disorientented

anonymous asked:

Hi. I've been having a really rough couple weeks recently and reality hit me after graduating. I basically feel like I don't have any skills to offer to society in the form of an ideal job and I guess I just feel kinda lost right now.. any additional advice you have would be greatly appreciated. Thank you 💙

It’s completely okay to feel that way, friend, there is no ideal job; especially these days. It’s okay to feel lost as well - this is probably the first time in your life that you’re not being told where to go next, and that’s extremely disorientating.

Explore what you like to do and look for jobs based on that - and don’t worry if you don’t get your “ideal” job right away. For now, just apply wherever you can. My first job out of school was working in a grocery bakery, and then to a fabric store (where I still work). There’s time to build up to the job you want, and each job can teach you an important lesson.

Don’t forget about your hobbies and passions, though! Go for YouTube or Twitch in your off-time if that drives you, volunteer at different places, play Friday Night Magic at your local game store, experiment with cooking when you can, whatever interests you. Your job is only one side of your life, and you are so much more.

I hope that helps, friend. Don’t stress it too much, you can do this <3

Keep on shining!
♥ Courtney

tumblr april fools day

2014: tumblr pro. advertised as something sleek, professional, life changing. disorientating video that ended with a top hat anti-climactically falling down on your head. initially it did not register in my mind as a joke and i was scared.

2015: the weird photocopier assistant cartoon. followed you down your dash and was annoying/obtrusive. you had the option to tell him to go away but he’d come back a few seconds later. everyone resorted to adblock

2016: reptile elections. topical, somewhat intrusive but i’ll give it a pass because it was funny and enjoyably engaging. i stand with mop and wretched tooth was corrupt.

2017: horse friend. shits itself everywhere and will die if you don’t pick it up. brings back the same anxieties that tamagotchis gave me but it’s small and easily minimised, has no sound and is generally polite and un-intrusive. could do with better horse names. also maybe not dieing every 2 minutes

Casual breakdown of all the gay homoerotic Gafou goodness from Disney's first canon gay subplot:

▪️when Gaston says he likes a girl and LeFou is all, “why do you need a girlfriend when we have each other?”
▪️LeFou freaking the fuck out every time a woman looks at Gaston
▪️LeFou straight up telling women to back the fuck off before sashaying smugly after Gaston
▪️"I’m not done with you"
▪️LeFou looking wistful and practically drooling while Gaston describes a life married to him in a cozy house
▪️LeFou straight up rubbing Gaston’s ears and massaging his body
▪️…and Gaston freaking out when he realizes another man who isn’t LeFou has taken over the massage
▪️LeFou singing about Gaston’s heart breaking abilities
▪️the cabaret worthy moment when LeFou throws himself on a table and sings about how manly Gaston is
▪️LeFou crawling around on all fours while Gaston sings about “shooting from behind”
▪️obviously when LeFou twirls into Gaston’s arms and snuggles the fuck up
▪️Gaston picking LeFou up to demonstrate his strength (how were they so good at that? Like this was definitely practiced)
▪️the infamous BELLY BITE from when Gaston and LeFou “wrestled” (this might be the crowning gay moment of them all tbh)
▪️Gaston grabbing LeFou’s chin and cupping his face and gazing into his eyes in a deliberate attempt to disorientate and manipulate through sexy intimacy

Hit me up if I missed anything, there was such a sea of gay some of it might have passed me by

people should be aware that personality disorders are not like other mental disorders

because they’re maladaptive, they don’t feel at all like impairments until we work out which environments, thought patterns and impulses are responsible. a lot of the time, having a personality disorder just feels a little…off. We know we’re not getting what we want out of life and we know we just don’t seem to relate at all to most people. A lot of us live in regret because of past actions, yet lack the executive function to avoid making the exact same mistakes again, and again, and again. A personality disorder is just like a security blanket. It keeps us safe from a seemingly hostile world by using fear, fury and fantasy. We don’t have the pragmatism to count our breathing when consumed by rage or anxiety. Yoga and a Healthy Diet™ does not permeate enough aspects of life to be totally effective - as soon as we’ve left our bikram class or shuddered down our kale and avocado smoothie (which is light years away from our comfort zone) we immediately regress into our symptoms again when we encounter the next situation. splitting feels cathartic at first to somebody with BPD. approval satisfies the lust of HPD for as long as it lasts. Staying indoors feels calming to a person with AvPD or PPD. Fantasy is the only way a Schizotypal personality can cope with the restrictions and realities of real life. The psychiatric term for these conditions is “ego-syntonic” - we feel numb and disorientated, not better, when we step away from our maladaptive instincts. please be considerate of this and try to assume that we’re doing our best, even when it doesn’t seem that way.

I’m still not over how disjointed The Final Problem is… it’s all woosh, we’re at Mycroft’s house, woosh, 221B, woosh, and now a boat!, woosh, Sherrinford… just as the explosion faded into the ship scene with no explanation, my mum was all ‘oh, I get it now. it’s a dream’ just on the first watch… you’re meant to feel disorientated. Like a dream that doesn’t make sense but you’re still dreaming, so you just go with the flow…

Astral Projection Warnings

  • Only astrally project if you are in a stable mood (if you are clouded by negative thoughts and feelings, you will attract negative entities). 
  • Do not astrally project if you are on drugs - this will take you to a lower plane of disorientation and will be less vibrant. 
  • Just in case, ask your guides to protect you (as there can be malevolent beings). 
  • Ideally, only do it if you believe it will be spiritually benefiting (it is not a necessary part of spirituality) rather than a source of entertainment. 
  • If you do it incorrectly, it could lead to sleep paralysis
  • You cannot get possessed by malevolent entities, but they can get attached to you.
  • Always surround yourself with nurturing and higher vibrational energy, and avoid beings with darker/clouded auras as they tend to be less benevolent (but not always - it is just a precaution if you are new to astral projection). 
  • Avoid fear - do not worry that you can die while astrally projecting (as you will not), if your astral body senses danger it will immediately return to your physical body. 
Mars Aspects
  • Mars/Sun: Strong will and energy and unless mars is in detriment, prominent vital force. Competitive, impulsive and combative nature. If harmonious, action and willpower are working together and the animal nature of mars is tamed. Needs activity otherwise lethargy makes them ill. Quick, alert and wants to be seen as independent and individualistic. Desire, bravery and ambitions are strong here. If sexually inclined, sexual-nature is apt to be potent. Easily angered, passionate, dominating and opinionated. If afflicted, anger must be kept from becoming destructive and violent, should be used effectively. With the square and opposition there is inner conflict of the identity against the warrior that needs overcoming.
  • Mars/Moon: Strong vitality and resilient inner being. Energetic and alert, possesses recuperative abilities. Subtle competitive nature, opinionated and apt to defend those in need. Can be impulsive, moody, hot tempered and easily offended. Subconscious feelings and energy working together if harmonious; the animal nature of mars is tamed and used constructively. Good for leadership roles and gives natural androgynous personality traits, making it easy for friendly but assertive relationships with others if harmonious. The square and opposition bring inner conflict where the needs are concerned; the soul against the warrior. Can get aggressive, selfish and become antagonists to themselves if afflicted. If not grasped healthily, there is bound to be trouble as far as relationships are concerned, especially with the mother or feminine figures.
  • Mars/Mercury: The mind is alert, clever, witty and restless. An active kind of person who enjoys debates. Activity is important, otherwise boredom causes the nerves to exasperate from agitation. Skillful in literature and/or mathematics. Comical and humorous nature, good dexterity and coordination, and tough mental capability. Reason working with action if harmonious; the warrior has a useful and valuable mind filled with tactics. Easily offended, more so if intelligence is tested or insulted. A biting tongue with snappy sarcasm, more dishonest, belligerent and untasteful if afflicted. With the square and opposition, the mind is animalistic and needs steadying, otherwise can aggravate the muscles and nerves as well as cause frustration with others.
  • Mars/Venus: The hardiness and vigor of mars united with the gentleness, sentiments and values of Venus; here lies the adventurous romantic. Much energy is put into creative interests and in surrounding themselves with beauty. Their principles and ideals are important to them, apt to fight for love or to passionately maintain peace. Makes for talents surrounding creativity such as singing, art, music and acting/theatre. Sensual and magnetic personality. If sexually inclined, sexual nature is ardent and the native appreciates both a loving and sexual relationship. Strongly concerned with money. If harmonious, tends to be sociable and friendly; the anima and animus are congruent. With the conjunction the two energies can be challenging to manage, there is fluctuation between the harshness of mars and softness of Venus. Androgynous characteristics are present due to the natural balancing of the powers of masculinity and femininity in the personality, more so if harmonious. If afflicted, such as with the square or opposition, sociable nature is troubled and romantic and/or social relationships with others proves to be difficult.
  • Mars/Jupiter: Sincere, straightforward, openly opinionated and holds deep-seated beliefs. Beliefs are usually spiritual, religious or political. Strong sense of justice, fights for it. The square or opposition can be so devoted to justice that they may foolhardily take it into their own hands. A friendly, generous, charitable, confident and approachable kind of person. The harmonious contacts prove to be natural teachers. Strong faith in inner truths and in others, but their greatest enemies can be idealism of the world and doubtfulness in themselves. Can over-exert themselves and get carried away in things they’re passionate about. If sexually inclined, appreciates a fleeting, sexual and adventurous kind of romance. With the square or oppositions and sometimes the conjunction, these people are apt to forcefully put their opinions on others. Arrogance in beliefs and unwise judgment with the harsh aspects. Can attack others for not believing in what they believe in, or hold bias more so if found in fixed signs. With any Jupiter aspect indulgence can become a problem.
  • Mars/Saturn: If harmonious, the animal is tamed by the discipline of Saturn. If disharmonious, the warrior battles with authority. Control and structure are important to these people. Likely to follow and/or enforce the rules. With the conjunction, square and oppositions, Saturn restricts Mars and there is fear of asserting oneself, perhaps a fear of authority figures. Can be extremely self-willed and controlling towards others. Very enduring. With the sextile and trine, are more reliable, responsible and constructive with clear judgment and common sense; more willing to work hard for what they strongly desire. Puts much effort into controlling temper, so much that those with Mars/Saturn aspects can suffer internal and confined rage that has no proper outlet. If sexually inclined, the sexual nature is vigorous, concerned with dominating. With the hard contacts, there could be fear of sexual activity. Can be remarkably courageous, successful, ambitious and directing if fear of failure is defeated. Good for those pursuing business. Easily makes enemies, more so in the fixed signs or if Venus is weak in the chart. Soft contacts tend to be active and structured, while the hard contacts may experience lethargy and disorientation. With the square or opposition, impulse and action need controlling; there is struggle between mars who rushes head first and Saturn who demands caution and patience.
  • Mars/Uranus: Erratic stamina, accident prone; can experience sudden physical injuries. If sexually inclined, there is an energetic, “strange" and unconventional sexual nature. Boredom irritates the nerves. Individualistic in nature, excellent problem solving skills and inspirational to others. The personality is magnetic, a sociable person. Apt to take up battles that aren’t theirs, to fight for humanity and the underdog. With the sextile or trine there is an exceptional ability to take immediate action and handle difficult ordeals in life. Independent nature from an early age with powerful intuitions. With any Uranus aspect, there is an inner genius if used properly. A Universal kind of person, can tolerate anything or anyone, excluding boredom. Puts energy into fighting for what is right, a talented debater. Can be good with technology and scientific matters. Soft contacts do not conform to rules unless the rules add up, hard aspects may recklessly rebel against rules with no cause. Violent temper, poor judgment, impatience, willfulness and recklessness need controlling when it comes to the conjunction, square or opposition. The hard aspects can experience challenging and sudden endings of important matters in the life, depending on the houses and signs involved.
  • Mars/Neptune: With the hard contacts, the warrior is dissolved and the person is apt to not be a fighter. Resorts to passive aggression. With the sextile or trine, mars triumphs; cannot be fooled by deception especially of hidden enemies, has a compassionate and honest nature, a practical idealist and has the energy to go for their dreams. With the hard aspects, one is predisposed to be the victim, a complex to be a martyr or to be saved. With the soft aspects, is inclined to be the hero, a complex to save others. A good actor, charismatic personality and sensual nature. May put energies into artistic, spiritual, and creative endeavors. Intuitive, emotional, sensitive, psychic and empathetic spirit. If sexually inclined, seeks a deep, romantic and spiritual connection. Can have sexual fantasies and hold what are considered strange sexual interests, more so with the hard contacts. If afflicted, there are self-delusions and fantasies of winning, competing and being strong. Hard contacts can potentially become self-destructive, obsessive, confused and restless. The harsh aspects can be deceiving or easily deceived (or both) and need to learn to acquire a sense of responsibility, integrity and understand what it means to sacrifice. With any Neptune/mars contact, must be careful where addictions are concerned.
  • Mars/Pluto: Knowledgeable of sexual matters from an early age and if sexually inclined, the sexual nature is formidably great and raw, sexual intimacy is preferred. Sexual nature can be suppressed out of fear with the square or opposition, but if not addressed can surface compulsively. Abundance of ambition and drive. The animal self is doubled and needs restraint and cultivating if afflicted. With the hard contacts, cruelty, ruthlessness, power-struggles and self-destruction need monitoring. With the trine or sextile there is self-confidence, healthy ambition, courage and dynamic energy put to good use. Mars/Pluto contacts makes for powerful emotions and an interest in the occult, taboos and spiritual matters. Psychic, dominating, magnetic, competitive, probing and charismatic presence and personality. Control and assertion of power are important to these people. Extremely private. Not one to trust or to be deceived easily. Physical activity is needed to manage the forces of mars and Pluto, more so with the opposition or square. Can be beneficially fearless and brave if buried rage and power-complex are managed. With the hard aspects, a fighting-for-survival mentality is present and there is a distrust of oneself and of masculinity that needs attending.

Proprioception’ is the sense of your own body; the understanding of the position of your limbs relative to each other. You can investigate, and fiddle with, this sense with these simple illusions. 

1 - Rubber hand illusion

This is a classic experiment to trick your sense of self. Sit someone down with a stuffed rubber glove in front of them, and their actual hand hidden from view. Stroke both the rubber hand and real hand for about a minute, and they should start to feel like the rubber hand is theirs! Test if it’s worked by slamming down on the fake hand.

2 - Working in a mirror

Have you ever tried this? Looking only in a mirror (block your direct view of your hand), try writing your name. Pretty disorientating when your sight doesn’t match what you feel, right?

3 - Extra finger

Try this to give someone the sensation of having six fingers! Set up the participant in front of a mirror like this, and ask them to look at their hand in the mirror. Stroke their fingers, one by one, from the knuckle to the fingernail, on matching digits of each hand, counting each finger as you go. Repeat it again, but this time, on the concealed hand stroke the inside of the little finger on ‘5’, and then add a sixth stroke, stroking top of the concealed hand’s little finger and thin air next to the visible hand. They should feel like they have a sixth digit!

4 - Double nose

This is a simple one, showing the confusion that can be caused when different parts of our bodies feel different things. Cross your fingers like this, and stroke them across your nose. Because the outside edge of your fingers are touching the nose, it might feel like you have two noses!

5 - Confused fingers

Have your participant stick their arms out, cross them over, interlink and pull them towards themselevs, like this. Then, point at a particular finger - they’ll find it hard to move the finger you pointed at because of the tangle.

6 - Cutaneous rabbit

Test how closely we can feel sensations. Get someone to stick their arm out, then tap them like this: four times at the wrist, 3 times at the elbow, and twice higher up. If you do it consistently, they might feel like the taps were all equally spaced up the arm, not in three distinct spots!

7 - Through the floor

This will give the impression that your arms are sinking through the floor. Get your participant to lie down on the floor with their arms straight out and eyes closed. Pull their arms by the wrists and hold them up for about a minute, then very slowly lower them back to the floor. As you slowly drop them, ask what they feel.

8 - Heavy boxes

Get two boxes that weigh about the same, but are different sizes, and put the same weight in each one. Ask people which is the heavier box. They’ll tend to guess the smaller one, although they actually weigh the same, because their expectation is that the small one should be lighter, so their perception of it’s surprising weight is exaggerated.

Combined, these make a brilliant psychology activity to try with your kids (or, well, anyone!). Get full instructions here.

When You Fail To Be

I blame you entirely @kaxpha I take no responsibility.

…. Y u hurt me dude.

Anyways. Here it is, chapter 1. Lance and Shiro angst + broganes angst + KLANCE angst + ….Just angst all around, yo.

Um…So yeah, hope you like??? It’s also on Ao3 on my same name. It’s the second part of the Human Healing Pod Au.

Disclaimer: Voltron doesn’t belong to me. Human Healing Pod Au doesn’t belong to me.

——————————

Shiro frowns exasperated as he catches Lance’s blue glowing light from the corner of his eye.

It’s been a few weeks since their last group training took place with Lance’s new healing powers. The brunet insisted that he had the hang of it, being able to work through the process on small injuries without getting dizzy after it.

Lance had reassure Shiro that he will continue training on his own but Shiro had just pursed his lips, not convinced in the least. After a few minutes arguing, Shiro finally agreed to Lance’s plan but only if the brunet had someone with him during his training sessions, something that Lance had grudgingly agreed to along with a few more conditions.

One week later and Lance was already breaking one of their conditions.

“That boy, I swear.” Shiro mumbles, making his way towards Lance as the brunet places his hands over the alien refugee they just saved in today’s mission, his blue eyes falling into a vivid glow entirely in less than a tick, “Hey, I said no more healing today, Lance. You –“

It was just a light pull. Shiro placed his Galra arm over the brunet’s shoulder and pull just enough break apart the contact between him and the alien’s wound and suddenly there was screaming.

Agonized and pained screaming echoes around them and Shiro just stares in horror as Lance shakes and continues to scream in his arms, his glowing eyes getting brighter before losing their light and then being bright once again.

“Lance!” Shiro shouts startled, “Lance, buddy, what’s wrong¡?” He yells in panic, making sure to hold the teen tight against him as he continues to scream and then –

Then Lance sighs, eyes rolling to the back of his head, losing their blue glow, and he goes limp on Shiro’s arms, mouth hanging open in a silent scream and Shiro’s heart skips a beat at the sight.

“L-Lance?” He whispers softly, voice cracking, “Buddy?”

“LANCE!” Keith’s voice echoes in panic and urgency, “Lance¡? Shiro, what happened¡? LANCE!”

“H-He’s not breathing.” Shiro gasps, a cold shiver running through his spine, “H-he’s not –“

Lance’s suddenly taken away from him by a pair of red armored hands. Shiro blinks in panic and confusion for a moment before he raises his head and stares at Keith as the black haired teen cradles Lance’s body against his.

“Lance, baby, hey, come on, come on, this is not funny, Lance, please.” Keith mumbles, his free hand gently patting Lance’s cheek in hopes of getting a reaction, “L-Lance, baby, please, please, no. Hey! Come on, you promised! Lance!”

Everything’s a blur for Shiro after that. Keith’s screams and pleads echo inside him, mixing themselves with Lance’s screams along with Hunk’s sobs and the image of Pidge’s scared face. Barely noticing when Coran makes his way towards them and takes Lance from Keith’s arms, followed by the blurry image of Hunk holding Keith back as he trashes and screams wildly when Lance is taken away from him.

He doesn’t even notice Allura’s presence until she whispers his name against his ear and he snaps out of it. He blinks hard and takes the surroundings around him. He’s in Allura’s room, lying down on her bed, facing the ceiling in disorientation and confusion.

“Wha –“ Shiro mumbles softly, “What.”

“Hey, it’s alright. Take it easy.” Allura whispers gently, stroking his hair, “It’s alright.”

“What happened?” Shiro asks in a daze, eyes groggy and tired before they snap wide open as he remembers Lance’s limp weight on his arms, “Lance. What happened to Lance? Allura?”

“You killed him, that’s what happened.” Shiro freezes at the cold harsh voice that answers him and slowly turns his head to the side to meet his little brother’s glare.

“Keith!” Allura snaps, sighing in exasperation as if it wasn’t the first time she has scolded the teen.

“What? It’s true, isn’t it?” Keith snaps back, frowning and glaring angrily.

Allura stays quiet and Shiro’s blood turns cold.

“Allura?” He asks in a small voice and Allura shakes her head.

“He died for a few ticks but we were able to get him back.” Allura answers, her shoulders tense and her voice tired, “But it wasn’t anyone’s fau –“

“No. It was Shiro’s. It was Shiro who made Lance push himself in every training session knowing the danger. It was Shiro who made Lance feel like he needed to push and push and push himself more every time. It’s because of Shiro that Lance has dark bags and swollen red eyes and is tired all the time. It was Shiro –It was Shiro who broke the connection and caused Lance’s heart to stop.”

One, two, three beats and then –

“What?” Shiro breaths out, slowly sitting up on the bed and waving away Allura’s complaints, “What? What does that – What?

“Keith.” Allura says calmly but with an edge of warning in her tone, “Stand down.”

“Whatever.” Keith mumbles, scoffing and sending Shiro a dark glare before turning around and walking towards the exit, leaving behind a frozen Shiro.

“What.” Shiro whispers, “What?”

“Shiro –“

“Keith, no, wait!” Shiro ignores Allura’s words as he climbs down the bed and follows his brother with wobbly but fast steps, “Keith Kogane Shirogane, come back her –!”

Keith turns around sharply and Shiro takes a surprised step back at the furious snarl on his kid brother’s face.

“Don’t call me that.” Keith whispers with menace, “I want nothing to do with you, you hear me? Nothing.”

“Keith –“ Shiro stops as Keith suddenly crashes against him, barely dodging the fist that was aimed for his face, “Keith!” He repeats, grabbing Keith by the arms and keeping him still.

“You damn son of a –! It was your fault! You and your stupid rules! You and – and – God, I hate you, Ifucking hate you!” Keith screams, fist hitting the young adult on the chest, “You fucking – I fucking hate –“

“Buddy –“

“You didn’t protect him!” Keith screams, still trashing and kicking against Shiro’s hold on his arms, “You didn’t protect him! You promised and you didn’t –! You just let him die in your arms! You just stood there as he died and –! Fuck!”

“Keith, please –“ Shiro rasps out brokenly but Keith shakes his head, taking a step back from his older brother, shrugging his hold.

“No. No. He died, Shiro. My – Lance died and I – I couldn’t – And –“ A sudden abrupt sob escapes his mouth and suddenly Keith falls to the ground, sobs shaking his entire body, “I –I –I didn’t know what – And you were – You looked so hopeless as you held him and I couldn’t – I fucking lost it –“

“Keith.” Shiro mumbles, his heart breaking for his little brother but the teen just continues to sob on the ground in the middle of the hallway.

“I-I’m sorry, fuck – I’m sorry, Shiro – I know it wasn’t – wasn’t your fault but –“ Keith presses the palm of his hands hard against his eyes in hopes to stop the flowing tears, “It was mine. It was my fault – And I slash out at you and I’m – He was dead, god , he wasDEAD, SHIRO!”

Shiro doesn’t hesitates and then he’s on the floor, wrapping his arms around his little brother as the teen shakes with sobs, still mumbling incoherently against his brother’s chest and Shiro takes no mind as snot and tears mix themselves on his shirt.

He just holds his brother, tight and strong, and sucks in a deep breath to stop his own tears from falling.

“I’m sorry.” He murmurs under his breath against Keith’s wild hair, “I’m so sorry, little brother.”

Allura just stands quietly on the corner, watching with sad eyes as the brothers sit on the floor, holding each other. She turns then, giving them their privacy before she enters the first room down the opposite hall.

Her footsteps are soft as she walks towards the bed on the corner of the room. The room is dark and quiet, for the exception of the hard panting breathing coming from the bed.

Allura takes a seat on the start of the bed, near Lance’s face, and watches sadly as the brunet rasps out harsh breaths through his mouth, unable to fill his lungs properly.

“Hush, now, it’s okay, Lance. It’s okay.” She mumbles gently, brushing Lance’s wet hair back as the the brunet whimpers inconsolably, “Sh, asteráki. You’re alright.”

She stays there for a while, humming under her voice to calm the brunet down and whispering comfort words as he whimpers and whines unconsciously.

Allura losses track of the time but suddenly, the door opens once again and she meets Shiro’s wide scared eyes at the edge of the door.

“Shiro.” She calls softly and frowns when the leader of Voltron doesn’t knowledge her calling, his gray eyes solemnly placed on the shivering brunet on the bed, “Shiro, love.”

One, two, three steps back out of shock and then Shiro’s running out of the room. 

HS AU

and how everything revolves around our soft boys, Andrew and Neil

before this begins: neil is not a josten, but a hatford. this is set in a remote town in california, and andrew has pink hair because he wanted renee to test it on him

(part two)

  • andrew joseph minyard, for all intents and purposes, does not want to associate himself with Anyone, if he could help it. 
    • he does his group projects so efficiently, his classmates deem him the lifeguard to all group projects
    • he avoids having to sit in lunch with anyone save for renee and aaron, if he can
    • he’s always on the rush to get home because he can’t take just using pain meds to get rid of the horrible, horrible feeling of disorientation 
    • he also has this long-standing dislike of jocks bolstered by either of 3 things: a) he’s a natural genius, b) he’s gay, and c) aaron had to assault one for getting andrew roofied at the freshman mixer.
  • ENTER: neil abram hatford
    • neil and kevin are new to The States. being friends since neil was eight (when kayleigh finally settled down from bumming around in ireland), kevin and neil were basically stuck to the hip. 
    • they transferred to the US when kevin finally landed himself an exchange program in california, neil because he could, kevin because of his dad, and both because they were tired of the ravens at their old boarding school
    • as soon as the school year starts, both of our lovable idiots join the soccer team (sorry, no exy :( ). they take the same spanish class, the same history class, and even have the same lunch blocks. so basically, they do everything they did back in the UK
  • so technically second year debate team genius Andrew Minyard shouldn’t actually care about first year exchange student and jock Neil Hatford
  • here’s the kicker

Keep reading

Morphine
  • sourced from the seed capsule of poppy plants - opium is the extract
  • 16% morphine, 4% codeine
  • poorly absorbed orally - potential realised with the invention of hypodermic syringe 
  • used as an analgesic (pain relief/tolerance) eg american civil war - addictive potential realised 

Morphine interacts predominantly with the opioid mu-receptor. 

  • high densities of these receptors in the posterior amygdala, hypothalamus, thalamus, nucleus caudatus, putamen, and certain cortical areas, also in substantia gelatinosa of the spinal cord and in the spinal nucleus of the trigeminal nerve
  • Provides analgesia and sedation
  • Euphoria, dysphoria, and drowsiness commonly occur
  • respiratory depression by direct action on brain stem respiratory centres.
  • Morphine binds to and inhibits GABA inhibitory interneurons
  • Which inhibit the descending pain inhibition pathway
  • Metabolism = primarily hepatic (90%), -virtually all morphine is converted to glucuronide metabolites; less than 5% = demethylated.

Side effects

  • Drowsiness, disorientation, nausea, vision blurring (avoid driving)
  • Constipation and dysuria
  • Dry mouth.
  • Itching, sweating, flushing or rashes.
  • Mood changes
  • Hallucinations 
  • Headache
  • Loss of appetite and indigestion or abdominal pain
  • Slow, shallow breathing
  • constricted pupils
  • Low blood pressure.
  • Rigid or twitching muscles.
  • Awareness of heartbeat (palpitations).
Sherlock Series 4 as “Epic Theatre.”

Largely inspired by @toxicsemicolon‘s theatre related posts- here; here and here

“Why would you do this, this pantomime, why?”

Mycroft’s anger is in response to Sherlock creating a theatrical performance, a lie to scare him. The mention of “pantomime” makes me think of false stories, and many metas have been written on the unreliability of series 4 in general, to not take it as face value: it’s a false story, all smoke and mirrors.

What if we take Mycroft’s words as both literal and symbolic, though? Sherlock Series 4 is both literal theatre and a constructed false story.

toxicsemicolon’s posts are mainly about Sherlock and the Theatre of the Absurd (to me, it’s like ‘what would happen if Sherlock suddenly made no sense, the point is there is no point! etc etc). And I was taking a screenwriting course, and something called Brecht and Epic Theatre was mentioned. I didn’t know what it was, but it sounded interesting, so I looked it up!

^This video really helped me start understanding it- I’m by no means an expert! This quote from it was particularly helpful:

“And we’re not meant to sit comfortably and predict what’s going to happen, because that’s not what this play is about. And I think the more they throw in things that are unexpected, the more that they shake you up when you feel like you know where this is going.

Basically, I think Series 4 is showing what happens when the normal ‘rules’ of the story we’ve been watching no longer apply. Now, we’re in the land of (UNCONVENTIONAL) theatre, and reacting in similar ways to how the first audiences of the theatre of the absurd and epic theatre reacted: disorientation, confusion, resistance. 

Introduction from wiki:  Epic theatre (German: episches Theater) is a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners who responded to the political climate of the time through the creation of a new political theatre. These practitioners included Erwin Piscator, Vladimir Mayakovsky, Vsevolod Meyerhold and, most famously, Bertolt Brecht.

Shared elements in Epic Theatre & Sherlock

While not invented by Brecht, the Verfremdungseffekt, known in English as the “estrangement effect” or the “alienation effect,” was made popular by Brecht and is one of the most significant characteristics of Epic theatre.[7] Brecht sought to “re-create the relationship between the actor and audience as dialectic” so that the audience would not longer “willingly suspend disbelief.”[8] The Verfremdungseffekt makes the audience feel detached from the action of the play, so they do not become immersed in the fictional reality of the stage or become overly empathetic of the characters with the hope that Epic theatre will turn “the spectator into an observer” and arouse “his capacity for action, force[ing] him to take decisions.”[9] 

This is what The Final Problem is all about to me. We’re encouraged to no longer view this as a ‘normal’ episode, to pay attention to the discrepancies- for example, the glaring ‘missing 10 minutes’ of John’s therapy appointment, and him apparently being shot by a tranquilizer gun. (x) And, there’s the general dissonance in tone of the entire episode- things that would normally give us a poignant, emotional reaction such as the burning of 221B are handled poorly (see If you want to make me laugh OR cry then do one, not both!This makes us resist our usual willingness to “suspend disbelief”, distances ourselves from emotionally investing like we usually would. 

And, that turns out to be a good thing, because now, we shouldn’t be emotionally investing in these particular portrayals of our usually beloved characters. They are deliberate caricatures of themselves. Turns out, that’s also part of Epic Theatre, specifically the way the “alienation effect” is achieved: 

Some of the ways the Verfremdungseffekt can be achieved is by having actors play multiple characters

This doesn’t happen quite literally in Sherlock- as in, say, Una playing both the role of Mrs Hudson and Norbury, or something like that. Rather, because our emotional investment has been removed, we are able to see the characters as stand ins for Something Else. For example, Mycroft is no longer ‘Mycroft’ but a stand-in for Mark, the writer watching his own creation crash and burn, and get high-jacked by The Final Problem story. 

More techniques:

rearrange the set in full view of the audience 

And yes, this one does quite literally happen. Our “set” of 221B is destroyed, and the audience gets to see it, “the stage”, re-made in front of their eyes:

And our own set designer of Sherlock, Arwel Wyn Jones, gets to have a cameo there- again drawing attention to the very fictionality of the show itself, its own set designer is doing work in front of our eyes that is usually reserved for off screen/on stage.

“break the fourth wall” by speaking to the audience.

Well, this phrase is definitely taken to the extreme… see this post:  Sherlock breaking the fourth wall by LITERALLY BREAKING DOWN FOUR WALLS AROUND HIM.

Lighting can also be used to emulate the effect. For example, flooding the theatre with bright lights (not just the stage) and placing lighting equipment on stage can encourage the audience to understand that the production is merely a production instead of reality.

Such a moment happens in The Six Thatchers, where we see a camera in the right-hand corner of the screen as John confronts Mary:

Seen more clearly in this post.

For more posts showing how S4 draws attention to the very fact that it is FICTION, see:

Deciphering Mycroft at the Movies

Remind you of anything? A facade? (Please let the projector light be our smoking gun)

Make a choice Dean

A/N: Story begins in the middle of a hunt.

Warnings: Angst

Make a choice Dean Masterlist

Dean x Sister!Reader    Sam x Sister!Reader

Originally posted by frozen-delight

Originally posted by sammyseyebrows

You and Sam looked around the hallway you were standing in; there was nothing special about it. Just a hallway of what appeared to be an empty factory. Glancing over at Sam, you nodded at each other, silently communicating that you should move.

The two of you were looking for Dean who had been taken by the djinn who fed off of fear. Sam had killed it a day ago but Dean never woke up, which led to where you are now; walking in Dean’s nightmare, trying to find him so that he could wake himself up.

You had just turned the corner when you heard a voice chuckling from what sounded below you. Sam heard it too because he glanced at you before walking to the railing to view what was going on below you.

Your eyes widened as you took in the scene; the dream’s version of you and Sam were each tied to a chair while Dean stood five feet in front of you. A man, a demon with black eyes showing, stood off to the side a few feet away.

“The hell?” You heard Sam say next to you.

“What is going-” You began but stopped when you heard the demon begin to speak.

“Alright Dean, choose. Do you want to save your brother, the one you raised and spent your entire life looking after.” The demon paused, “Or your little half sister who you didn’t even know about until the apocalypse? Your choice.” He said while handing Dean a gun, “You better choose quickly, otherwise I might just kill them both.”

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3

Summary: A series of firsts; Betty and Jughead explore the steamy side of being a couple.

Read on AO3

(Warning: MUCH SIN AHEAD! This is a pure smutty fic, way explicit and utterly graphic. It follows Betty and Jughead down the road of testing the waters with each other until the inevitable happens ;) You asked, so I deliver :P I also tried to incorporate it into the plot of Rivedale in order for the story to have a much more realistic sense in a way! Anyway, thank you so much darlings for your compliments and your amazing feedback!! I hope you all enjoy!)


 La Petite Mort - 1. Innocence Lost

I’m a high school lover, and you’re my favorite flavor

Love is all, all my soul

You’re my playground love

A light breeze caresses the leaves of the oak tree next to Betty’s opened window and twirls inside her dimly lit room to the beat of some mellow tunes that echo lightly from her golden rose laptop. The ruffle curtains sway under the feathery force of the physical change that disrupted the otherwise calm evening, the shadow of the sheer material dancing over the profile of the two teens that are tangled up with each other on the princess-like double bed at the center of the room.  They are in their own world of first time loving and blissful adolescent ignorance, enjoying the momentary peace and quiet of their hectic small town, drama-filled lifestyle, getting lost in the feeling of drowning deeper and deeper in a sea of amour and lust.

Wet sounds of tongues lazily exploring the new-found territory of each other’s lips and steady beating of two Eros wounded hearts are suppressed by the singer’s voice that urges them to carry on in the background and Jughead is ashamed to admit that his mind fails to register what movie that song musically decorated, even though he swears it’s in the tip of his tongue. But then again the tip of his tongue is now being sucked by Betty Cooper’s voluptuous lips and he can hardly pinpoint anything anymore, not even his own name.

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okay but since it’s on my mind for the obvious reasons, let’s just talk about golden statue Ford for a second.

Did Bill just entomb him within a layer of gold? Or did he literally transform every cell and atom of this poor man’s body into actual gold? Was Ford conscious while he was a statue? Did he still have awareness of what was going on around him? Could he feel when Bill was picking him up or clinking him against his martini glass? Or did Ford essentially go comatose during all this?

Well, sadly there’s no answering the first question by what canon tells us, but I have a hypothesis on the second one.

I would argue that Ford was NOT conscious of what was occurring around him while a statue. 

Right before he was frozen into gold, Ford was suspended in the air by Bill’s magic. Captured. The last thing Ford would have seen is the energy pouring from Bill’s eye coursing towards him.

And then when Ford is finally released, he immediately begins shouting for Bill to “let him go”- which is perhaps what he’d begun to shout immediately before being frozen- and then he pauses… confused and not knowing where he is. 

“What… what is this place?” he says. Which means he’s never seen it before. Not even when Bill brought him in there. Suggesting that no, he is not conscious while a statue.

We see this again later on, when he’s frozen after begging for Bill to not torture the kids. The gold melts off him, and he has that same slightly disorientated expression.

Because just moments before for him, he was standing on a throne made of all the townsfolk and Bill was going to destroy his family and friends. Then suddenly, he’s standing on the floor of the Fearamid and everyone is free. The kids are in front of him. They’re alive. Bill is nowhere to be seen. Ford’s surprise tells me that he literally does not know how this happened and has no memory of witnessing it because he was comatose through the whole thing.

Date Night

Request: Hi! Can you do a short fluffy imagine for Jasper? Like maybe he and the reader go on a date and try to be a ‘normal’ couple or something like that, do it however you want! Thanks! 

Pairing: Jasper x human!reader

Summary: ‘normal’ date night for a rather abnormal couple 

Warnings: Suggestive things, fluff 

Originally posted by alwaysshamelessdeer

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Little moments of whump

Grand whump is wonderful, of course, but what takes my breath are those subtle moments that show the whumped character is really not ok:

- taking a moment to close his eyes because he’s light headed/exhausted/has such a bad headache

- pressing the heel of his hand against his temple, because his head hurts or he can feel his temperature rising

- spacing out a bit during a conversation - especially when he’s the one speaking, so that he kind of trails off and has to shake himself and apologise and get back on track

- pressing a cold bottle of beer/coke against his forehead and just taking a moment to savour the relief

- especially a normally diligent/stoic character - falling asleep on the job or somewhere he shouldn’t, even if it’s just for a moment, and he’s startled awake by someone/something and there’s just that moment of being lost in his eyes as he tries to figure out where he is and what’s happened

- his hands are shaking and he accidentally meets someone’s eyes who’s seen it happen so he shoves his hands into his pockets or armpits and stalks off

- a little stagger as he walks, or kind of drunkenly reeling off-course a tiny bit before he self-corrects

- that helpless expression just before he collapses

- moving wrong in a way that aggravates the pain, and the sudden seizing of his body

- breathing through the pain

- leaning against objects so he can stay upright, especially if he’s doing it as nonchalantly as possible

- a pause as he first notices that something isn’t right

- that white knuckled grip

- a hitch in his voice as he talks

- half-lidded eyes that are becoming unfocussed

- the way his head lolls

- where he can’t even spare the energy/strength to turn his head and he kind of just accepts things/carries on looking straight ahead

- trying to carry on speaking a command or direction or explanation even though he can only voice a few words at a time, either because of pain, or weakness, or confusion/disorientation

- someone passes him something but his hands are clumsy and he fumbles with it rather than just taking it normally

- reaching under a jacket and coming out with a blood-stained hand (always this <3)

- apologising for being about to pass out just before he does (afhflksdkkjfgg)

Story Request (if this is the right place for it)

So we all know that humans are weird because we imbibe poisons for kicks. I saw it best described as “we just like to gather into social groups and disorientate ourselves”. But what if we tried to spread this to other species.

“So you want us to take poison”
“No! Well yes, but something that’s not poisonous in low doses. That part is very important”
“You guys use tobacco in low doses and that’s poisonous”
“Well tobacco is kind of a bad example” the humans look away shiftily and mumble “we’ll tell you about addiction later”. The aliens looked something that the humans have learned is akin to Aghast and quickly reassure them
“It’s ok, it’ll be ok, we’ve been doing this since the dawn of our existence and we’re fine.”
“Whether or not humanity is ‘fine’ is debatable” they grumble.
“Look you want something that effects your central nervous system” (remembering that this particular species had one of those) “nothing that has err… Negative effects on the digestive system” snickered one human earning it a jab in the ribs from its mate. “Something that bonds to your pleasure centers in its chemical form” continued the human as it scrolled through a database of substances noxious to the alien species. Much to their charging it didn’t seem like the humans would be giving up on the idea any time soon (although when questioned later the aliens would admit that they should have seen that coming as the homosapiens weren’t know for giving up on thing).
“We want something that lowers inhibitions, maybe induces mild hallucination.” The panicked sound the creatures in the room all made with their vocal flaps caused the human to quickly retract the second part, adding “maybe we save the hallucinations for next time” as they continues to search for the appropriate substance.

Anyway please write a story about humans helping aliens through the first substance enhanced party. With dancing and cute panicking aliens. With humans using human tricks to keep the aliens happy like soft blankets and blowing bubbles. And aliens discovering giggling and being confused at why they’re doing it. And OMG humans getting aliens through their first hang over.