading the story with exposition?

Werew: My favorite method is to come up with the scene, the details, the weirdness, etc, and then put yourself in the place of the character and think about what they’d actually notice about the scene. For example, I have a short story where the main character talks to people of a non-human race that have very sharp teeth, and their teeth make it hard to pronounce some sounds in the english language. However, anyone who knows anything about that race in the world knows that their teeth make it hard for them to speak english, so why would my character mentally comment on it? So what I did was to include the difficulty with sounds in the dialogue, and then throw in the sharp teeth in separately; the character mentally remarks about their sharp teeth when one of them smiles. I left it to the reader to draw the connection.

If the detail isn’t relevant, don’t bend over backwards to fit it in. Including too many details can make stories harder to read. If something is common knowledge, treat it as common knowledge and don’t bother explaining it. Unless it seems to conflict with something else in the world, most readers will just go “oh okay, so apples are poisonous if picked on Tuesday, got it” and go on reading, and you don’t need to explain the story about the fickle sorcerer hundreds of years ago who bit into a worm and had a fit about it. (This is a ridiculous example, but often readers will accept even ridiculous things as just being part of the world if they are presented correctly)

Bina: In addition to Werew’s point, readers will fill in any worldbuilding gaps with their own imaginations. They’ll make their own background exposition for something if it makes them stop and wonder ‘that’s cool, but why is that?’ So scattering tidbits around has the bonus of a potentially richer imaginative experience for your reader! I know that wasn’t really related to your question, but I wanted to add in an extra bonus for your decision to avoid expositing.

constablewrites: It can help to read other short stories to get a feel for the level of detail that readers expect. Some publications that specialize in SFF short stories:
Uncanny Magazine
Beneath Ceaseless Skies
Strange Horizons

constablewrites: There are also loads of anthologies you can check out as well. One of the best ways to place a story in one of these venues is to read the stuff they acquire so you know the sort of thing they look for, so it’s a good habit to cultivate if you’re interested in the form.

Mirintala: I primarily write flash fiction and short story, and definitely stick to only including important facts as they come up. When you grab a short story, you aren’t expecting to read the Silmarillion. “Just the facts, ma'am.” A lot of my characters don’t even have a description until/unless a fact about it is needed to progress the story.  A short story is a single photograph out of an album.

MareeB: it can help to think about what your goal is when you write a short story. It’s not a narrative so much as a moment in time. Focus on the details that are relevant to that single moment and ignore everything else. The reader doesn’t need to know

MareeB: Now if you are really loving the world you’ve created and want to explore it more, think about either writing more stories in it,  or writing a longer work. Some stories don’t fit in short form, and that’s okay. Others are like pieces you can use to build up a larger world view.

An alternative to Bitty being completely oblivious to Jack’s feelings

Bitty is a gay man in a collegiate sport who grew up in the Deep South. He is Aware™ of himself at all times, even if he doesn’t talk about it on his vlog. He probably knows that although he is accepted now, if he crosses an invisible line of physical/emotional affection with some of the guys that acceptance can disappear in an instant. We can speculate on the sexuality of the other guys, but none of them are open in the way Bitty is, so he has to operate on different rules than the other guys.

We know, canonically, that he is mostly exempt from rough-housing. This isn’t because he’s smaller, it’s because he’s gay. Rough-housing is toeing that line and Bitty would probably be careful to exclude himself whenever possible. The other guys probably exclude him with the excuse that he’s small, but there’s a layer underneath that they would never acknowledge. This is the sort of thing that even really supportive straight friends do, often unconsciously. It’s part of the “unwritten rules”.

So, back to Jack. We’re shown the two of them getting increasingly touchy in the background of several panels Year 2. We’re shown through Bitty’s twitter that Jack seeks him out, incessantly chirps him (which by Bitty’s own admission, is a variation on flirting), and starts to include Bitty in the rough-housing. Bitty overheard the conversation with Parse and heard Parse interrupt Jack with what was probably a kiss. Bitty can connect those dots - he’s not dumb. The thing is - he’s also never going to bring it up, because Bitty understands living in the closet and how scary it is. He also understands that Jack’s future is on the line. Jack already has so much stacked against him - the overdose, the crazy expectations, his own crippling anxiety - and Bitty surmises that Jack can’t also live with his sexuality out in the open too. So, he lets Jack get closer, orbiting him, but never, ever pushes him or even hints that he knows. It’s a secret and Bitty isn’t going to violate that.

Instead, he just cherishes the moments he gets. He catalogs them carefully, even though it probably really hurts. The guy he has an outsize crush on keeps seeking him out and sitting too close to him and giving him piggyback rides and lending him his jacket. Bitty knows that this is outside the bounds of his other friendships. He knows that Jack is crossing the line and he lets him, instead of closing himself off and not allowing it like he might have with the other boys. He just shakes his head and says this boy.

What I’m getting at here is that Bitty might have known, or at least strongly suspected, that Jack had non-friend feelings for him. However, he also probably thought that Jack didn’t think they were important or big enough feelings to actually act on. That’s why we find Bitty literally sobbing in Jack’s room after graduation because Bitty thinks that it’s the absolute end of the road for them and even the casual flirtation will be gone as soon as he boards that plane to Georgia in a few hours. Jack is moving on to Providence and the NHL and Jack isn’t going to take the risk on his future. Bitty wasn’t expecting Jack to kiss him, but not because Bitty was oblivious to Jack’s feelings. He doesn’t expect the kiss because he has convinced himself that Jack does feel something for him, but not strongly enough to actually pursue it.

ETA: now in 5k-word fic format, for your angsty needs

anonymous asked:

Are your requests open? If so could you do one (with any of the boys I don't mind☺️) where Y/N somehow ends up falling into deep water and he has to save her? Maybe like he saw her fall in and jumps in after her or something? Thank you and also just wanna say that I love love love your writing!!💛

Yes, requests are always open! I know sometimes it takes me forever to get around to writing them, but I’m always accepting them <3

So I know it’s been a while since I’ve written anything, but school’s back in and I just don’t have much time :( plus, I’m working on a book! Which is super exciting but it also takes up a lot of time lol.

But here’s this one! I hope you love it xx

You feel the breeze coming off of the lake as it blows through your hair and sends a shiver through your body. You’re currently sitting on a dock in the middle of the night with your boyfriend, Calum, and his three friends Ashton, Michael, and Luke. Someone came up with the great idea of playing truth or dare out by the lake, and for whatever reason you went along with it.

A few weeks ago, Calum invited you to come on vacation with him and the boys to a private lake house that they’d rented, and you were beyond excited to join him. The only thing is… you can’t swim.

You’ve never told Calum about this because you’re a little embarrassed. At your age, it should be something that you know how to do, but you just never learned. And to be honest, lakes and oceans frighten you. You have no desire to find what’s lurking beneath the surface. 

So far you’ve been able to stay on the shore and tan or only go in the really shallow water, but tomorrow Calum wants to go riding jet skis. You know he’s going to find out you can’t swim at some point. You’re just hoping he doesn’t laugh.

“Luke, truth or dare,” Michael says, bringing your attention back to the game.

So far, everyone has chosen truth, so there hasn’t been much action. But Luke is about to break that trend.

“Dare,” he says confidently.

Michael laughs and turns to Ashton as they try to decide what the dare should be. You’re not paying them much attention. Calum has his arm lazily draped around you and you’re starting to fall asleep. It’s been a long day, and it’s very late.

“I dare you to throw (Y/N) in the lake!” Michael suddenly says.

This immediately wakes you up and you open your mouth to protest. Luke only laughs at your hesitation though as he easily scoops you up from where you’re sitting. You struggle against his hold and try to make the words ‘I can’t swim’ come out of your mouth, but it’s like you’ve forgotten how to speak.

Next thing you know, you’re submerged in freezing water. All of the breath has been knocked out of your body and you go completely still. It takes you a few seconds to realize that you need to try and get back to the surface.

You start flailing your arms, hoping that the boys will realize soon that you don’t know how to swim. You break the surface just long enough to draw in a short breath, but you’re almost immediately dragged back under. You arms start to become numb, and you stop flailing them as hard as your body slowly loses energy. 

You vaguely feel a strong arm wrap around your waist, and you can’t even muster the strength to hold on to whoever is trying to save you. You can feel another pair of hands grabbing onto your arm and pulling you out of the water and back onto the dock, but your eyes refuse to open. It’s like your mind is aware, but your body isn’t.

“(Y/N)!” You hear Calum’s voice yell frantically.

You feel his large, warm hands roaming your face and your body, probably searching for any sign of life.

“Wake up, baby!” He yells, getting more and more panicked with each word. “(Y/N), wake the hell up!”

The next thing you feel are his lips being pressed against your own. You think for a minute that he’s kissing you, but then you feel his hands on your chest and you realize he’s giving you CPR.

You beg your body to wake up and start working again so that you can tell Calum you’re okay, but it isn’t listening. His compressions get more frantic and sloppy, and you can hear him quietly sobbing.

In the background, you hear the other boys bustling around trying to get help, but your mind only focuses on Calum. Somehow you know that he’s the one keeping you here.

“C-Cal,” you whisper, coughing up water as your mouth finally gets the words out.

“Yes! I’m here! (Y/N), keep talking to me!”

You continue to cough, more water coming out of your lungs with each hack. You open your eyes and gently roll onto your side to let the water spill out of your mouth.

When you feel like you can breathe again, you turn back to face Calum. His large, brown eyes are worriedly staring down at you and you can see his freshly shed tears mixing in with the water that’s dripping down his face. He must’ve been the one who jumped in to save you.

“Holy fuck, (Y/N). You scared the hell out of me,” he breathes as he pulls your body against his and holds you tight. “Why didn’t you tell me you couldn’t swim?”

“I was embarrassed,” you say quietly. “If I thought I was going to be thrown into a lake, I might have mentioned it earlier.”

He laughs a little at your sass, but you can tell he’s still freaking out.

“I swear none of the boys are allowed to touch you, come near you, or even breathe in your direction for the rest of time,” he says seriously. “I almost lost you.”

“But you didn’t,” you remind him. “Thanks for rescuing me. You’re my hero, Calum Hood.”

Better things to do


  • Basically everyone graduated Garrison
  • Shiro and Keith are on a mission in space
  • They are also married to each other
  • Lance is now a teacher at Garrison and loves both of them

Lance sighed, he was tired but he couldn’t go to sleep yet since he had to finish grading for one of his class’s quizzes. He leaned back in his chair, stretching out his arms and back as far as he can.

Just three more to go and you can go to sleep Lance.’ He tried to motivate himself to stay awake, he grabbed his pen once again and marked the incorrect responses. As he put the final grade, he noticed the student forgot to put their name on it. He contemplated if he should take points off of it or not.

Before he could decide he heard his laptop ringing alerting him that he had an incoming video call. All the tiredness and irritation he was feeling before was gone, he sat right up with a smile. It was Keith and Shiro. They were currently in space on a mission just to go on a exploration of a planet that Galaxy Garrison had discovered ten years ago.

Keep reading

Number One

Dear @hamabee: You’re the dancing queen, young and sweet, only seventeen. Happy (belated) birthday! You are one of the most nicest, sweetest and amazing person I have ever met in my life, and I want to tell you how lucky I’m of calling your friend. Thank you so much for giving me your friendship, and for being there for me all the time, our facetime talks are absolutely the best, thank you so much for listening to me. I know you had a wonderful day yesterday, and here is a little present to keep celebrating. Feliz Cumpleaños, you huge nerd. (Big shout to @somethingmorecreative1 for being the best beta ever.)

In all honesty, she had no idea when she started to develop feelings for her roommate. Percy had moved in almost a year ago, and to be honest, she wasn’t fond of the idea, at first. She didn’t feel comfortable living with a boy (a boy she only knew as the Too Talkative Coffee Barista) but they had a spare bedroom, and she and Piper needed help with the rent so Percy became their roommate.

Honestly, it was Piper’s fault. She was chatty when Annabeth was serious, and while Annabeth only ordered her coffee and walked away, Piper usually started a conversation with him. That’s how she learned he went to Ithaca, just like Piper. He was majoring in marine biology, he was the cousin of Piper’s boyfriend and, most importantly, that he was looking to move out of the dorms.

“He’s perfect,” Piper had said that night. They were taking a break from studying for finals, and they were relaxing on the couch watching some lame TV show about pirates.

“He’s a boy.”

“Jason says Percy is trustworthy, and he is his favorite cousin.”

“He is still a stranger, Pipes, a male stranger who you want to live with us.”

Keep reading

why stiles and derek are back as sterek

I said I wouldn’t get involved anymore and just enjoy the ride for what it is but alas I’m bored and sterek still haunts me at night 6 years later. 

I think most of us came back from our respective garbage cans when we saw Stiles and Derek grace our screens again and together nonetheless. We’re back at it again, but I know we’re also cautious and calling it for what it is. At the end of the day though, let’s agree that we’re all here because we love sterek, no strings attached to teen wolf. So let’s go from there. 

As the hype kinda died (until it airs that is), all that is left is to replay those 4 seconds of sterek until the skin of my forefinger is scraped away. And now, what I’m struggling with is quite simply sterek

It would be foolish to hope for endgame, I know, but at the same time, there are things that don’t make sense. Color me surprised, we’re dealing with teen wolf.

First thought is that it’s a big ass effort to bring back both Dylan and Hoechlin. It is. It’s not just a call all like “so how are you feeling about making an appearance on trash wolf”, “hell yeah sign me up”. No. It’s planning and contracts and like 6 people making a decision and Dylan and Hoechlin with their busy careers. It’s an effort okay. Big one. So why would they do it?

Level-headed objective answer is: Stiles and Derek are fan favorites. Nay, they’re the two most loved characters. Of course they would bring them back for the last season. It’s for the fans. Any show would do that for the fans.

But now satan intervenes and it’s like let’s be honest this is teen wolf and jeff davis. How much would they actually do for the fans? They never gave a shit, why would they now, at the very end? Even if it’s for profit. 

Which brings me to my second train of thought. Queerbaiting is basically profit. But are they really making profit from sterek? Not really. The season is already filmed, ratings don’t really count anymore, and hell, they have a reboot on the way. MTV doesn’t give a shit. Sterek/Stiles & Derek are not being brought back for profits. Period. It’s a fact. Accept it.

Now publicity and hype are another thing. Imagine, in an AU, sterek is canon.This show will be remembered as a representation pillar for the unforeseeable future. Jeff Davis would be finally remembered as something positive. Point here is that it’s a good thing and no one can deny it - no freaking media outlet, network, or producer. Not to mention that this is the last season. There would be no pressure of validating or continuing this godforbidden gay ship.  

So taking into consideration the effort of bringing hobrien back, along with this being the last season, and the positive promotion that stiles and derek would entitle, I do have a bit of a “hope” encouraged by the trailer. Hear me out. 

From that supposedly 2 year future flash we get that Stiles is in the FBI and he’s in the DC. But then we get Stiles carrying Derek in the same flash forward. More than, from the people in the background, we can gather that Stiles and his team are there as well so clearly some shit is going on. So if shit is still going on in the future I can draw two conclusions: 1. It’s not serious. Like who would kick start another plot during a series finale. So it must have a higher reason. 2. Derek is on Stiles’ end. Which also means that they kept in contact, which is not that groundbreaking, but showing that after two years and when Stiles is on duty should count for something. I’m not saying it should count for canon sterek, but still. 

Point here is that I want you to grasp the importance of showing Derek and Stiles together after a 2 year gap. Stiles is still the one supporting Derek. Like, how is that still a thing. It’s not about canon at this point. I don’t need an endgame. This is it. Stiles will always be there for Derek and that’s canon. Even after all this time. Thing about it is that it’s predictable and reasonable. Of course, them being friends/family entitles that they are there for each other.

But as in many cases before, showing it makes all the difference

It’s not Stiles supporting Scott, it’s not Stiles supporting Lydia, it’s not Stiles supporting his father. It’s Stiles supporting Derek.

Film choices.

And I’m sure there’s even more to it than we know right now. 

So this is what makes me be all torn up about it. I’m not looking into it as a big proof of anything and I should just enjoy sterek on my screen, but honestly? Even though it’s not suspicious that Stiles and Derek are brought back, it is curious how they’re brought back together.

Am I hoping for sterek endgame? No. But I am looking for some kind of closure.