ended up not getting any of them

the fuck is this shit i just saw?!?!?!!!!!!!!!!! why give us that chris clip with the whole “not together YET”!!!!! to just rip it away from us?!?!?! why make them always together every freaking season to throw it all away!!!!!!! we didn’t ask for any of this!! i would have been satisfied with them in the freaking background like every season!! not knowing what will happen if they r together or not!!! seriously i would have been very happy!! we were always respectful of every ship in this show and we never acted like some immature fans! and that’s what we get in the end?!?!!? WE DIDN’T DESERVE THIS SHIT JULIE!!

plus yousef didn’t show up and it was like an open ending!! lmao!!!!! sana didn’t even have much screen time!!

so i didn’t get the happy ending i wanted for both my ships chriseva and yousana lmao!! i can’t even get angry i don’t have the energy anymore!

patricklemorse  asked:

Elise and/or Camilla ?

Cinnamon sister


She’s kinda young for me to really feel comfortable answering this, but I could totally see her as a lesbian when she grows up!


  • Has attempted to sneak candy and toys into formal events by hiding them in her hair. It didn’t work
  • Possesses the uncanny ability to convince anyone to give her an airplane ride. Xander, Benny, even Jakob!
    • She got Arthur to do it once but he ended up letting go and sending her flying, thankfully it was in the middle of a grassy area so she didn’t get hurt!
  • Carries a first aid kit at all times with bandages, small vials of vulnerary, and cough drops. If she spies a boo-boo on anyone, she will fix it, even if she has to have Effie restrain them to do so.

Sinnamon sister


Literally how is there any question at all that she’s gay have you seen her?? Thigh-high boots are gay culture


Bipolar perhaps? I don’t mean like the whole “sweet outside of battle, deadly inside it” thing because that’s not what bipolar is, but I can see her having depressive episodes where she isolates herself from her family and even retainers for days at a time.


  • She can easily lift any of her siblings, even Xander in full armor. She will do this to humiliate him in front of the others if he ever upsets her >:D
  • Her love of hugs is well-known, to the point that even the more touch-averse members of the army will try to avoid her lest they be ensnared in one. When she finds out someone doesn’t like being hugged, she feels bad for having intimidated them to the point where they couldn’t tell her before, and makes a point of simply patting them on the head or finding another form of contact they’re comfortable with
  • Totally wears a nightgown/pajamas around her house/palace/living quarters whenever she can get away with it

anonymous asked:

I’m still upset with the way Journal 3 ended. I understand that Ford threw away his journals because of the bad memories connected to them but even if he doesn’t care anymore about getting recognition for his work, he should still have a sense of responsibility to sharing his findings with the rest of the scientific community. This is really the only moment I see Ford as being selfish. I felt betrayed. It sent me the message that that line of work isn’t something to look up to.

Keep reading

me constantly: “i’ve gotta have a plan in place for all this art stuff so I can get everything done in an orderly and structured fashion”

also me: *either never actually has a plan, or ends up not following any of them and just wings everything*


One-off Negan (!!) smut for @serfyan18

Negan had found you just after taking over the group at the sanctuary. There were a lot of rules in place, and everyone worked for their food and other supplies. It was a good system and he kicked out anyone that broke the rules, which made people pay attention to him. He was friendly enough, but you could see something in his eyes that you knew was dangerous, like he could snap any minute. He took you under his wing and gave you the room next to his. Most people had someone with them, but you had nobody left.
Negan was attracted to you and flirted all the time, but you tried not to let him get too close incase you lost him as well. One evening you were having dinner together and talking about your old lives.
“How come you ended up alone?” Negan asked.
“I was the other side of the country and couldn’t do anything, they’re probably all gone by now. I was studying to be a vet,” you explained, “did you have anyone at the beginning?”
“My wife, she was sick, but I lost her right at the start,” he says sadly, “now I’m stuck with this bunch of pricks.” He smirks at you, nodding to the door.
“Aren’t they like family?” You question.
“Nah, they’re only doing what I say because they’re scared of me. Can’t get close to just anyone these days.” There was a knock at the door and Dwight enters, whispering something in his ear.
“Well fuck a duck, look who grew some fuckin’ balls,” he says, “excuse me my dear, I’ve gotta take care of something. I’ll be back.” He smiles, picking up his bat and exiting the room with Dwight. You sit there in silence, eating the rest of the food on your plate and then get up and take a walk around his room. It’s simple, there’s no photos from his life before, just some trinkets found along the way, a couple of books and a ring you assumed belonged to his wife. You go back to the table and pick up your glass of wine, but spill a bit down your white blouse as you take a sip and it stains red straight away.
“Shit!” You say out loud, looking around the room for something to help you. There was a small sink, so you took off your blouse and ran it under there, rubbing soap into it and hoping it would come out.
“Come on, come on!” You grumble as you furiously rub the top under the water.
“Well hello there (Y/N)! Didn’t expect to see so much of you so soon,” Negan beams as he enters the room again and puts his bat down, spots of blood covering it. You gasp and hold your top up to you, soaking yourself and your jeans.
“Come here darlin’, no need to hide from me,” Negan smirks, walking over to you and taking the blouse out of your hand and placing it back in the sink.
“I, erm, I spilled wine, I’m sorry,” you stutter.
“No need to apologise to me, I’ll sort that out for you no problem,” he says, looking you up and down and palming his crotch. Subtlety was not his strong point, but you found yourself excited by the thought that you had this effect on him. He closes the gap between you both and pulls the straps of your bra down your arms, testing your reaction. You smile at him and lick your lips, so he undoes it and lets it fall to the ground.
“Fuck me, that’s a good looking pair of tits girl,” he says, looking like a kid in a candy shop. You laugh at how blunt he is and blush a little. He undoes your jeans and you shimmy them down and step out of them.
“Commando? Shit, I think I’m in love!”
“Shut up and kiss me already,” you smile, rubbing your legs together excitedly. He leans down and takes charge of the kiss, plunging his tongue into your mouth and dominating your tongue. He pushes you back into the sink and lifts you up to perch you on the edge of it. You rip his shirt open and push it off of him, then undo his belt quickly and push his trousers down hurriedly.
“You in a rush? I’m gonna take my time with you,” Negan smirks. He bites down on your neck and enters you at the same time, causing pain and pleasure.
“Oh fuck, Negan!” You gasp.
“You are so fucking tight woman, when was the last time you had sex?”
“A very long time ago.”
“Don’t worry, Negan will stretch you out nicely,” he winks as he starts moving vigorously inside you. He brings one hand up and pinches hard on your nipple making you cry out, then he lifts it and bites down on it, flicking his tongue as he does so. You grip onto his back, nails digging into his back as you scream with pleasure. He lifts you up and throws you both down on the bed, still inside you, then thrusts at a punishing pace, now hitting your clit as well.
“Negan! Oh my god!”
“Come,” he demands, “now.” He hits into you one last time, filling you completely and starts rubbing your clit. You quickly start clenching around his length and he spills himself inside you as you come over his cock.
“Yeah!” He yells, “now THAT’S how you make a woman come.”
“So modest,” you laugh as he pulls out of you, juices dripping down the bed cover as he does so.
“You gonna taste yourself on my cock? I think you should,” he winks down at you as he stands up. You sit up and take his length in your mouth, licking your juices off of him.
“Do you taste good darling?” He asks.
“Yeah,” you say licking your lips, “sweet.”
“Hot damn! I gotta get me some of that!” He exclaims, dropping to his knees and pushing your legs apart. His tongue dives inside of you, licking up and down your folds, then sucks your clit and looks up at your face.
“Fuck! You’re right! Sweet like a fucking peach!”


Day 5: Band AU

Day 5 already, keep going, Hijackers!!

Behind on your submissions? No worries!  As long as you continue to tag your work, I’ll reblog late submissions til the end of June (and beyond). Keep up the great work!

As a reminder, please tag all of your submissions as hijack week in the first 5 tags so I can find them easily! Also, please tag the day of the week your post is or have it somewhere on your post.

If you have any questions about the week, please head to the FAQ page, and if your question still hasn’t been answered, shoot me an ask!  Get ready for some awesome Hijack submissions!!!

Voltron Ghost Adventures AU where all five of them are just a mess of clunky camera gear and nerves and they constantly have the weirdest experiences as they stumble into haunted houses just hoping for the best

  • “Pidge, you brought the night vision goggles right???” “No, you said grab provisions. I got some Skittles and a Twinkie. Why, do you want the Twinkie?” “Pidge, you had one job.”
  • For some reason, spirits in almost every single house grab Lance’s ass and no one can figure out why
  • “Jesus, Hunk, take me to dinner first” “Lance, I’m across the hall” “Ohhhh my gooooood GUUUYS A SPIRIT JUST GRABBED MY ASS”
  • Shiro always gets things thrown at him. like, every single time. It’s where he’s gotten most of his scars because they’ll be walking into a kitchen and a chair will come skrrrrting around the corner and fly at his face
    • “But why is it always me?” “Probably because you’re so offensively good-looking” 
  • If there’s a scary doll in the house, it will find Keith. It always does.
    • *somewhere, Keith shrieks* “haha guess you could call Keith a chick magnet” “Lance, I hope a spirit pushes you down the stairs just because you said that stupid pun” “Y’know, Pidge, you’re always so sweet to me”
  • Hunk screams at any movement or creak in the house, every single time
  • Pidge gets into the habit of talking with the spirits like they’re her best friends and ignores imminent danger because she just explains it as them having a nice conversation
    • “Hunk, put me down, I’m fine, Charlene just wants to point me to where her body is” “PIDGE, THERE IS A KNIFE FLYING TOWARDS YOUR FACE I DON’T THINK SHE CARES IF YOU FIND HER BODY”
  • Most of the time, they just end up recording them creeping around abandoned shacks really carefully
  • Hunk always uses too much zoom so when he and Lance are exploring the west side of a mansion and Lance turns around and whispers “did you hear that”, all that Hunk sees on his night vision camera is Lance’s huge glowy eyes and his gigantic nostrils
  • At least once a week, they get locked in the basement of wherever they’re exploring and it always becomes a situation of life or death for them to escape yet they forget to plan for how to prevent it for the next time
Ending of Carboys Theory

A saw a comment on youtube mention this and I have been obsessing over it for a while now.

First of all, if you haven’t seen the Carboys latest episode yet. check it out.

But the theory basically goes like this:

The ending we see before the credits and the ending we see after the credits are not the same ending. When they entered the time portal their timeline split in two creating two parallel realities. In the first reality (the one before the credits) Griffon and Nick are separated and spend eternity alone.

In this timeline Nick becomes Busto1.0. He knowingly sacrificed himself to save reality and upon becoming Bust1.0 he goes back to the time before this all to try to warn past Nick and Griffon about the dangers of the blob and prevent this all from happening. 

In the very same timeline, Griffon wasn’t given a choice about sacrificing himself. (as learned in the second timeline) and as such never had a chance to say his goodbyes to his loved ones like Nick could. Stricken with this grief and loneliness Griffons chaotic side slowly eats away at him and turns him into Busto2.0. 

If you recall to the fan-animation “Car Boys Animated - Some Sort of Digital Heaven” (which was stated by Polygon as being canon) at the end of it you see Busto2.0 opening his arms to welcome and embrace Busto1.0. That's Griffon being reunited with Nick.

Which leaves one finale question. Who or what is “Busto3.0” aka The Blob? Well little is known about the blob, but if following the pattern of how the Bustos are created, then it can be assumed that the Blob’s origins are similar.  For starters lets talk about what we know about the blob. 1) It hates water. 2) its physics are fairly complex. 3) There are people who love it, and more specifically Griffon is one of the people who has to constantly fight against his love for The Blob.

Now then who fits all three of these points AND was brought into the time portal with Nick and Griffon? Ball. Ball would constantly spring out of any water it was put in. Ball has a very similar level of complexity to its physical properties. and Griffon absolutely loves ball. Both of them do. Everyone loves Ball. In fact it was Griffon’s love for Ball that created The Blob. When they were entering the time portal Griffon stated, “I’m scared, can I have Ball? I love ball! ” To which Nick complied and brought Ball (as well as The Blob) into the time portal thus damming them to a repeating cycle.

Ball was dragged into the portal and as a result ended up getting stuck their forever, Griffon didn’t like seeing Ball be trapped in forever and they were forced to leave ball behind. Thus, just like Nick and Griffon, Ball was left all alone for eternity thus forcing Ball to change into The Blob. Who only ever tried to reunite with the boys, but in its changed state, it ended up consuming everything.

After all, the Blob itself wouldn’t hurt the boys and as Griffon said “-if it detects malice… it will activate the protocols ” meaning it only attacked them when they attacked it first.

Now I could be looking into this too much, after all its a video game series about two good soft boys playing a physics based car game. But they did such an amazing job creating a whole story around this series, it only seems fitting we continue to honor it by having these overly complicated theories of our own.  


Nick = Busto1.0
Griffon = Busto2.0
Ball = Blob

anonymous asked:

Any advice on how to write a heist story something like oceans Eleven?

Well, you can start by watching Ocean’s Eleven, and Ocean’s Eleven, and then Leverage, and then Burn Notice, and then The A-Team, and then Mission: Impossible, and then all the other heist stories like The Italian Job or Heat. Watch, read, uncover as many stories about criminals as you can from fiction to nonfiction to reading security analyst blogs. Read the spy memoirs, the thief memoirs, the fake ones and the real ones. Check out magicians, hypnotists, card tricks, and sleight of hand. Watch the making ofs and director’s commentaries looking for clues behind the thought process of these stories. The hows and the whys as you look into the research they did. Burn Notice, for example, is famous for using stunt props and technological rigs that work in real life. Like using cell phones to create cheap bugs on the go.

The worlds of criminal fiction and spy fiction rely on being able to present (or convincingly fake) a world which feels real. A heist is all about exploitation. So, you need a world with security structures to exploit. You’ve got to know how things work before you can craft a way to break them. Social engineering, hacking, and every other criminal skill is about breaking the systems in place. So, you’ve got to get a baseline for how law enforcement and security analysts work. What security systems are set up to look like. The ways we go about discouraging thieves. Better yet how people behave. Real, honest to god human behavior.

So, you know, pick somewhere in order to start your research. Get an idea of what you want write about stealing, then learn everything about the object, the museum, the city, the country, and its customs as you can.

If you’re setting a heist in a futuristic or fantasy setting then luck you, you get to make all of it up.

Learning the plot structure and conventions of the heist genre is the first step. This means watching lots and lots of heist movies, shows, and reading books. Over time, as you become better at critical analysis, you’ll begin to see specific story structures and character archetypes emerge.

The Heist Story is a genre. Like every other genre, it comes with its own structure, cliches, archetypes, plots, and genre conventions which necessitate the narrative. The better grasp you have of those, the better you’ll be at writing a heist.

For example, a heist story like Ocean’s Eleven relies on a collection of thieves rather than a single individual. The character types are as follows:

The Pointman - Your planner, strategist, team leader, and the Jack of All Trades. Can also be called the Mastermind. They’re the one who can take the place of anyone on the team should they fall through. They’re not as good as a specialist, but they’re very flexible. Narratively, he plans the cons and subs in where he’s needed.

The Faceman - Your experienced Grifter, here for all your social engineering needs. These guys talk their way in.

The Infiltrator - Your cat burglar or break-in artist. Basically, the conventional genre thief. Your Parker, Catwoman, Sam Fisher, or Solid Snake. The stealth bastards, they’re all about silent in, out, and playing acrobatic games with the lasers.

The Hacker - The electronics and demolitions specialist. Usually this is the guy in the van overseeing stuff remotely. Your Eye in the Sky. Their skill set can be split up and swapped around as necessary.

The Muscle - The one who is good at fighting. They’re combat focused characters, usually with mercenary and special forces backgrounds. Though, that’s optional.

The Wheelman - The one who handles the getaway. They’re your often overlooked transport specialists. It’s not just that they can drive, they’re skilled at getting lots of people around, figuring out how to move your valuables, and exiting hostile cities or countries undetected. They get the team in and they get them out.

For an example of these archetypes, I’m going to use Leverage. Nathan Ford, The Pointman (technically, he’s written like a Faceman). Sophie Devereaux , The Faceman. Parker, the Infiltrator. Hardison, the Hacker. Eliot, the Muscle. They all take turns being the Wheelman.

Other examples like Burn Notice: Michael Westen, the Pointman. Sam Axe, the Faceman. Fiona, the Muscle. They all take turns with explosives, Michael will invariably take all the roles during the course of the show.

Ocean’s Eleven has multiple variants of these archetypes, all broken down and mixed up.

You can mix and match these qualities into different individuals or break them apart like in Ocean’s Eleven, and more than one character can fill more than one role, but that’s the basic breakdown. For example, your hacker doesn’t need to be a guy in a van overlooking the whole security grid. One guy or girl with a cell phone can sit in the lobby of a building with an unsecured wireless network and crack the security. Welcome to the 21st century. The skills don’t necessarily need to take the specific expected shape.

What you do need is the basic breakdown:  You need someone to plan the con, you need someone to be your face or grifter, you need someone to break in, you need someone to watch the security/electronics, you need muscle to back you up, and someone’s got to cover the getaway.

These shift depending on your plan, but this is the expected lineup for a heist narrative. The first step of a heist narrative is not the plan because we don’t have one yet. We’ve got an idea. Pick your target. Maybe it’s a famous painting. Maybe it’s a casino. Maybe it’s a rare artifact from a private investor’s collection loaned to a museum for a short period of time. Maybe it’s art stolen by the Nazis during WWII. Whatever it is, figure it out.

The next step is simple. If you want the thing, you’ve got to find a way to get it. This is a big job, your standard thief won’t be able to pull it off alone. So, you gotta go recruiting. Get your team together. Make sure to establish the goals of the different members for joining. Who they are. Their pedigree. One might be an old flame or an old enemy. This is where we lay out some character driven subplots.

When everyone’s together, we’ve got to lay out the plan. Before we have a plan though, we need to establish where the object is and the issues in getting it. Why this has never been done before. So, what are the challenges? Invariably, an object worth a great deal of money will have a lot of security protecting it. Figure out what that security is, who the item belongs to, what sort of retribution do the thieves face beyond what they might expect. Lasers, pressure plates, cameras, security, other career criminals, mob bosses, the rich and powerful, whatever.

After that: How do you get it? Then you’ve got to plan the con, while taking everything into account.

Then, We prep the Con. There will be steps to take before the con can be put into place, your characters taking their positions in plain sight. Stealing whatever pieces you need to make it work. Casing the joint. Etc.

Then: Run the Con. This is the part with the actual stealing. Better known as the first attempt. Things go well, there may be a few mistakes, but things are going well and then we…

Encounter Resistance. While running the con, something goes wrong, pieces fall apart, the thieves come close to success but the object gets moved and they suddenly need a new plan. New information may pop up, it may be one of your artists was running a con of their own separate from the rest. If there’s a double cross in the works then this may be when and where it lands.

We’re ready now, so it’s time hit up: Steal the Thing, Round Two. Your characters put their new plan into play and get about thieving the object of their desire.

Lastly: The Get Away. This is the part where your thieves make for the hills with their stolen treasure. This can be short or long depending on the kind of story you’re telling and other double crosses may occur here. It could be the end of the story or the beginning of a new heist.

Heist stories are like mystery novels. They’re all about sleight of hand and misdirection. You’ve got to keep just enough information on the table to keep your audience on the hook, and just enough information off the table to surprise them later on the twist. Yet, when they go back to re-read the novel again, they’ll find the answer was there all along. They just didn’t see it coming.

If anything, learning how to write a well-done heist or a mystery or any kind of novel in this genre will teach you a lot about how to manage your foreshadowing and create superb plot twists. Like any good con, you need to lay out all the conflicting pieces where people can see them, let them draw their own conclusions, withhold the critical context, and then hit them with the whammy.

Like lots of audiences, new writers (and even some old ones) can get distracted by the shock and awe. They see they’re impressed by the conclusion, not the lay-up. If you want to write any kind of fiction, you need to learn to see past the curtain and pay attention to the critical pieces leading into an important moment rather than the moment itself.

Good writing isn’t modular, you can’t just strip out pieces and run with them because you’ll end up missing the crucial, sometimes innocuous pieces that ensured the scene worked. Like the Victorian Hand Touch, every moment between the two leads and most of their scenes with secondary players are working for that singular instance of eventual, gleeful catharsis.

If you’ve got a plot twist coming in your novel, every sentence from the second you start writing is working towards it. You start laying out your pieces, funneling in your tricks, and playing with misdirection. You may have multiple twists, to cover yourself, divert your audience, congratulate them for successfully guessing your ploy, and reassure their initial suspicions before catching them again on the upswing.

The clever writer is as much a con artist as their characters. The only difference is the target of their con is their audience. The tricks in their bag are narrative ones, and they work with the understanding that it doesn’t matter if someone guesses the end so long as they’re entertained by the journey. A great story stays entertaining long after the audience has figured out all the twists.

So, don’t get caught up in Red Herrings and frightened about not being able to outsmart other people. Tell a good story with conviction and heart about a bunch of crooks out to steal their heart’s desire.

That’s all there is to it.


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@cheshirerabit said: Shit, your teacher Bakugou idea is something I never considered but now think would be really cool. Cuz he would not stop being a hero but he wouldn’t half-ass being a teacher so it would be like how All Might attempted to hero and teach but could actually work. Plus, I’m all for Bakugou’s role model switching with time to Aizawa. 10/10 idea.

Anon said: OMG Fran now i want to see Teacher or Older Bakugou or or Bakugou with Aizawa

Bless both of you for giving me a reason to talk about this cause honestly I love this idea way more than striktly necessary - this!!! is how I like to think it would go down:

Keep reading

How I Accidentally Tamed a Puma

So me and two others were playing a one shot since the dm wanted to get back into practice, and he said that he’ll make any characters we bring work. Essentially all of our characters lost their memories and we needed to go on a treasure hunt to get them back.

So our characters go through the forest amd encounter a displacer beast, which was essentially a puma but with magic and goo. After a while of beating it down, we hear more meows and giggles and realize we were getting surrounded by a lot of pumas.

I knew this and panicked

Me: I’m going to carry the Puma and run!

DM: Alright, roll for a strength check

Me: //ends up rolling, after mods, a 22//

DM: //sighing exasperated// You SOMEHOW manage to lift the displacer beast and take off running away from the sounds.

Later on while running we end up near the black knight which is WAY stronger than any of us and I rolled for animal handling to calm the Puma and not die of claws. We eventually get rescued by this one NPC and he heals up the displacer beast.

Me: Is Lucky going to be okay??

DM: Wait you named it Lucky?

Me: He’s a handsome boy!

DM: Alright so Lucky is healed up, he’s purring all happy like.

Me: Wait wait wait, does this mean that I can keep him?

DM: Roll me animal handling

Me: //rolls a nat 20//

DM: //head in hands// Lucky has for some reason decided that he likes you and he is now essentially your pet. Congrats, you just tamed one of the most feared creatures in the forest.

anonymous asked:

1d as gym teachers

I have to thank @harry-es for this one because I was stumped for a long timejhfdsj

Niall: makes people run laps & run up and down the bleachers while yelling out half-hearted encouragements; eats a chocolate bar the entire time and when students ask for some, he says “what do you think this is? lunch?”; blasts country music from the speakers

Liam: everyones least favorite coach because he actually makes them work hard; always wearing gym shorts; runs laps with the students and always ends up passing all of them; makes them do the FitnessGram Pacer Test at the end of every semester 

Harry: has a yoga warm-up session everyday before they get to the activities; wears legwarmers; plays Fleetwood Mac and The Rolling Stones through the speakers one day and Panic! At The Disco and Katy Perry the next; doing pirouettes at any given time; easily distracted by Coach Tomlinson

Louis: everyones favorite gym because he doesn’t actually make you do anything; sits back in his chair and chats with students; plays the Popular Songs; cheers students on when they go behind the bleachers to make out but strictly says theyve crossed the line when he sees them with cigaretts; melts when he sees puppies or babies; pulls pranks on Coach Payno; would much rather be watching Coach Styles do his yoga warm-up

Signs During A Breakup

… and will they take you back?

(Personal experience. Look at sun signs and moon signs.)

ARIES: Will go out a lot. They won’t want to think about it. Kind’ve in denial at first. Very likely to go a bit crazy after a break up and kiss a shit tonne of people, or get with ex’s friends, or yell at their ex’s. This type of behaviour will last for about a week. If they broke up with you it’s unlikely they’ll return (unless they get bored). But if you broke up with them they’re the type to want you back and will be persistent - it’ll become a chase all over again, if anything they want you more.

TAURUS: Usually find it really hard to move on. The type to be still be in love with you after a year on. I don’t think they ever really get over their ex’s. Very likely to get back together with their ex’s… however once they are done with someone they are 100% done so it depends on what the person did. Also once they’ve moved on to someone else they really have moved on.

GEMINI: Rebound central. Will be dating someone the day after the break up. Reason for this: They were thinking about breaking up before you even considered it. Not the type to go back to an ex, they may think about it but usually they have made up their mind.

CANCER: They need to cry it out. Will play victim. Don’t really want to talk about it. Pretend they’re okay. Would probably take back an ex back, but it would take them ages to get over it even if they say you’re both fine now.

LEO: Will not show that they are hurting to their ex. Their ego is no. 1 priority. Will make sure they look like top shit and will act like they don’t care. Revenge will be had if they have been hurt. Might have a dramatic break down but unlikely. Would get back with their ex’s if their ex’s apologise and grovel.

VIRGO: Best at handling a break up. The whole thing will usually be done without drama and will be done logically. Will take time to really get over things. It takes a lot for a Virgo to really open up and to trust people as they’re usually quite cautious even if they don’t seem it. For that reason alone a breakup will most likely be the end with that person for them.

LIBRA: Will initially run away. Whether that be emotionally or physically. Will hide their feelings or will not even want to see you. Unlikely to be any big breakdowns after the initial break up, will avoid conflict (hence running away). Most likely will not get back together with you, but after a while they’ll probably be flirting with you again.

SCORPIO: Emotions run deep with this sign though they rarely show it. Will need a lot of time for themselves, they will withdraw into themselves or focus on getting even. Like Taurus, Scorpios find it hard to move on even if they were the ones to end it. Scorpios rarely get back with their ex’s unless it was a mutual decision or your decision to end it.

SAGITTARIUS: They’ll take time for themselves, they’ll cry and they’ll break down for about a week (or even a day). Then they’ll pretend they’re fine. They’ll go out more, spend time with their friends and meet new people. They’ll rebound fast and they’ll act like they were over it before it even ended. Sags don’t stay down for long it’ll be ‘onwards and upwards’. They don’t take their ex’s back unless they’ve truly changed or it’s in the initial few days.

CAPRICORN: It takes a lot for a Capricorn to break up. They’re usually in it for the long haul, think married with 2.5 children. If broken up with they’ll be practical and act fine about it. They rarely express emotions, they’ll focus on their work instead. If they do the breaking up they’re 100% over it and normally want nothing to do with you. They’ll be cold and factual, so best be the same. Either way they’re not the type to get back with an ex.

AQUARIUS: Breakups are usually a long time coming for Aquarius’ - they’re prone to cheating when not in love. They’ll want to avoid conflict. They usually believe in getting under someone to get over someone. Expect rebounds and excessive dating or if it’s the more reserved type they’ll surround themselves with close friends. They won’t want to be alone. They might get back together with an ex, but it would take a lot of time to get back to being official again.

PISCES: The sign that feels the most has the hardest time with breakups. They can fall into a depressive mindset, they sometimes can barely function. They take a long time to get over things but on the outside they’ll pretend they’re okay. Can be very self destructive during break ups. Almost always take their ex’s back, but only if the ex has proven themselves worthy or wasn’t too bad of a break up.

There’s a reason complete strangers keep mistaking Sherlock and John for a couple.

Sherlock, being Sherlock, always notices it when people are checking John out. He dislikes it. It makes him feel…panicked. However, John disapproves of him making rude deductions at unsuspecting strangers, so Sherlock has to find a subtler way to deal with such outrageous affronts.

Sherlock leans in close to talk to John, touches his arm to get his attention, smiles at him in a smitten way, steals food off his plate: all those behaviours he has observed in romantic couples. It is excellent; The dull cretins oogling his John invariably sighs in defeat (”Why are all the good ones taken and/or gay?”) and refrains from making any further moves. 

John never notices. After all, Sherlock acts like this all the time, and John is remarkably unobservant.

Then Sherlock and John actually get together, and Sherlock comes to the pleasant realisation that it is no longer necessary for him to be subtle. So the next time a young barista twirls her hair and draws an anatomically-incorrect heart on John’s coffee cup, Sherlock wraps a possessive arm around John, presses a kiss to his hair, and glares at the offending barista over John’s head. 

John turned around, smiling.

“What was that for?”

“You’re very attractive,” Sherlock said primly, all innocence.

John chuckled and slipped his hand into Sherlock’s, and they walked out of the cafe sipping their drinks.

“You know,” sip, “you react to competition like a twelve year old girl.”

Sherlock’s coffee burnt his tongue. He spit it out, spluttering. 

“What are you talking about?”

“I mean this,” John demonstrated by stroking a hand down Sherlock’s arm exaggeratedly, “and this,” he leans up to breathe heavily into Sherlock’s ear.

“I thought you didn’t notice.”

“Yeah, not at first. But then that time at the Dancing Dragon you stole all the broccoli off my plate while glaring aggressively at the woman at the counter. And you don’t even like broccoli.”

Sherlock frowned heavily, reading to commence the world’s greatest sulk. But John was still talking.

“That’s when I realised,” John stopped and turned to face Sherlock fully, “that you wouldn’t really mind if I just-” 

John put his free hand on Sherlock’s shoulder and snogged him full on the mouth, right there on the busy pavement. Morning commuters swerved to avoid the two of them, stoically ignoring them in that fine London tradition. He could hold up the traffic for once, Sherlock thought dizzily. Mycroft did it all the time.

“Anyway,” said John, clearing his throat and rolling back on his heels. “Just wanted you to know. Don’t get your knickers in a twist. You don’t have any competition. But if you still feel like snogging me in odd places, that’s fine with me.”

“At crime scenes?”

“Not at crime scenes.”

“But you just said-”

“Got to draw the line somewhere, Sherlock.”


If you fancy you could check out my blog or my AO3. Ta.

@love-in-mind-palace @addignisherlock @johnlock-empire @simpleanddestructivechemistry @consultingeastwind @inneisme

anonymous asked:

do you ever think about how when even was manic he said 'we're so going to get married' and then when he was depressed he said 'in another universe we're together for all eternity' and cry

I cry more about what that turned into actually??? They started off talking on such a grand scale, “man of my life” and “married” and “eternity”, and while that might be romantic… I feel like that didn’t serve Even particularly well? If you’re living life as a film, you might make the big gesture and let the curtain fall. If you’re living life thinking of all the parallel universes, you can comfort yourself that one of them is getting it ‘right’. What I really loved about season three was that it wasn’t too precious about anything, Isak and Even enjoyed all the talk about the infinite and du er mannen i mitt liv but it wasn’t what ended up actually meaning the most to them. 

What wound up being the most important thing was you and me and this bed and now. And then ‘move in with me because I want you and your dirty socks and your elbow next to mine on the kitchen table’. The everyday, every day. The “now” means more to me than any hypothetical forever and they’re giving everything they could right at this minute. That’s what gets me more than anything with them, seeing them take such good care of each other because they aren’t counting on anything else. Because life is

Guys My Age (1)

Pairing: Bucky X Reader

Words: 2554

Warnings: Lap dancing. ANGST.

Summary: You’re playing truth or dare with the Avengers when Nat asks you when the last time you got laid was  and Sam dares you to pick a song that perfectly grasps why you haven’t had sex in so long.

A/N: Thanks for the anon who recommended this song. I thank the heavens I found it because it’s so fucking relevant. I can’t seem to write smut without just a tinsy bit of a plot. But here you go.

Permanent tag list: @meganlane84

Part 2

Originally posted by haidaspicciare

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Context: Our group consisting of a dwarf fighter, half elf cleric, elf monk and a dragonborn mage had just gotten out from a cave / crypt filled with kobold cultist and had stopped them from creating a soulstone for a lich, taking the book that they used for it along with us. When we get outside we’re ambushed by a green dragon hatchling which ends up killing our monk, but through the book and sacrificing the dragon we bring him back as a lich.

DM, to our monk: So you’re now a lich, which means you take double damage from any holy attacks or spells

Monk: Okay, this is pretty awesome tho

Cleric, who did not agree on raising the monk back to life: May i pray for him?

Monk: No!

DM: Sure, roll a religious check

Cleric: *Rolls successfully*

Monk: No!!

DM: Now roll for damage

Cleric, occ: Oh, okay?

Monk: No!!!

Cleric: *Rolls 6, almost deals fatal damage to the monk*

Monk: *Shrieks* Stop! Don’t do that!

Mage: Yeah you should not pray anymore for him or you’ll just kill him again

Cleric: But maybe that’s what my gods would’ve wanted..

Every other team member at once: NO!

And so starts the cleric’s quest to pray for our lich monk if he’s about to die again so that she can appease her gods after being “defiled” because of the mage and fighter raising the dead using necromancy

You know I used to be one of those people who shipped Bum with therapy and Sangwoo with jail, but after the last few chapters I don’t care anymore. I want to see how deep we can go. How fucked up this whole mess can get and how their relationship will end up without any of them getting their just deserts.

Saw something expressing anger at healthy people who take up the seats for disabled people on the BART, and it reminded me:

Last year when I couldn’t reliably stand up for very long (I got dizzy and lightheaded very easily, I was supposed to do as little exercise as possible) I was sitting in one of those seats and someone got frustrated with me for not giving them up for an elderly person. I apologetically gave up the seat and luckily stayed on my feet just fine. I know people do sit in those seats thoughtlessly, and I think it’s totally okay to say ‘excuse me, I need to sit down, can you help me find a seat’, but if you assume people are healthy off ‘young and not visibly unable to walk’ then you’ll end up getting mad at lots of disabled people for using the disabled people seats.  

And disabled people who have this happen to them a couple times will probably start avoiding those seats if they possibly can, because they expect to be challenged on sitting in them, and on the whole you’re not making things any easier for disabled people by policing on their behalf. If you need a seat, ask. If you see someone in need of a seat, by all means help them find one. But don’t assume anyone who looks healthy is rude; lots of reasons someone can’t stand on a moving train are invisible.

So, there’s an unspoken rule in fandom, that, whenever a Historical AU prompt comes around, the only viable stories that can be told with Black characters are “Jim Crow AUs”, “Slavery AUs” and “Civil Rights AUs” (racism AUs greatest hits).

Either one are used primarily to demonstrate how not racist their favorite white or non-Black character is (it’s kinda why I hated shows like Timeless, but that’s neither here nor there). It’s almost never done with any kind of respect to the subject or the Black reader who has likely run across them.

It’s also a type of torture porn that’s often written from a place of ignorance (and usually by white fanfiction writers), and demonstrates a severe a lack of empathy for Black fans who participate in fandom that somehow always ends up getting defended against criticism.

To make a long story short: Slavery AUs, Civil Rights AUs, Jim Crow AUs are outlawed as a narrative option for the Historical AU prompt.