but because the magnitude of the story

Love, heartbreak, and love: Crowley edition

GUYS we need to talk about 9x23. Not coincidentally the episode in which Metatron calls the story he’d been writing “a marvelous story, full of love and heartbreak and… love”.

The end of season 9 is also Metatron’s equivalent of the end of season 6 and 7x01 for Cas - both harnessing power to become “god”, both going among people to act as god (discovering that Metatron’s actions were dictated by jealousy towards Cas all along sets a curious light in his actions in s9…) and I’m sure there’s more to 9x23 and the whole “season 6-7 redux” that is happening now, but for now I’m going to focus on the last parts of 9x23, because that’s where Crowley comes in.

In 9x23, Dean gets fatally wounded by Metatron. Tells Sam, “Sammy, you got to get out of here before he comes back”. Sam hushes him, says “Shut up. Shut up. Just save your energy, all right? Oh, man. We’ll stop the bleeding. We’ll… we’ll get you a doctor or… or I’ll find a spell. You’re gonna be okay.” Sam tries to stop the bleeding, Dean stops him: “Sam. Hold up. Hold up. I got to say something to you […] I’m proud of us”.

In 12x12, Cas gets fatally wounded by Ramiel. Dean tries to dismiss the gravity of his condition, says he’ll be okay, that there must be a cure. Cas gives them a dying speech, telling them that they are his family and he loves them, and tells them to run before Ramiel gets back… sounds familiar? Alright.

In 9x23, in the meanwhile, Metatron gets back to heaven and confronts Cas about breaking the angel tablet: “the Angel tablet, arguably the most powerful instrument in the history of the universe, is in pieces, and for what again? Oh, that’s right - to save Dean Winchester. That was your goal, right? I mean, you draped yourself in the flag of heaven, but ultimately, it was all about saving one human, right?”.

So an immensely powerful weapon gets broken, despite how useful it could have been for cosmic purposes… because of love. And in 12x12?

Of the magnitude of Crowley sacrificing a weapon able to kill Lucifer, many words have been written already. Let me add something else…

At the end of 9x23, Dean dies because of Metatron’s stabbing, but the Mark of Cain revives him. Just as Crowley had figured, putting rumors and clues together: “there is one story about Cain that I might have… forgotten to tell you. Apparently, he, too, was willing to accept death, rather than becoming the killer the Mark wanted him to be. So he took his own life with the Blade. He died. Except, as rumor has it, the Mark never quite let go. You can understand why I never spoke of this. Why set hearts aflutter at mere speculation? It wasn’t until you summoned me… no, it wasn’t truly until you left that cheeseburger uneaten… that I began to let myself believe. Maybe miracles do come true.”

In 12x12, Cas is moments away from dying, but Crowley’s gesture saves him. In Dean’s case, things don’t go exactly in the same way, but Dean is pretty much saved by Crowley from the death imposed on him by Metatron’s strike: Crowley has made him get the Mark of Cain in the first place, which keeps him alive. So, basically, Crowley is the reason Dean gets revived: it’s Crowley’s knowledge of demon things that made him bring Dean to Cain, get the Mark, and eventually not die of the wound inflicted by Metatron. In 12x12, it’s Crowley’s knowledge of demon things, his meeting with Ramiel, that lets him figure out the solution. (Then again, both Dean and Cas gets fatally wounded because of Crowley in the first place: Dean goes to kill Metatron because the MoC+First Blade combination is the only thing that has a chance to kill a powered-up Metatron, Cas almost dies because Crowley gave Ramiel the lance to begin with. But Crowley couldn’t really foresee that one.)

Crowley’s “saving” Dean through the Mark of Cain and Crowley’s saving Cas by breaking the lance have so much in common and yet are so different.

Love is behind both actions - having Dean get the Mark and prodding him to put himself in danger and get killed so that he’d become a demon, breaking the lance, and yet in 9x23 Crowley is acting on selfishness - he wants Dean for himself. He wants Dean to be his consort on the throne of hell. He disregards Dean’s feelings and wishes.

In 12x12, he acts out of selfishness. He knows nothing will come for him in saving Cas - only saving Cas. Saving Dean from the heartbreak. He does it for Cas, of course - he cares about Cas - but he also does it for Dean, the one he loves. He knows he can’t have Dean, but his love has become selfless enough that now he chooses to save the person Dean loves, knowing he probably won’t even get a thanks for it. Dean has broken Crowley’s heart but Crowley won’t let Dean’s heart break. Crowley has become selfless.

Miracles do come true, and they happen when you fall in love. 

While we’re having season 9 feels, let me add this - Cas has changed from his “angel’s angel” self thanks to Dean. Crowley has changed from his “demon’s demon” self thanks to Dean. For both of those two… Colette is Dean. Speaking of which: long ago I was planning on writing a meta about Abaddon as an allegory of the doubt of not being loved the way one wishes. Seems awfully fitting now. Stay tuned.

I’m still not over Gravity Falls, and I probably never will be. Get ready for an essay, friends.

Before “Take Back the Falls” aired I was a little afraid my interest in Gravity Falls would die out. Sure, it was my favorite show by about thirty orders of magnitude. Sure, I’d gotten into it in a way I’d never gotten into a tv show before. That didn’t count as insurance. I’d fallen in and out of love with stories—especially shows, which aren’t really my thing—before. But you know what? I don’t think I’m ever going to stop loving Gravity Falls, because every time I think about watching any given episode, I feel the same sort of pang I get when I read Thorin’s last line in The Hobbit or hear the opening notes of “When You Wish Upon a Star”—because every time I try to pick Gravity Falls apart, I’m more wowed by what Hirsch and his team managed to do.

I just—okay, let’s look at something really simple, something which, in a lesser show, would have been really cool, but still only that; cool. In episode 1, “Tourist Trapped,” we’re presented with an unspoken question. Well, all right, we’re presented with a couple dozen unspoken questions, but I’m only going to focus on one. Dipper finds a journal in the woods. He opens the front cover and sees the words “Property of…,” with the space underneath for the name ripped out. Who is the author of the journal? We don’t know. Cue giant mystery number one. Fast forward to the end of “Not What He Seems.” A mysterious figure steps out of the portal. The kids ask who it is. Stan’s reply: “The Author of the Journals—my brother.”

So there you are. It took almost three years, thirty-one episodes, and a whole bunch of hints and clues, but we finally, finally got the answer to one of the first and certainly one of the biggest questions of the show.

Except … not really.

Keep reading

Here’s what I really don’t get about the “Sasuke was gone for 12 years” storyline. It has no bearing on the greater plot at all. I literally do not understand what the point of it is. They didn’t use it to further develop his character or Sarada’s character at all. It was completely dropped after Gaiden. 

Nobody reacts realistically to the circumstances were presented with and it is so bizarre. All the adults seem completely unbothered that he’s been gone for over a decade. It’s so unbelievable. You’de think that when Sasuke did finally come back to the village he’d want to spend as much time with Sarada as possible, but instead he elects to train Bolt? And doesn’t even show up to watch Sarada at the chunin exams, which absolutely no one seems phased by in the slightest. Sasuke’s absence did absolutely nothing for the story because they basically pretend like it didn’t even happen. It throws everything out of balance. A fuck up of that magnitude would not go away after one confrontation, and if they wanted to have Sarada and Sasuke in conflict just for the duration of Gaiden, then there are other less nonsensical ways to go about it. The reaction everyone has to his absence is not even remotely proportional to the actual weight of what he did. It’s like he was just gone for a week or something. It is literally just one of the worst written plot points I’ve ever seen and I cannot wrap my head around it. What the fuck is going on. I feel like I’m in the twilight zone. 

the scene immediately following galen’s death is so important to me because it lays bare all the very deep ways in which jyn and cassian are flawed, and more importantly it demonstrates the way that their struggles are so similar but happen for opposite reasons. 

jyn’s in shock because she literally just watched her father die in her arms, but she says some things that are very, very indicative of the fact that she has trouble seeing past her own self-preservation. it’s about cassian killing her father. it’s about his lying to her. and she’s selfish to a fault. when cassian says “you’re not the only one who’s lost everything,” he is calling jyn out, because she’s unable to see past the gun and recognize that the trigger wasn’t pulled. she doesn’t recognize the way her life as a drifter has privileged her with the luxury of deciding who and what to care for and about. she may have lost everything, but all she lost was hers to begin with. and that’s why she cares about losing it. 

on the other hand, in this same scene, we see that if cassian has one flaw, it’s selflessness. because it is possible to be selfless to a fault, to give of yourself so completely that you lose the ability to stare in the mirror and recognize what you see. that’s cassian. he’s imprisoned by his selflessness. he gave himself to the fight for the majority of his life, and in doing so, he surrendered a lot of his agency. jyn suggests he’s “no better than a stormtrooper,” which again is harsh because he didn’t pull the trigger and she’s too absorbed in the magnitude of her self-righteousness to realize the gravity of that, but it says a lot about who he has become. he follows every order even if it makes him so angry he can barely handle himself. he can’t afford to be selfish because his survival is defined by his ability to give what is demanded of him. 

AND THE BEST PART, the reason why this is THE BEST STAR WARS MOVIE OF ALL TIME, is that these are people who do not fall by virtue of their flaws, but by the correction of them in each other. this is a story about the broken mending the broken. the rebellion – you could even argue cassian himself, in that iconique “i couldn’t face myself if i gave up now” scene during which i cried approximately 3 gallons of tears – teaches jyn the possibility of finding a home in a cause. and jyn, simultaneously, convinces him to be selfish, for once, to go against orders, to take what he has known all along is right. 

they absolutely destroy the idea that heroism is about some great honorable sacrifice. it’s not. it’s about giving and taking. 

Sansukh Re-read Ch.2

Okay, posting of chapter 2 ended up being delayed, because I had to run to the store and then crashed after I got home (getting up at four, five, and then six in the morning for three consecutive days will do that to you). Good news is, it’s a new day and I have very little that I need to do, so I can indulge in one of my favorite hobbies (reading, it’s tied with writing for first place), and squeal some more over this amazing story :)

Dwarrows centuries-dead greeted him, and as his sight returned he occasionally found himself brought up short by a familiar face or a vague family resemblance. Surely that was a Durin nose – surely those were the family ears! He walked around in a haze of recognition and bewilderment.

Kind of reminds me of one of my thoughts about the afterlife. If there’s something after death, will you get to see /all/ your family? Even people related to you but you’ve never met? No wonder poor Thorin’s confused, especially after how sudden his death was. Fíli and Kíli seem to be bouncing back a little faster, but they are younger and they don’t have as much grief and guilt as Thorin does, even if they’ve got their fair share.

Thorin’s grandmother, Queen Hrera, fussed and tutted over him more than she ever had as a young dwarfling. It took all his patience to refrain from reminding her that he was in fact older than her now, and had more white in his hair and beard than she had ever managed. Not that she would have listened, anyhow. The women of his family had always been even more mulish than the men. Fíli and Kíli smirked a lot whenever she managed to corral him and tweak his cheek.

He had his revenge when Hrera descended on them in turn and promptly began to plait Kíli’s hair.

Another OC I love? Hrera. Prim, proper, and still completely able to put you in your place if need be. Likely while sitting and sipping tea while her family looked on in amusement because they know better. She reminds me a little of the dwarf version of Queen Clarisse, so I love that too, but there’s just a lot about Hrera that’s amazing. Especially as the story goes on, and we see more of her (like her reactions to learning about Dís and Durin Bomfrísul and her interactions with Radagast).

A Dwarf with a multitude of honey-coloured braids and a puckish, mischievous face came near, and Thorin’s mouth opened on a soft intake of breath. Then he grabbed the Dwarf’s shoulders and drew him into a rough embrace. “Víli.”

His brother-in-law silently pressed their foreheads together. “Thank you for raising them,” said Víli son of Vár. “Thank you for being there when I could not.”

Thorin fumbled for Víli’s hand and grasped it tightly. “They are the best of my life,” he said, and Víli’s eyebrows rose and the ghost of the impish grin that had captured Dís’ heart passed over his lips.

I’ve read a lot of stories that reference Dís’ husband, some who I like more than others, but Víli is one of my favorites. He’s the perfect compliment to Dís, especially at the time of her life when they’d met, and it’s easy to see that Fíli and Kíli inherited more than just some of his looks, even if they wouldn’t know that until they joined him. Also, imagining Víli watching over Dís, Fíli, and Kíli all their lives, desperately wanting to be able to join them, to comfort them when they’re upset and join in on the laughter during the good times? Recipe for tears.

His cousins Náin and Fundin, both Burned Dwarves of Azanulbizar, instantly crowded him with enthusiastic pleas for news of their sons. Though Mahal had mentioned that any Dwarf in the Halls could watch over their kin at any time, it appeared that the immediacy of his tales was greatly appreciated and sought after. Though it tore at his heart, Thorin told them all that he could remember. His old cousin Farin, father to Fundin and Gróin, was quiet and calm, a smile tugging at his lips as he listened to the stories of his four heroic grandsons of the Company – Balin, Dwalin, Óin and Glóin.

Gróin was the worst of the lot, however. He was so proud of his grandson he was likely to explode, and asked Fíli and Kíli for any tales of their young playfellow at any and every opportunity. At these times, Thorin would take the opportunity to slip away and explore.

Gróin reminds me a lot of Glóin, unsurprisingly. They’re both so proud of their family that it isn’t even funny. And Thorin knows enough from being around Glóin for awhile to know that slipping away is a good idea. I can’t really blame him, though, since he hasn’t really gotten to interact with Gimli and it’s been years since he’s seen either of his sons. Things like this, and like Víli’s story, are why you’ll be wishing for deaths on a Game of Thrones magnitude, alright? Because they’re all able to be together with their loved ones when they’re dead (except for poor Narvi and Kíli). This story takes ‘death is but the next great adventure’ to a whole new height.

It was all a mystery to Thorin. Where were the Halls located? Aman, yes, obviously -but where? Were these great mines and workshops located in the Halls of Mandos, the Doomsman of the Valar? Or did the Dwarves bide their long years of waiting within the mountains of Mahal, their maker?

And for that matter - whence came the wood for the forges? Where the cloth for the clothes? Where the food for the meals? No Dwarf could tell him, and most seemed grudgingly resigned to never knowing. Thorin’s temperament was not well-suited to such mysteries, and he began to eye each meal suspiciously until his mother told him to stop it and eat.

Can’t blame Thorin for that. I’d be curious too, although I’d probably be in the grudgingly resigned camp before too long. I’d work myself up too much otherwise. Good thing Frís is able to get him to stop worrying about it for the moment.

Thorin gave his brother a quick glance. Frerin’s normally merry face was solemn, his bright blue eyes dark. He noticed Thorin’s regard and the corner of his mouth twitched ruefully. “I spent a lot of time here,” he said, “sitting upon that bench. That one just over there. I watched you and Dís and Dwalin and Balin, watched you all grow older. Older, and harder… and colder.” He swallowed hard, and tugged absently at his forked beard. “Mother and I nearly broke down when you finally smiled again after Fíli’s birth. We’d almost forgotten what it looked like.”

It must have been painful, watching his family and friends change so much, getting so closed off, so worried and stressed and angry, and not being able to do anything at all about it. Again, things like this are why people advise you to stock up on tissues before re-reading this. The happy ending’s coming, but there’s a lot of angst they have to work through first.

“You bloody fool,” Dwalin sighed, and scrubbed at his face before standing awkwardly and making his way with careful steps to a shelf. There he pulled down a flask, tore out the cork with his teeth, and took a long swig.

“Somehow I don’t think that will help, brother,” came another familiar voice. Thorin whirled to see Balin in the doorway, his white hair covered by a filthy bandage and part of his magnificent beard cut close to reveal a nasty, jagged cut along his cheek and jaw. “And I’m fairly certain it wasn’t in Óin’s orders.”

“He’s got his medicines, I’ve got mine,” Dwalin growled, and took another sip.

Knowing Óin, that might have actually been in his orders. Yeah, you’re not supposed to drink when you’re injured, but Dwalin’s stubborn enough that he probably wouldn’t have accepted any normal pain relief, if they had it to spare, and considering that Óin gets blindingly drunk later on, it seems to be his way of dealing with emotional pain. Drink first, deal with it after the headache goes away. So, he probably would have realized that Dwalin needed it to help him? Not that Balin’s wrong, Dwalin needs to be talking about it instead of bottling everything up and drinking alone, but I’m thinking that Óin’s so busy that he wouldn’t have even lectured Dwalin if he’d found out.

Thorin closed his eyes, and when next they opened he was looking out at a hall covered in a sea of sluggish bodies. The hundreds upon hundreds of wounded were filling the air with their groans and cries, and Thorin bit down on a cry of his own as he saw the carnage the orcs had wrought.

Óin looked exhausted. His curled braids were frayed and his eyes were deep black pits in his sunken face. Glóin, Dori and Bilbo moved around him with mechanical movements, washing the wounded, feeding them, boiling water and smearing ointment on injuries. In a corner in a great rotted chair sat Nori, tearing cloth to make bandages. His left leg came to a shocking stop below his knee, and a metal peg – obviously Bofur’s work – sat half-finished beside him. Amongst the beds trudged Óin, drooping and ceaseless, his hands never still as he stitched and cut and wrapped. None of them spoke.

The ugly side of war that no one ever talks about. Even if it’s something like this, life or death battling against the orcs, that doesn’t mean that there will be no casualties. I mean, I love reading stories where all the good guys survive without any sort of injury as much as the next person, but this is a far more realistic look at it.

Dori’s face sagged, though his voice was brisk. “Yes indeed we will, Mister Glóin. This time, however, I’ll do it. Your sewing is atrocious, if you’ll pardon me saying.”

“I’m a banker, not a weaver,” Glóin retorted.

Oh Dori.

Dáin watched him go with weariness written all over his face, before turning back to the Elf. “Forgive him, Prince Legolas,” he said. “He suffered at the hands of your… hospitality, shall we call it? And later, of course, it seemed that Men and Elves alike would happily clamber over their corpses in order to steal that which rightfully belongs to our people. Dwarves do not quickly forget an injustice.”

Dáin might be better at using tact than Thorin, but he’s not going to just lie back and let anyone walk over him. Honestly, I love Dáin so much, and this fic only added to my mental image of him.

“Durin’s hammer and tongs,” Frerin whispered. “Did he… do you think he can…”

“I told you,” Thorin said thickly, “Mahal gave me a gift. They will sense my words in their deepest minds.”

Frerin stared at him.

“I know.” Thorin closed his eyes. “I am unworthy.”

“Not that,” Frerin said. “You must watch what you say! This is a power no Dwarf should have.”

Thorin frowned. “Why? They cannot hear my words as you do.”

“You could influence them without their knowing,” Frerin said, his bright youthful face unusually serious. “You must be careful, Thorin. They could act without knowledge of their actions.”

Opening his mouth to retort, Thorin abruptly recalled the subtle power of the gold and his desperate determination to see the treasures of his people safe in Dwarven hands. Troubled, he turned back to Dáin. “Aye.”

I was waiting for someone to say it, and Frerin didn’t disappoint in the slightest.

Dís blinked back her tears, and her hand tightened about the crushed message. “That prideful fool,” she rasped, her voice harsh with weeping.

“Aye,” Thorin said, and smiled through a fresh storm of shame. “A prideful fool who loves you. Though I die, that will never change. No veil of death can stop it.”

“Nothing ever stopped him,” she said, and buried her face in her hands once more. “Why did he never stop?”

“Line of Durin, sister,” he said, and swallowed roughly. “A proud… family trait.”

“Damn the Line of Durin to the nethermost pits of Moria,” she hissed into her palms, and her voice began to rise with barely-contained anguish. “Damn our line, and damn our pride, and damn our name, and damn our blind, wilful madness! Let the dragon have Erebor if it would bring them back to me! I would have them here! How am I to go on alone? My sons are gone! My brother gone! Our line is spent and I am alone!” She whirled and took up a cup on her dresser and flung it against the wall with a cry of rage and misery.

“You will go on,” said Thorin. “You will, daughter of Kings, best of sisters. You are as stubborn as the rest of us.”

She collapsed across her bed, and her tears began anew. Thorin stood and sighed.

I’m going to be saying this a lot, but poor Dís. Her husband, parents, brother and grandparents have been gone for years, and now her sons and only living sibling are gone as well and she’ll feel like she’s all alone. It’s around this point (if it didn’t already happen back when Víli was introduced), that you’ll hope that Dís joins her family soon. Instead, she lives a fairly long life, but she’s got a star to light up the darkness of her post-war life (yes, I know, I’m not even remotely subtle).

Thorin watched the young Dwarf work for a moment longer, noting the mechanical movements and the dogged persistence that kept one foot stepping in front of the other. “The lad is mourning his playfellows, and seeks to exhaust himself with work rather than weep,” he said.

“I have wept long enough,” Gimli muttered to himself. “Aye, and loudly too! Work is what is needed. Work will tire my mind and keep my thoughts quiet.”

“Thorin!” Frerin’s eyes widened in astonishment. “He hears you!”

“He hears me well, even more clearly than Dáin or Dís,” Thorin said slowly, and he tilted his head as he studied his youngest cousin further. Gimli laced his fingers and made the knuckles crack loudly, and then he hefted a sawn tree-round to the block and unslung a wood-axe from his belt. A strong boy, then. “He must be quite a perceptive lad. Glóin does well to be proud of him.”

Gimli’s more perceptive than anyone (in fandom especially) gives him credit for. He’s strong, yes, and great with an axe, but that’s not all he is. He’s smart, and he’s pretty good with people too. (There’s more, but if I start listing Gimli’s good points, this post will end up about twice the length it is already).

“Lofty ambitions,” Frerin said, and leaned against the parapet. “See that swing? He’s a natural axeman, and already a talented warrior. Dwalin trained him along with our nephews. It was rather entertaining to watch them - they are both equally as pigheaded as each other.”

“He’s a Dwarf, of course he’s pigheaded,” said Thorin.

I laughed so hard at this bit.

The Super Awkward Public Confession Incident

SO! I am a little (make that a lot) embarrassed to have written/be posting this and of the sheer ammount of asks I’ve sent to @geek-fashionista for her #teacher AU (which were all in Anon so thankfully nobody will ever know the magnitude of my obssession). But well, it escalated to the point that I just had to write The Thing™️ (yes it is I, thanks again for the support Princess).

Much like my #miraculous ladybug genderbend fanfic, I’ll be posting random out-of-order snippets for the teacher AU (but fear not, when I post a thing I’ll tell where it goes in the general scheme), mostly Lunon because I’m just really hardcore shipping these kids. God, I need help.

Today’s snippet takes place almost at the end of the story/AU, at the middle/end of Lucas and Manon’s senior year.

So, here goes nothing! Hope you enjoy!

Keep reading

Apollo pt.4

Part 1 // Part 2 // Part 3 // Part 5 // Part 6

Pairing: Bucky x Reader

Summary: Writer blocks can be really frustrating, and sometimes having a “muse” doesn’t really help either. - Specially when your inspiration might not be there with you forever. ModernAU!

Warnings: Slight angst, or not so slight e.e

Words: 2120

A/N: PLOT TWIST 4 U. Also, I’m sorry this chapter turned out boring af, It’s like the link between the development and the end. @buchananbarnestrash THIS ONE IS FOR YOU, MAÑA. Check her writing, she’s good as hell.

Originally posted by buckypupbarnes

“(y/n) honey, can you come here?” You heard Pietro’s voice through your phone. You left your cup of coffee next to your partner, who was revising your work thoroughly. 

“Where are you, Maximoff?” You asked, knowing that something occurred again.

“The printer room, please come quickly.” He sounded frightened, like a little kid that did something bad and could tell that he was going to be grounded without TV cartoons the whole week. Sighing, you went to the rescue, making sure your boss was not around, checking on her workers.

The whole place was a chaos. You could picture thousands of dead trees claiming revenge, as the ground was filled with blank papers with only a few words typed in them, making them useless for the purpose they were created for in a book editorial.

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The ‘Injoo Gang Rape’ case was actually written based on the 'Miryang Gang Rape’ case that took place in 2004. 

I highly encourage you guys to google about it, of course, at your own discretion. We need to realize that such cases CAN happen in real life, whereby no drama nor movie (Han Gong Ju) can actually express the magnitude of this incident. 

I am aware that these cases happen everywhere, but since we’re avid viewers of 'Signal’, it would be good to just read about this. 

I am beyond glad that the director, Kim Won Seok and screenwriter, Kim Eun Hee decided to develop the story based on some of the cases actually happened in Korea despite its sensitive nature towards the public, police force or judicial system. 

“The reason why I included such cases in the drama is because I want people to never forget about them and to remind them that they should never happen again.” -Kim Won Seok

Originally posted by kdramafeed

Explain, Parker (Peter Parker Imagine)

Request: “Can I request prompt #84 with Peter Parker?” -anon

Prompt: #84 “I made cookies

A/N: (Y/F/N) = Your friend’s name. Sorry it’s a little short! I hope you enjoy!

Summary: Your boyfriend, Peter Parker has been acting strange for a couple of months, so you give a choice: explain what’s going on or be single.

Warnings: One swear word?

Originally posted by quinn-harleen

Send a request | Prompts | Masterlist

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I can’t stop thinking how Cas and Dean were experiencing much the same sort of “aloneness” in 12.09. How for both of them, the absolute WORST thing they can imagine is being left alone, isolated, with nothing for company but their own thoughts

Dean called Billie, but Cas also called Mary.

He brought her there because he didn’t trust himself to be enough to save Sam and Dean.

I read an angry comment the other day about how Dean thinking isolation for a couple of months in prison was worse than his 40 years in hell devalued everything he experienced in hell, but that’s not the case. In fact, I think it proves just how much his experience in Hell truly affected him.

When he was in actual, literal Hell, he might’ve PREFERRED isolation, because at that point in his life, he probably felt like he deserved it. He’d have felt it was justified, because even locked away alone, he would’ve had the knowledge that Sam was okay because of his choice (much the same way that Sam was okay with isolating himself in the Cage in 5.22 knowing that Dean was okay because of his choice). (well, at least physically okay…)  And he didn’t have his ACTUAL MEMORIES OF BREAKING IN HELL to rehash on a continuous loop, like he did sitting all alone with nothing for company but the contents of his own memory.

Back at the end of s3, he didn’t have the 9 years worth of trauma and horrifying memories and incredible guilt for breaking the world over and over, he didn’t have his memories of the Mark, of the Darkness…

THAT’s what isolation was for him in 12.09.

In his present circumstances in that prison, he didn’t even have the knowledge that he’d given it all up for Sam, so that Sam could be free and alive and safe to comfort him, because Sam was in the next cell over.

There was NOTHING about his current situation to redeem him in the least. In Dean’s mind, it really was worse than hell. And that doesn’t take anything away from the magnitude of what Dean suffered in actual literal Hell back at the end of s3.

Just like Cas didn’t have this enormous burden of guilt and trauma when we first met him. And now, incredibly, we’re at a point in the story where Dean and Cas are in nearly the exact same place, mentally and emotionally.

Something must give.

I just posted the first two chapters of my latest fanfic, but I thought I should explain a couple of things before asking you guys to read it.

Although I no longer watch the show, the episode description for “Bruises that Lie” (3x10) upset me all over again at the fact that the writers never allowed Mary to really mourn Francis before deciding to shove another man into her arms. Yes, grief is painful and not always easy to watch, but there is strength in it, too, and even beauty. To understand that, one only needs to read the poem that the real Mary penned for Francis after his death all of those years ago.

Having known people who have struggled with real grief, I find it vaguely insulting that Mary’s has in many ways been brushed aside while every character marvels at how strong she is. Bereavement isn’t weakness. It is a natural process–one that the real Mary endured, at varying degrees of intensity, for years. 

It is unfortunate when the death of a character has more impact on the audience than on his fictional wife. It not only goes against history, but perpetrates the myth that being a “strong person” means slapping on a brave face and moving on as quickly as possible. Can some people do that? Some, yes. But most people don’t and can’t, just like the real Mary.

And it’s okay.

I wrote this fic because I needed Mary to grieve. I needed his family to grieve. I needed the magnitude of his loss to be acknowledged, not as the plot of an episode and a means to generate story lines, but as a journey unto itself. It’s unfinished as of yet, and, yes, it’s sad–as life so often can be. 

Mourning isn’t a race. It isn’t easy. And it is not the domain of the weak. 

So, for all of you who just aren’t “over it” and feel as if the show has left you behind, this might help:

Phantom Limb 

(If you prefer to read on AO3, you can find it here.)

Then again, it may make things worse. I’m making no guarantees here.

Whether or not you read it or enjoy it, know that it’s okay to be sad. It’s normal. It’s human, and it might last awhile.

Not forever, but awhile.

anonymous asked:

You know how a good story usually has a character having to sacrifice something and then changes because of it? I'm having trouble trying to find a sacrifice and change that fits with my story. I am mostly unsure of the magnitude needed. I watched 12 angry men recently and learned that a change/sacrifice can be as small as an opinion, but I'm still lost. Do you have any insights/links that could help guide me? Thank you!

Not all good stories have sacrifices and you shouldn’t add one just because you think it’ll make your story better. There’s no guarantee of that. When we try to force certain elements into our stories, we’re at risk of hurting them.

In order for sacrifices to work, they have to be deeply personal. I can give you a few general ideas for sacrifices, but not all will be applicable to your character.

First, there are two types of sacrifices.

A selfish sacrifice occurs when a character makes a sacrifice that will benefit themselves. These characters often end up losing a lot anyway, but they lose things they already had, such as friends. The key thing to remember about this type of sacrifice is that there is some kind of benefit for the person who makes the sacrifice. Also, this doesn’t mean that your character is selfish.

A selfless sacrifice occurs when a character makes a sacrifice that is supposed to benefit others. Sometimes these characters give up something that could have been and sometimes they give up something they already have.

When you write a sacrifice, they shouldn’t need explanations for the audience to understand them fully. By this I mean show, don’t tell. When your character makes their sacrifice, whether through dialogue or action, the audience should understand that your character has just made a sacrifice. Sometimes the realization comes a little bit later because another action or bit of dialogue is needed for clarification, but don’t outright say your character has just made a sacrifice.

Types of Sacrifices: (there are some spoilers in the examples)

  • Two Motives: This is one of the bigger sacrifices and how well it works depends on how you write it. Give your character two motives. At the end, they end up giving up one motive to achieve the other. Alternatively, one character can give up their motive so that another character can achieve theirs. Example: Dr. Horrible achieves his motive of joining the Evil League of Evil at the cost of accidentally killing Penny and thus losing his other motive of being with her (Dr. Horrible’s Sing-Along Blog).
  • For the Greater Good: This is one of the more common sacrifices and it’s so common that it doesn’t create as large of an emotional response as it used to. Therefore, it has to be personal and heart wrenching for it to work. This is when a character gives up their life, their power, their money, their reputation, etc. for a better/larger cause. Example: Spock saves the ship, but exposes himself to radiation poisoning and dies (The Wrath of Khan).
  • All For Nothing: This is when the character makes a sacrifice of some kind, only for it to be for nothing. Example: Katniss volunteers to save Prim’s life, but Prim dies anyway and the Hunger Games continue (The Hunger Games).
  • The Savior: This is also a common sacrifice and, again, it’s hard to make it good because of that. This is when a character makes an impromptu decision to save someone from harm, such as taking a bullet for them. This sacrifice often results in death or injury that just happens to stop this character from reaching a motive/doing something they love. Sometimes this is premeditated. Example: When Gandalf faces the Balrog and exclaims, “You shall not pass!” (The Lord of the Rings).
  • Taking the Blame: This is when a character confesses to something they did not do in order to save others. For this to be a sacrifice, this character has to be giving up something by doing this. Example: Every sitcom ever when they have that one episode about cigarettes or cheating or something so one character steps forward and takes the blame.
  • Redemption: Sometimes a person is not losing anything through a sacrifice because they have already lost a lot. Their sacrifice is a way of redeeming themselves. Death is not always the sacrifice for these characters. They may pledge loyalty to someone, give up their freedom, give up their ability to do something, work for the person they wronged, etc. Example: I’m honestly drawing a blank right now.
  • Opposite: Use the opposite of a sacrifice. A character might be expected to make a sacrifice of some kind, only to not follow through. Example: BoJack Horseman and his decision to leave/stay on his TV show after his friend got fired (BoJack Horseman).

@mia-dearden i haven’t watched any mcu movies since age of ultron lmao i just can’t be bothered at this point altho spider-man & black panther might be my exceptions

right? aos is daisy’s origin story. that’s what it IS. aos is always going to be daisy’s and no one else’s.

tbh i think letting daisy explore her chinese heritage (little as it was) might have been one of the more genuine things they did, solely because of maurissa.

see i actually enjoyed fitz in s2 up until his miraculous recovery like brain trauma of that magnitude shouldn’t be that easy to get over //: either way fs doesn’t happen in my rewrite but they stay good friends


Thank you for blessing us with the most beautiful, epic love story I have ever had the honor to experience.

Thank you for creating characters and telling stories that we have needed for so long we lost hope of ever seeing them realized.

You showed the world that being queer and mentally ill shouldn’t keep you from having your own love story, that we too can have it all. The romance, the struggle, the happy ending.  

The fact that so many of us are having such a hard time saying goodbye to this season is a true testament to the magnitude of this story. It has touched so many people, for so many different reasons. It has brought together people from all over the world. Because the truly great stories, they break barriers and transcend our differences.

Thank you for showing us that we are not alone.

This show, this experience, has honestly changed my life, and I will be forever grateful.

Daft Punk: Behind The Scenes - KR, December 2007 [Translated]

KR talks with Thomas about Alive 2007. There’s in-depth information (some things I had never seen before!) about their equipment, and Thomas gets really nerdy about it. There’s a short quote from Guy-Man in a side-panel about Daft Punk sampling and being sampled themselves.

One of the best parts of this interview is Thomas explaining that they put in a lot of effort to make their music and their shows seem effortless. Which has been largely successful, considering the perpetual “is it really live” debate that goes on about their performances.

As always, thanks to ifcwdjd for the scans!

Daft Punk: Behind the Scenes

With Alive 2007, Daft Punk present their second album recorded live. An occasion for our humans after all to revisit the art of bringing the machines that are usually in the studio on stage. The robots do their show… 

KR: Daft Punk is releasing its second live album with Alive 2007, recorded in Paris-Bercy last June. Live albums by electro artists are rather rare. Why?
Thomas Bangalter: Live electronic music albums are rare because of the issues of performing it, which stem from it being a type of music that is principally developed with machines. We toured for three years, between 1995 and 1997, and we released a live album just after that tour. At the time, we had a concept and a different way of bringing electronic music to the audience in a live situation. We took our studio on stage, with about fifteen drum machines, ten keyboards, and four sequencers. We were undisguised in the darkness of the rooms, or in raves, and we were more in a process of improvisation. After this experience, we got the impression of having done the tour that we wanted to present, and we preferred to focus on the studio. In 2006, and after three albums, a film, and an anime movie, we wanted to totally rethink our project by starting over in terms of performance, of the on-stage representation of Daft Punk, of the idea of a concert itself. We chose to adapt our new vision by constructing a new type of set-up. The concert became a multimedia presentation based around the music, music which was part of a precise stage design. It’s also a new type of performance, because we brought together lots of songs from several times in the same show. Plus, the concert is very structured. We aren’t in a process where we improvise between cues anymore. From the moment we found ourselves in a theatricality between reality and fiction, we felt like it was a musical. Plus a concert, this show, is really a performance, with the idea of a written show with a score and a virtual story.

Keep reading

gajevy may become cannon first

i’ve been reflecting on Gajeel’s emotional maturity and romantic capacity ever since the Tartaros Arc, and appreciative of his character growth ever since the Grand Magic Games. After today’s chapter, 451, I was happy, but not surprised to see Gajeel approach the topic of love so frankly, and here’s why:

It was stated in Gajeel’s monthly magazine (translation by the Fairy’s Tales) that “He has no interest in love, and he will need more time before he’s conscious of Levy as a woman.” We can see this struggle from Levy’s side, as Mashima has provided many examples of her determination to make Gajeel realize her as more than just a potential fighting opponent. A lot of the Tenrou Arc explored their relationship, and while Gajeel respected her intelligence and assured her of her doubts of being “small and not physically strong,”

he still regarded her as a comrade, if not someone precious and worth protecting already. And I like that, I like that most of the Fairy Tail journey for Gajeel was his personal character growth because there were a lot of issues he needed to have some closure with, such as: his acceptance of Metallicana’s disappearance, which hit him very hard and turned him cold and angry for most of his childhood, his slow warming towards his understanding of Fairy Tail as more than a guild, but a family, and finally, trying to make a deserving man out of himself. Because that’s what I think Gajeel’s main internal strife in the story is: a man with a very troubled past, a hard personality, and with no ascertain life goals eventually finding a family, love, and a future. And Levy is a smart woman; if Gajeel wasn’t ready for a romantic relationship, then she was by his side as his best friend. Until recently, and from here on out, it will be Gajeel’s turn to reciprocate Levy’s feelings.

Remember when Gajeel was like this?

I believe that the Tartaros Arc was Gajeel’s resolution arc, where he finally conquered the last of his past conflicts. Council Member Belno and Gajeel’s grief for her was introduced and resolved so beautifully in the chapter, for here was a woman, an older lady who compared him to her own son, who watched over his efforts to find the path he wanted to take in life, and who advised him and believed in him to make the right decisions. He regrets the words he never told her, saying, “I was never even able to repay your kindness.” This is a deep regret; words never said, and it makes me think that he’s also regretting the anger he felt for Metallicana too. So after her passing early Tartaros Arc, and during his battle with Torafuzar, Gajeel comes to a decision: he finally chooses and understands the magnitude of who he wants to be, and this moment is so, so important; after years of being lost and alone, he now knows himself.

The reason that I believe Gajevy may become cannon first is because of his resolve post Tartaros Arc. That arc was the turning point in the story of Fairy Tail, and no character walked away from it emotionally unscathed or without a different goal. As much as I would like for Jerza to have become cannon during the time-skip, as both partners are deeply in love with each other, we haven’t seen any resolution from Jellal yet, as he is determined to walk in the darkness and support Erza from behind the scenes. As for Gruvia’s case, while Juvia has matured greatly in her love for him, Gray has almost regressed in a way; he may have lived happily with her, but his drive to fulfill his father’s goal to the bitter end and his suppression of his growing feelings for Juvia are all things that will prolong his romantic development until the final battle, where I believe they will have some form of a fight reminiscent to their first one. As for Nalu’s case, Natsu and Lucy are the end game of fairy tail, they will be cannon last, for this coming arc is Natsu’s arc, with matters involving his past and his relationship with Zeref, and Lucy will be heavily involved and very influential in the events to come.

What I am trying to say here is that Gajeel, and by extension Gajevy, out of all four ships, is the one that is the most ready and emotionally stable for a romantic relationship. After the timeskip, we saw further proof of his stability; he got a job as a council member, stayed close to the person who loves him, and went from being a destroyer to an enforcer; if that’s not a 180 degree turnabout, with a believable transition from being lost as an abandoned boy to being found as a man, then I don’t know what is.