i don't have words for this scene

anonymous asked:

hey i think you might be the only person who could be able to help with this... do you know if theres an episode where there was a character who didnt like their food to touch on their plate? i remember it rly vaguely from my childhood but i used to/still do have the same problem and the memory has stayed with me to this day!! iirc the character was rather young. thanks in advance!!

YES, that was from Arthur and Los Vecinos! i haven’t capped that scene before but here it is now:

a Real Feel

Fall For You (M) | 03 (Final)

gif ©

Summary: You hate a lot of things about Jeon Jungkook; you hate his arrogance, his reputation, and his pet name for you to name a few. But most of all, you hate how right it feels for you to fall into his arms, and how easy it is to fall for him.
Word Count: 13,742
Genre: fuckboy!Jungkook, college au, sprinkling of feelings
A/N: I feel like I’m sending my child to their first day of kindergarten oh my goodness. I hope you guys enjoy the last part!!

Part 01. Part 02 + Drabbles

Mood music: X

A mistake.

It absolutely had to be a mistake.

There was no way you were in love with Jeon Jungkook, absolutely no way in hell you had feelings for him that ran any deeper than discontent. It had been the moment, the conversation with Jungkook, the awe you’d felt when he showed you his forest. You had gotten caught up in that moment, and your mind had tricked itself into thinking you liked Jungkook.

You didn’t love Jungkook.

You loved his dick. And that was all.

Keep reading


most heartbreaking scene (pitch perfect 1 & 2)

send me a number and a fandom and i’ll make a gifset

On writing
  • Me: Oh I know I'll just write a thing for this trashy pairing haha how fun I'll just make it a straightforward one-shot shippy thing that I don't need to take seriously.
  • Me: *Writes several thousand words of set-up* okay I guess that's fine...
  • Me: *Plans layers of complicated emotional subtext* okay I guess we can have some of that *Writes several more thousand words before getting past the first real shipping scene* uhhhh okay so guess it'll be chaptered...
  • Me: *Plans entire rest of story and realises it's already out of control* goddamit me why are you like this.

fucking--gorgeous  asked:

Could you give some tips on chapter pacing? Specifically, I'm wondering if it's too confusing to have chapters pick up immediately or very shortly after the last left off. (I'm writing YA and really doubt anybody wants 12k word chapters, but of course I don't want my readers to get lost.)

There’s a few different ways to handle pacing. Personally, I’ve put my own twist on the scene/sequel method. Google “scene sequel”, read through a bunch of those results, and see what speaks to you.

Since I struggle with pacing, I came up with my own hack because 

  1. I don’t write in order, and, 
  2. I hate writing formal outlines.

It’s a combo of scene/sequel and good old plot diagram because overstuffed chapters are a symptom of an overstuffed plot for me. I’m going to use my screenplay as an example because it’s what I’m working on, but this also works for novels and short stories.

First, think about how many pages or words you want your piece to have. It’s a little different for every genre, so use what’s appropriate for your story. In my case, I wanted my script to be 94 pages, so I made three folders for the beginning, middle and end, and included a target page count.

Yes, those numbers add up to 101 pages, but Scrivener adds a lot of white space it removed when it compiles screenplays so I accounted for that.

Next, I knew my inciting event should happen within the first 5 pages and the midpoint would have to be around page 47, and so I put little flags in to represent them.

If you’re writing a story, you might want to break down that first chapter a bit more so you can know you need to hit the inciting event by say, page 4.

With those guidelines in place, I write. When I want to check my progress, I select the pages and look at the page count in the bottom, using the flags as the measuring stick.

If you don’t use Scrivener, you can do something similar in your word processor of choice. Make a bit of text like ===END STARTS HERE Page 120=== or ===MIDPOINT STARTS HERE 75=== OR using headings/styles if you’re comfortable with those. Whatever you choose, be consistent! When you want to check where you are, “find” (command or control F depending if you’re on Mac or PC) the ===, and it’ll take you to that page.

Page count would likely be easier if you’re using this as a guide for your rough draft, but word count may be easier if you’re using this to generate your revised draft.

Don’t be afraid to experiment and see what works for you.

- Graphei


⤷ Tsubaki-chou Lonely Planet ▹ Chapter 12 ▹ Kibikino Akatsuki & Ohno Fumi
⤷ Manga by Yamamori Mika

The Scene™️️
  • Sherlock: Molly, please, without asking why, just say these words.
  • Molly: What words?
  • Sherlock: I.Love.You.
  • Molly: Leave me alone.
  • Sherlock: Molly, no, please, no! Don't hang up! Do not hang up!
  • Molly: Why are you doing this to me?! Why are you making fun of me?!
  • Sherlock: Please, I swear, you just have to listen to me. Molly, this is for a case. It's... it's a sort of experiment.
  • Molly: I'm not an experiment, Sherlock.
  • Sherlock: No, I know you're not an experiment, you're my friend. We're friends, but, please, just say those words for me.
  • Molly: Please don't do this. Just... just... don't do it.
  • Sherlock: It's very important. I can't say why. But I promise you, it is.
  • Molly: I can't say that, I can't... I can't say that to you.
  • Sherlock: Of course you can. Why can't you?
  • Molly: You know why.
  • Sherlock: No, I don't know why.
  • Molly: Of course you do.
  • Sherlock: Please, just say it.
  • Molly: I can't. Not to you.
  • Sherlock: Why?
  • Molly: Because... because it's true.
  • Because... it's true, Sherlock. It's always been true.
  • Sherlock: Well, if it's true, just say it anyway.
  • Molly: You bastard.
  • Sherlock: Say it anyway.
  • Molly: You say it. Go on. You say it first.
  • Sherlock: What?
  • Molly: Say it. Say it like you mean it.
  • Sherlock: I... I love you.
  • I love you.
  • Molly?
  • Molly please!
  • Molly: I love you.

anonymous asked:

Mighty 'Leaque, I have a question about the Wonder Woman film and beware of spoilers for anyone who doesn't want to read further... But at the end of the movie, when Diana's had just suffered that giant explosion that made us lose sound for a while, when Steve tells her something we don't hear right before he leaves... and then later we find out what he says... Did that scene feel forced to you? Like his words shouldn't have been clarified?

the way i’m reading that scene (and i could be wildly wrong but we don’t have confirmation) is that what we hear later on, the entire length of steve’s goodbye, isn’t what he actually said. maybe she could hear all along because she’s got extraordinary abilties, but the way the storytelling and direction went on during that particular moment, the way she was so out of it, barely moving her eyes while he was talking—it all tells me she didn’t hear his words

she remembers what he said right when she needs to have faith in him and, by extention, in humanity. the two scenes play out wildly differently; in the one i’m assuming is the accurate one, she’s not really there because she’s still in shock from the explosion, yet the one we hear steve’s words clearly, she’s fully present, she pays attention, she replies and interacts far more than we see her do previously. i was reading steve’s lips and the main thing he said was “i need to go” but in the version she recalls later on, steve goes on and on with this beautiful, moving speech that basically oozes with faith in the good humans can be

in my opinion, diana needed to have faith in that particular moment, and even though i’m sure steve did say something moving before he sacrificed himself, a lot of the things we hear him supposedly tell her are actually what diana chooses to believe he said. in that moment, steve trevor represents absolute convinction to her and that’s enough. it shouldn’t matter if it was true or not

Fake Chats #193
  • Jimin: can I call you Moni?
  • Namjon: hey, just don't call me 'late for dinner'.
  • Yoongi: like anyone has the time for that.
  • Seokjin: hey, Min Why Am I Always Sleepy When I'm Always Staying Up Late To Work Yoongi, can I have a word?
  • Yoongi:
  • Namjoon: I believe you stand corrected.
  • Jimin: what's the word?
  • Seokjin: nothing.
  • Yoongi:

ambitiouswitch17  asked:

Alex, I've seen people say that the Russo favor Tony as a character and I wanted to laugh Like? Wasn't a great issue last year because RDJ had to put condition about doing CW and one of them was that he could have a word about Tony's scenes? God, imagine what it would have been that already bad written movie without him Look what they did to Wanda and poor Ms Olsen. The Russo don't favor Tony, they favor Steve. The first thing that they said about the next movie was about him and Bucky

So, I tried to answer this on mobile but my phone screwed it up, so this is probably going to be slightly less elegant, cause repeating myself.

I have not seen (or at least I don’t think I have seen) anything the Russo Brothers directed outside of Civil War. So everything I know about their directing style is based on this one movie.

However, the Russo brothers said in the Infinity Wars teaser that the reason for Civil War, was to set up Infinity Wars. That’s not a good reason to make a movie, if any of you write fics (and I know some of you do) when you start with an ending and try and work up to it, the characters don’t behave, and by the time your done you’ve had to force them into that situation in a way that seems awkward and unnatural. It muddles everyone’s motivations, and ideas. You can alter the ending to fit better with the direction the story took, or shoehorn it into the ending you originally wanted. It seems pretty obvious the Russo Brothers, shoehorned.

This means that their characters are a mess.

Wanda before the Russo Brothers took over, was a dark character, at the end of AoU she was on her way to being redeemed. (Sloppily but it could have gone somewhere had the Russo Brothers worked on her arc.) Despite that she is still shown as an adult, maybe a bit confused and in need of some guidance (re. clint) but still a grown woman with incredible powers. 

Then We have Russo Wanda, Ms. ‘He locked me in my Room’, just a kid. Rather than the sloppy redemption arc we had at the end of AoU which could have been built on, we get ‘nothing is her fault, because she’s just a kid’ which is so incredibly lazy. They made her look physically softer, lighter hair, lighter make up, as if that counted as a redemption. It’s so lazy, ugh.

Then we have ‘Captain’ Steve Rogers, the man out of time.

While his actions in Civil War are understandable, defending his best friend, and the last link to his past. They aren’t in character. This is the man who kept going when his best friend fell, who values justice over his own life, and who understands the necessity of collateral damage in some situations. This is a man who should have accepted Tony’s offer to compromise with the guarantee of Bucky’s safety. 

He’s out of character. Even though he is the Russo’s clear favorite, his motivations are made understandable.

Then we have Tony, now remember this is a Captain America movie, which makes Cap’s opposition the bad guy in the story, even if they aren’t a bad person. That was compounded on by Clint and Scott, who seemed to be present mainly for numbers, and to call Tony Evil, and without a conscious. It’s definitely Robert Downey Jr. that saves Tony from being the Bad Guy.

His acting, the way he show’s Tony’s anger and his pain is absolutely incredible. The writing attempts to make Tony the bad guy every scene RDJ isn’t in paints him as evil, but every one he is in paints him as a beautiful flawed character with a depth of emotions. 

One other Pet Peeve I have about this movie. 

This entire scene but specifically the fact that Bucky has a vibranium arm, yes, it can deflect bulets, but when multiple people are shooting at you from different angles your arm is not going to block all of the bullets. It doesn’t make any sense.

Anyways, Tl.dr The Russo Brothers did a shitty job with all of the characters in Civil War. 


There are not enough words that I have gathered in my short but studied time upon this Earth that can properly express how incomparably perfect this scene is and I have made this gifset because I would like it known here and now that I want it firmly etched in glorious detail upon my tombstone. And underneath it, will read these words:

“They break the kiss. Jack looks at Elizabeth, knowledge of his fate already in his eyes. There is a ‘click.’ Jack looks into her eyes, desiring her all the more, knowing her true heart is the same as his. He says - with some admiration - ‘Pirate.’”

btssmutgalore  asked:

Yoongi when the OC was having sex with two guys! Ignore this if you don't feel like writing it, please :)

Unexpected  - bonus chapter / drabble game

Yoongi’s POV / The big sex scene from Chapter 8

Parts: 1  2  3  4  5  6  7  8 (final)  8.5 (bonus) 

Yoongi looked around Seungri’s bedroom while grasping your hand tightly. His stomach felt like it was in knots and his hands were sweating.  

“Are you scared?” you asked him.

“Anxious might be the better word.  I don’t know what’s going to happen.” Yoongi let go of your hand to rub his palms against his pant legs to try to dry them off.  “I can’t quite believe we’re actually doing this.”

“We don’t have to do this if you don’t want to,” you told him.

“I wouldn’t have brought it up if I didn’t want it.” Yoongi turned and gave you a feeble grin.  He wasn’t sure if he even believed what he was saying at this point.  He was the one to bring it up and he had spent so many nights sharing this fantasy with you and now it was actually going to happen for real. He could feel his dick getting hard already from thinking about what might happen… so why did he also feel like he was going to throw up.  It won’t be like last time, Yoongi thought. Last time nearly destroyed your relationship, but Yoongi was sure that was because you had fucked Tae to hurt him and not because you knew it turned him on.  This time will be different, Yoongi repeated to himself.  This time will be different.   “I want to make sure you don’t feel pressured just because this is my fantasy.”

You told him that fulfilling his fantasies turned you on.  You said the idea that doing this would please him made your pussy throb.  You leaned in to kiss him gently and sweetly, but Yoongi pushed his tongue between your lips, kissing you more aggressively, pulling you towards his body.  He wanted to know that he was the one that ultimately turned you on, not just to hear you say it, he wanted you to show him  that, at the end of the day, he was the only one you really wanted.  Your hand wandered down his body and came to rest at the crotch of his pants where you gripped him through the fabric; your hand felt so good against his cock and Yoongi couldn’t help but smile a bit.  “What happens in this room is just foreplay, okay?  The real action happens when he’s gone and it’s just you and me,” you whispered in Yoongi’s ear.  He believed you.

Keep reading

calculatedmadness  asked:

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

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

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

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

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

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

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

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

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

Unpopular opinion but…I think the Niylarke scene wasn’t random/unnecessary, and that the Bellarke scenes were good?

Clarke needed to voice her thoughts to someone who is removed from the conflict, someone who wouldn’t judge her or argue with her, and the only person fitting the bill inside the bunker is Niylah? They wanted to show Clarke justifying her actions to herself–including letting Jaha lock up Bellamy–and they couldn’t have talk to herself. And it made sense that she would want to distract herself (the show has previously established that they are only friends with benefits); it’s not like it’s the first time she’s done that. Imo it all makes sense if you look don’t look at the scene from a bellarke shipper perspective (otherwise, yeah, it’s frustrating). 

Also, why would they put in several scenes of Clarke getting extremely emotional over Bellamy for no reason? If anything, those scenes are actually setting up Clarke to realize the depths of her feelings for Bellamy; it doesn’t seem like it because we had no aftermath scene!! The whole conflict feels unresolved atm because of that, and it leaves us uncertain, especially when you add the Niylarke scene. 

Just…TV has a budget and everything that is shown is shown for a reason. Every word spoken is chosen carefully. I’m pretty sure Jaha said to Clarke “you let this happen” at the end. It’s emphasizing the fact that Clarke chose letting Bellamy live over securing all the Sky People a place in the bunker. And they wouldn’t have a scene of Clarke breaking down and crying, unable to pull the trigger, for no reason. It just kinda feels that way because we don’t (yet, hopefully) have an aftermath scene between Bellarke. 

I’d wait until the finale before swearing off bellarke ¯\_(ツ)_/¯

anonymous asked:

Wishlist; Cas in a change of clothes - not his usual trench coat and suit, rather a tux or even just similar clothes to Dean - he walks into the room, (similar to the scene in s8), and there's the typical girl-wears-a-fancy-dress-and-boy-is-speechless, where Dean is completely gobsmacked; he's breathless, trying to find words, maybe even drops a glass, and stumbles, telling Cas he "looks amazing... or whatever" and Sam rolls his eyes


Originally posted by timetravelersloth

Lilith in the signs as Fall Out Boy lyrics
  • Aries: XO
  • "To the "love", I left my conscience pressed
  • Between the pages of the Bible in the drawer
  • "What did it ever do for me" I say"
  • Taurus: Thnks Fr Th Mmrs
  • "They say I only think in the form of crunching numbers
  • In hotel rooms collecting page six lovers
  • Get me out of my mind, and get you out of those clothes"
  • Gemini: Fame < Infamy
  • "I am God's gift but why would he bless me with
  • Such wit without a conscience equipped?"
  • Cancer: Sending Postcards From a Plane Crash (Wish You Were Here)
  • "Every friend we ever had in common
  • I will sever the tie, sever the tie with you
  • You can thank your lucky stars that everything I wish for will never come true"
  • Leo: I Slept With Someone In Fall Out Boy And All I Got Was This Stupid Song Written About Me
  • "I am sorry my conscience called in sick again
  • I've got arrogance down to a science...
  • ...Douse yourself in cheap perfume it's
  • So fitting, so fitting of the way you are"
  • Virgo: Nobody Puts Baby In The Corner
  • "So wear me like a locket around your throat.
  • I'll weigh you down.
  • I'll watch you choke."
  • Libra: Chicago Is So Two Years Ago
  • "You want apologies
  • Girl, you might hold your breath
  • Until your breathing stops forever
  • The only thing you'll get
  • Is this curse on your lips-
  • I hope they taste of me forever"
  • Scorpio: Death Valley
  • "I wanna see your animal side
  • Let it all out
  • I wanna see the dirt
  • Under your skin
  • I need your broken promises"
  • Sagittarius: This Ain't A Scene It's An Arms Race
  • "I am an arms dealer
  • Fitting you with weapons in the form of words
  • And don't really care which side wins
  • As long as the room keeps singing
  • That's just the business I'm in"
  • Capricorn: It's Hard to Say "I Do" When I Don't
  • "I speak fast and I'm not gonna repeat myself...
  • I'm the only one who's gonna get away with making excuses today,
  • You're appealing to emotions that I simply do not have"
  • Aquarius: My Songs Know What You Did In The Dark
  • "And besides in the mean, mean time
  • I'm just dreaming of tearing you apart
  • I'm in the de-details with the devil
  • So now the world can never get me on my level"
  • Pisces: I've Got All This Ringing In My Ears and None On My Fingers
  • "You're a canary, I'm a coal mine
  • Cause sorrow is just all the rage...
  • ...And I'm so sorry, but not really
  • Tell the boys where to find my body"

anonymous asked:

Do you even realize how fucked up you sound? Spike had already started poisoning Buffy with his abusive rhetoric and knocked her around, so it was okay that he raped her? Buffy was traumatized. She was frozen. It is a scene that is paralleled earlier with her freezing while fighting. Spike is taking advantage of her and deliberately making her feel like shit. I don't have to reveal myself to you--you've made who you are perfectly clear. You're scum of the earth.

Ok. I’m going to try to take this point by point.

Spike had already started poisoning Buffy with his abusive rhetoric and knocked her around, so it was okay that he raped her?

I never, ever said that that rape was okay. I would never in a million years claim that, why are you putting words in my mouth? I specifically said that, from my reading of the scene, it was not rape. This is the transcript:

The balcony is basically deserted. Buffy leans on the railing and looks down. Shot of the dance floor full of happy dancing people, including the Scoobies.

Buffy watches them, with a sad smile.

SPIKE: (O.S.) You see … you try to be with them…

Spike walks up behind Buffy.
SPIKE: …but you always end up in the dark … (whispering in her ear) …with me.

He moves up right behind Buffy, looks where she’s looking. Shot of the Scoobies from Buffy’s POV.

SPIKE: What would they think of you … if they found out … all the things you’ve done?

He puts his hand on her bare shoulder and strokes slowly down her arm.

SPIKE: If they knew … who you really were?

His hand moves down to her elbow and then farther down, out of shot.

Close on Buffy’s face.
BUFFY: (whispers) Don’t.
SPIKE: Stop me.

Close on Spike’s hand as it travels down Buffy’s thigh.
Close on Buffy’s face as she closes her eyes.
Close on Spike’s hand pulling her skirt up.
Close on Buffy’s face as she breathes heavily in pleasure.
Close on Spike’s face making a similar expression of pleasure and looking at Buffy’s face.
Close on Buffy’s face still with her eyes closed.

Wider shot of the two of them from the waist up. Spike gives a strong thrust and they both gasp slightly. Buffy still has her eyes closed. Spike leans in to look at her face.

SPIKE: No … don’t close your eyes.

She opens her eyes.

SPIKE: Look at them.

Shot of the Scoobies dancing on, oblivious.

SPIKE: That’s not your world. You belong in the shadows… with me.

Close shot on Spike’s face as he continues moving slowly and talking into Buffy’s ear.
SPIKE: Look at your friends … and tell me … you don’t love getting away with this… (Buffy still watching her friends) …right under their noses.

Close on Buffy’s face as she looks down at her friends.

Watching that scene, I was trying to see if it reminded me of my sexual abuse. Honestly, it didn’t, but that doesn’t mean that it didn’t for someone else. That’s what we were trying to say that different people read the same scene with different eyes. I see it as Buffy being with one of the only people who actually understand her, but whom she knows will never be accepted by her friends in a million years, hence the perceived hesitation. If you see that scene and it reminds you of something completely different, that is your prerogative. 

The bolded part is the one that makes the whole scene, in my opinion. He hit on her before this, in previous seasons, and she rebuffed him each and every time. She was not the most balanced in this season, which I mentioned before, but the fact that you claim that she was completely at his mercy and he was taking advantage of her for months is erasing everything Buffy is.

Buffy was traumatized. She was frozen. It is a scene that is paralleled earlier with her freezing while fighting. Spike is taking advantage of her and deliberately making her feel like shit.

Again, I’m sorry, but I just don’t see it like that. That whole season, Buffy was caught between two states, numbness and adrenaline, life and death, heaven and hell. You’re blaming Spike for everything wrong with her, without considering the fact that she was brought back from heaven by the some of the people she trusted most, and when she couldn’t turn to them because she didn’t want to hurt them, she went to him. If you want to see every action he makes as manipulative, then that’s on you. There are 4 seasons prior to this where their relationship was built, and I am not even talking about romance at this point. They are two sides of the same coin, but what strikes me most about this phrase as a non-native English speaker is that, in the end, it’s still the same coin. 

There are so many parallels between them that I can’t even name them all. They’re both heavily influences by their feelings/desires, almost selfishly so in some cases. They both love to fight, to be challenged. They both let the people they love most influence their whole life, the Scoobies for Buff, Dru and then Buffy for Spike. They can both be assholes and complete vulnerable at the same time and, for me at least, they are some of the most real characters I’ve seen on the screen. They fight, they cry, they laugh, they feel so damn much.

And now, to the final points:

Do you even realize how fucked up you sound? (…) I don’t have to reveal myself to you–you’ve made who you are perfectly clear. You’re scum of the earth. 

Throughout our “talks”, I have never called you names or talked in this manner to you. Again, I would appreciate if we could talk on private, if you want to debate some more. If not, that’s fine by me. 

At the end of the day, we are talking about two fictional characters from a TV show that ended more than 10 years ago. It’s fine to have different opinions about them, but to attack me personally because I think differently than you makes no sense. You do realize that it doesn’t matter how many names you call me, I’m not going to suddenly see the light, right? 

Spuffy was one of my first OTPs, I loved how they grew and developed over the seasons and reading fics or seeing fanart of them always makes me happy. They will always have a place in my heart, and them and the show helped me get through some personal stuff, for which i will always enjoy and cherish it. If you don’t feel the same, then there are plenty of methods to avoid it online. I just don’t understand what you gain from trying to make us feel like shit for loving something you hate?