i have such conflicting feelings about these two

13RW is not okay. I am not okay.

Please do NOT continue reading if you’re going to give me shit for this and are a ~hardcore~ lover of the show. You’re entitled to your opinion, and I am mine, and please bare in mind your ~precious~ show is (apparently lol) TRYING to send the message that words have consequences. Also remember you don’t know me, at all.

Firstly, it completely stereotypes mental illness. It takes depression back to the old stigma as a ‘cry for help’. Hannah doesn’t kill herself because she’s depressed, she kills herself as revenge for the hurt caused by people around her. In my experience, people with depression don’t actually want to die or hurt those around them, they just want the darkness, the noise, and the pain to stop.
Then, they go on to actually SHOW her suicide, which is vile - we already know she’s dead, we don’t need the graphic content of seeing it. Showing her suicide only allows for one thing; those prone to feeling the same way as Hannah have their impulses justified, it’s no longer an idea, it’s a reality.

Secondly, there are two rape scenes. Both of which are far too graphic for the audience it’s aimed at. From my experience, rape victims can’t even say the word ‘rape’, or read it, or hear it, for a long, long, long time after. I know for a fact that watching it on TV Shows/films is a trigger and a traumatic experience. To aim your show at survivors/victims and then force them to sit through TWO incredibly graphic and unnecessary rape scenes is fucking abhorrent.

Thirdly, the guilt you feel ALREADY when someone you love commits suicide is near enough to ruin you. The ‘could I have done more’ - ‘why didn’t they come to me’ - ‘was it my fault’ questions play in your head like a fucking broken record, and the emotional torment you put yourself though makes you physically throw up. Not to mention the fact you miss them every. single. day and have conflicting emotions about them/feel guilty for that too. To be seventeen, not even sure of who you are, not even left school, not legally a fucking adult, and then you receive tapes not only finding out your friend killed herself for revenge and schemed the whole thing, but BLAMES you for it. Clay made a few mistakes, yes, but also he’s a 17 year old awkward, and shy, kid, with a crush on a pretty girl and he can’t fucking READ HER MIND.

This show is a trigger, a big FUCK YOU to actual survivors of trauma, and I didn’t gain a single happy or noticeable message from the show and you should BOYCOTT IT.

Hannah Baker is a sociopath who schemes and plots her death for revenge and blames everyone else around her for her own actions. She’s the teenage version of the wife in Gone Girl.

The Transfer

The Transfer (m)

Word count: 9.4k

Genre/Warnings: language, angst, smut, dirty talk

Pairing: Hoseok x Reader

Summary: You’re a sophomore in college who always runs away from relationships. That is until you meets Jung Hoseok, the South Korean transfer who shows you what a relationship can be. Although you know it’s wrong since he’s your best friends Jimin’s new roommate.

(Again this is my old story from my Wattpad (5sos version on there) but I wanted a Hoseok story and to finish this one.) Plus I was listening to Selena Gomez’s song, Bad Liar and yeah.

Parts: two

“Kook?” you yelled threw the apartment. You waited until he answered, “Yes Puddin’?” He yelled back.

“Do you need me to wash any clothes for you? I have a little more room in the washer!”

“Yes, one second!” You heard him shuffle in his room grabbing his hamper. He walked through the den and kitchen to the laundry room. “Thank you, Puddin’.”

“You know Jimin called me Puddin’ the other day,” you said taking his clothes out and sticking them into the washing machine.

“That’s my nickname for you!” He pouted, leaning against the door frame.

It was true, ever since sixth grade. You never wanted anyone to call you by your name for some reason. You thought it might have been some teen rebellion thing. So when you came to school one day with a Harley Quinn shirt on Jungkook took that as the chance to call you puddin’ and it just stuck. You two had been best friends since and now you were in college together. It was your sophomore year at the University and you loved it. Your parents had also found the two of you an apartment close to the school, so you could “stick together,” as your parents called it. They always thought you two would end up together but you two were too close for that. You loved Jungkook but you could never be in love with him.

Keep reading

anonymous asked:

i'm bitter because noora always gets so much screentime but also because it makes NO sense this season and they didn't even try an explanation? like can we at least know why chris and sana aren't as close anymore? also, vilde and sana seemed closer than noora and sana in s2 and 3 but that doesn't fit julie shoving noora into every scene so we get caricature vilde instead

I know, I was actually really excited at the start of this season because it was a chance to explore the other side of the girl squad. Sana and Chris were the two who were originally friends and I’ve always been curious what their relationship would be like… but I can accept that Ina is busy. Maybe in-universe they weren’t as close after Chris got absorbed with Kasper but like you said, it would be nice to have given them a nod? Wouldn’t Chris at least still be texting her pictures of cats tagged “it u” or something? But actually the relationship in the girl squad I’ve always found the most interesting for Sana is Vilde

They were introduced as the polar opposites of the girl squad and their conflict and its dramatic resolution was the basis of establishing that they’re all friends in the first place. Sana’s had a lot of big emotional moments with her (“I threw water in Ingrid’s face because she and her friends called you a slut for hooking up with William.” “Vilde isn’t a mean person. We’re her friends.” ‘What are you talking about? You’re our bus boss.” “She’s actually the first one I would take to war with me.”) So, even if they were in conflict, I think it would have been way more interesting to put more time into exploring Sana’s relationship with Vilde.

I would have loved this season be more about driving out the problems between them: their shared leadership (just last season they ran Kosegruppa together, this is a thing they do), Vilde’s prejudice getting pulled into the light and confronted, maybe Vilde saying something about how she doesn’t think Sana respects her (two of the nicest things she’d said about Vilde have been said to other people, how good would it be to parallel this in s4 with Sana answering her this time?). We could still get this but Vilde hasn’t really been the face of the conflict (we spend so much time on the Pepsi Max girls) and she’s already been presented as SO unpalatable and SO islamophobic this season. I would much rather first be exploring why Sana said this (and then seeing it break down):

Instead… we’ve had Sana and Noora against the world. It feels strange to ignore that Noora and Eva are best friends and just a little too convenient to me that Noora is number one in Sana’s books once we get to her season. That’s Skam’s biggest weakness, I think: shuffling around their characters from season to season based on what’s convenient and not keeping emotional continuity. Imho, I just think this is far too much time spent on her when she already had an entire season to herself and a significant focus during s1. Why can’t we be spending our remaining minutes on characters who’ll never get the spotlight (*coughs* also Even)? Who have a more organic relationship with the lead? Why instead do we have so much wasted energy on things that don’t even seem to go anywhere (Noora/Yousef, Vilde/Magnus, Noora and Sana talking to those random guys at the cafe)??

anonymous asked:

I wanted to say that I love the posts you made about writing about siblings! Most of all when it comes to same gender siblings, very often in fiction I see the siblings having issues with each other or not getting along. Or the sibling is mostly absent during the story. I would love to see more of siblings being super close, I know some sets of sisters in my life who are super close like they are friends, and it is lovely to watchh. Why do authors tend to avoid close sibling relationships?

Thank you for your kind words! Siblings in stories are a huge passion for me, and close siblings in particular are relationships I want to see in more stories.

Unfortunately, the problem doesn’t stem from avoiding just close siblings but from avoiding close family as a whole. I don’t have any studies or papers examining the idea, no statistics I can report; what I do have are guesses based on observations and conversations with other writers about why they’re writing what they’re writing.

Myth: Main characters must have tragic backstories to be interesting.
Somehow, the idea that in order for a character to be interesting, their backstory has to be tragic has become an integral part to story-telling. Taking it one step further has been the growing idea that tragic = the loss of a person or persons close to them, and who closer than family? Family is an oasis of people who know where a character comes from and theoretically are hoping for the best for them. They’re the people who are supposed to accept a character entirely and are obligated to always love them. That loss writers are looking to capitalize on may be death, but it could also be those individuals rejecting the character, shredding that expectation of love. Having encountered plenty of folks in their own lives and others for whom those tenants and core qualities of family haven’t held up and the pain that comes from that, writers’ first thought when seeking out a tragic backstory often land in the alienation from or destruction of the character’s family. Destroying what may have been something happy for them creates tension and tragedy from which a character may find their drive for the story or send them to a state of being from which the writer wants to watch them grow. More to the point is that by destroying the family, the character’s background all of a sudden has a better ability to become fraught with mystery, the best, fastest way to make a character interesting.

What writers don’t take into account:
Writers must evaluate why they think their character has to have a tragic backstory. If it’s an interesting character they’re looking for–someone compelling that the audience is interested in getting to know–there are better, more compelling ways to do it than by destroying their family. If that’s is how a writer has chosen to hide the Family Secrets™, they perhaps need to rethink why that trope specifically is what their story hinges on and not on a thousand more believable reasons for the knowledge to be inaccessible. More importantly, writers must begin to realize that their character can still be tragic while retaining their family. Just because they’re close with their siblings doesn’t mean that the tragic thing that happened is negated by the joy they get out of being with, talking with, or in general interacting with their sibling. In fact, it might be an excellent relationship to use as a vehicle for the character’s growth.

Myth: Family members hold main characters back from their adventures.
Family is often thought of as this immovable stake in the ground of time and place. They are the constant in a character’s life, a place and people they can return to. They are the refuge, but also the people who have the character’s safety at heart. They’re more likely to ask characters not to go (for a variety of reasons including that the family needs their help at home, the family doesn’t want them to die, the family disagrees with the endeavor, etc.). Writers feel like if the character were close to their family, they might not actually get to participate in the story the writer has planned because they’d never leave those people behind or the family would never let them leave.

Additionally, family as a main character’s greatest weakness is absurdly common. They are the ones to be abducted or killed first by those looking to lure a character somewhere or inflict the most pain on a character or force a character to step their game up a notch. Because of this, writers remove family before the fray even happens, intending to strengthen their characters in the process and make them immovable themselves, unable to be coerced.

What writers don’t take into account:
Family doesn’t have to mean helpless. Give your familial characters some agency! Writing close siblings will actually give a character a huge strength in that they always know they have someone who has their back. If they let their sibling in on what’s going on and what they’re struggling with, that sibling has an opportunity to help. The idea that a character’s adventure and struggles must be kept secret from their family has fed into this–the “I don’t want to make them worry,” conundrum. It’s another situation that writers need to examine about their story and find out what’s stopping them from writing in these characters. If the answer is ever “because it’s easier,” the writer has a problem.

Myth: The power of friendship is not the same as the power of siblings.
The power of friendship and love triumphing over the powers of evil and hatred is a theme nearly every story perpetuates, whether the writer intends to or not. In the same way that humans create categories and hierarchies of what’s more important or more worthy, they’ve also managed to create the idea that the relationship between friends and the relationship between siblings doesn’t hold the same amount or type of power. Love conquers all, right? But familial love doesn’t count because it’s a requirement between family members–it comes with being family. It’s not as authentic or impressive or whatever as love grown between unrelated individuals (whether platonic or romantic) because it’s perceived as being a “gimme,” something they don’t have to work for.

What writers don’t take into account:
I’m not sure writers have really, and I mean really, evaluated how hard it is to maintain a relationship with one’s siblings, let alone keeping it a good one. Seriously. When you’re growing up, you see each other all the time! You know what bothers them, and it’s actually mildly amusing to push those buttons and see them struggle with the reaction they want to have and the one they’re allowed to have because you’re family. You see each other succeed and do absolutely amazing things; you see what each other is capable of, but you also see them mess up and it’s easier to hold the grudge against them for it because they should have known better. As we become adults and move out on our own, ideas about what’s right and okay are expanded past what the family rules were, but those rules still linger and tinge our perceptions, even of each other, and maybe a style of living a sibling has grates on your nerves because that’s not how we were raised or whatever. Our schedules become so full that communication falls by the wayside and suddenly, five years down the line, you realize that this person you used to talk to all the time is a total stranger. Keeping that love and affection between siblings is hard work and it should never ever, ever be taken for granted. Unfortunately, it is. All the time.

Myth: Close siblings don’t have conflict and are therefore uninteresting.
Story is conflict, right? Events are happening that characters have to deal with, people with different ideas about right and wrong are blocking the way, friends are making dumb decisions, and family has chosen to never own up to the problem that runs in their veins. Writers have come under the assumption that close relationships that are healthy and benefit both characters can’t contribute to or create conflict and therefore are dead weight in the story. And no dead weight can survive to the final draft.

What writers don’t take into account:
Who says people in close relationships can’t have conflict? Who says siblings who love and support each other can’t support each other right into a bad plan? Who says close siblings can’t make dumb decisions? These are two separate characters who happen to have grown up together, which also means that while they can love and support each other, they can also see the flaws and dangerous leaps of logic they each make more easily than other people. They have plenty to contribute to conflict, including coming into conflict with each other. “Close” does not mean “perfect relationship.”

I’m sure there are other reasons, too, such as not having any experience and therefore not really thinking about it or not feeling confident in portraying that kind of relationship with accuracy. I think the biggest thing writers need to do is ask themselves why they think they couldn’t have a sibling in their story and evaluate their own reasons to see what’s holding them back. Understanding our excuses can help us better address them and face new challenges head on.

I hope this has given you some insight into the issue, Anon. Good luck! -Pear

A few years ago I was at an anime con with my then 9 year old daughter. Attack on Titan had just finished it’s US broadcast and was at the height of it’s popularity. We were sitting in a panel room with Josh Grelle, the voice actor of Armin Arlert and Lauren Landa (Annie). They were entertaining questions from the audience.

I don’t know how many of you go to cons, but the questions at these events tend to be repetitive. People ask far too many about shipping. They ask about life as a voice actor, they ask the actors their favorite, hardest, easiest moments and so on. Trust me when I say voice actors are patient people.

About 30 minutes in, my daughter’s hand shot up and Josh called on her. She walked to the microphone and asked, “Do you think Armin will ever see the ocean?”

Josh, Lauren and the entire room let out a collective awwwwww and a few people actually got emotional–Josh included. He finally said, “I sure hope so. If I have one wish for this story it’s that Armin gets to see the ocean.”

I don’t share a lot of personal pictures, but I’ll make an exception here since meeting Josh was the greatest day of her life.

My daughter’s anime tastes have long since moved on to swimmers and setters, spikers and bikers, and those adorable ice skating boys, but Armin Arlert is still Her Guy. And while she doesn’t read the manga, she follows Armin-centric instagram accounts and each month asks me for details of his life. So yesterday when she came home from school, I was excited and happy to show her the panels of Armin happily splashing in the ocean. She’s waited basically a quarter of her life for this moment. 

So please believe me when I say I get it. I am  happy for everyone who loves Armin and the rest of the 104th. It was a great moment for you and I felt joy seeing your joy (especially yours @daydream24-7 and @guyinlovewitheremika ).

That said, I also completely understand the rage and disappointment in this chapter. I personally am struggling myself. This was a terrible chapter for anyone who loved Erwin, Ymir, or the Warriors. The time skip essentially rendered all of our pain as unimportant and inconsequential. We’re having to accept that everything we wanted and needed regarding our favorite characters isn’t going to happen.

We’re never going to see Nile, Pixis or, ya know, Levi’s reaction to Erwin’s death. Any conflicted feelings over eating Bert are probably long since resolved. We won’t get Reiner’s reaction. Ymir is probably dead. We’re expected to accept that Historia read her letter and got on with her life. And Annie–who dat?

It’s not just the characters I’m mourning, I have concerns about the story. In two pages the titan threat that hung over us is just gone. And not by some cool  awesome use of the coordinate, but by a titan guillotine that slowly picked them off one by one. It feels cold and anti-climactic.

I have so many questions. What about the structure of the military? Is there still a Survey Corps? What have they been doing for a year? Aren’t they worried about Zeke and Reiner? I’m sorry but you do not put a time skip in the middle of a battle. You do not leave that many threads hanging. I wanted and expected so much more.

And now people are resettling Wall Maria. What about all those bodies? Not just Erwin’s, but there are a hundred dead SC members rotting in the sun. I used to accept that there was no time to mourn the dead, but they’ve obviously had nine months of relative peace. I hope a little of that went into consideration for the fallen but we’ll never know.

While the day at the beach was nice, I’m struggling with the point of it. Was it simply to prove that Grisha’s journals were trustworthy? If so, wouldn’t being surrounded by 50 meter walls that are stuffed with a colossal titan filling be enough to prove that? 

Clearly I’m still processing all of this. I keep telling myself to be patient and give it more time, but how much more time do I allow? My biggest concern is if Isayama can still pull off a satisfying story, or is this an indication that he’s lost interest and is trying to wrap things up as quickly as possible. I’m looking forward to reading the meta of the people who I know are more objective than I am. I’m interested in hearing their thoughts. Maybe they’ll help soothe mine.

Anyway, thank you for listening. I just needed to get this out. 

anonymous asked:

I was listening to the podcast where they interviewed Zethrid's VA and she called Lotor compassionate multiple times and I honestly don't know how to feel about that

I think an easy way to make a lot of sense out of Lotor’s character is that he has two conflicting impulses in most situations and which one dominates depends a lot on his context.

One side, I would agree completely, is compassion. See, Lotor’s whole mercy and equality speech to the empire might just seem to be him playing the good guy while setting up Throk, but… you have to consider his audience.

This is a culture that’s spent the last ten thousand years headed by a guy who has tried everything, up to and including flat-out murdering loyal galra, to destroy those very ideas. What Lotor makes the backbone of his speech out of is unpopular- it’s the essence of the ideals that made so many people willing to back Throk for overtaking the throne.

Because Throk isn’t merciful, and he’s no fan of equality, either- he’s exactly the kind of racist, elitist, takes pride in all of the opponents he’s cut down, that Zarkon just adores in a soldier. Throk is everything Zarkon thinks a proper galra should be.

Lotor values mercy. And I think it’s fair to say Lotor in most circumstances does not take any particular enjoyment from others’ pain.

But that’s only half of Lotor. There’s another side of him, and that side is bitter, vindictive, and operates with all the aggression of a wounded animal backed into a corner.

Part of Lotor- and a fairly fundamental, deep-held part of him, at that- has a very hard time getting out of the mindset that if he’s not in control, it means he’s in danger.

Because you can watch the people and situations that bring out Lotor’s callous side, and without fail, it’s either something dangerous, or he’s trying to establish control of the situation before he ever bares his softer side.

Because Lotor talks about mercy a lot, and virtually always in contexts where it doesn’t actually practically serve him. And Lotor hates Zarkon- and moreover, he hates what Zarkon embodies, what Zarkon believes in. That’s genuine. There’s an actual caring person in there who wants to believe in people, in peace and diplomacy.

To Zarkon, Voltron is tantalizing because he sees it as a weapon- the biggest, baddest weapon.

Lotor? The whole backdrop of Puig, and the heavy emphasis in season three of just what Voltron means to the universe is, to me, very telling for how Lotor sees Voltron, and why he’s trying to make his own.

Because Lotor’s secret agenda isn’t an unconquerable empire like Zarkon’s- Lotor wants to become a symbol of hope and freedom to the universe. He wants to challenge Voltron for its right to be everyone’s protector. Someone who doesn’t actually care about other people doesn’t covet that role when there are much cheaper and more accessible routes to approval.

But on the other hand, there’s the fact that Lotor has been stuck with Zarkon his entire life, and- being a caring person in that context has probably been pretty quickly, and profoundly, linked with maltreatment. Again, Zarkon has no qualms sentencing people to horrible situations for not adhering to his philosophy of the universe.

So there’s the other side of Lotor that always wants to be five steps ahead of everybody because that’s the only time he feels safe, and that raw nerve, that vulnerability, is a very loud voice in his head. And this is what makes a lot of his good intentions, so far, seem either very limited in their reach, or kind of hollow- because, he really only wants this to happen on his terms.

TL;DR: Lotor makes a lot of sense if you consider him both a compassionate person and someone with a massive defensive streak, and which one wins out in any given situation depends entirely on how safe he feels. 

Writing Nice Characters

Anonymous asked: “I have a short story for my creative writing class that I’m turning into a full story. My teacher said that my main character is ‘too nice’ and ‘no one is that nice’ I have reasons for her nice and sweet, but I still want her to be realistic. Are there any tips you could give me to make her more real, but not lose her niceness/sweetness?”

Sometimes it’s hard to be nice. Being nice is not always easy, but also being nice is not the same as being “good.”  Let’s delve into that one a bit.

Keep reading

anonymous asked:

How about a rly big demon boyfriend?

You said the magic words. Can you guess what the magic words are? You don’t have to because I’ll gladly tell you they’re…really big.

Oh god there are so many good places to go with that though. I don’t know if I can decide on just one concept. Like I love the idea of you accidentally summoning this guy and he’s really way too big for the room you’re in so he has to hunch or like his horns just go straight through the ceiling. And he really tries not to destroy anything as he attempts to move around but it’s completely hopeless and you just have to get used to the fact that you can’t have anything fragile in your life ever again. And because it was an accident for a while you try to figure out how to send him back. But then you two get attached and he’s like “well I can’t really think of anyone else I’d like to spend 70 or 80 years with”. And he’s always apologizing for how big and clumsy he is, but honestly you don’t care because you love him so much.

OR you meet him in a warlock’s dungeon and he’s all chained up (and still massive) and he sneers at you and acts really cold and distant because he thinks all humans are dirt, but eventually he realizes you’re weirdly concerned about him. It freaks him out for a time how sweet you are to him and he’s like “You know what I am right??? You know what I do don’t you???” and you’re just like “Yeah, but that’s okay because you need to do that to survive and most humans who get their soul taken deserve it anyway.” And he’s just baffled. And it’s adorable. And you can tell he’s really conflicted about enjoying your affection because he feels like he’s too evil for this. Eventually the two of you conceive a plan to get him out, but you guys get caught and the warlock is like “Dudes if you wanted to like, be together you could have just asked. I can’t refuse a good romance.” (I don’t know why the warlock is like this. None of his friends know either. He’s weird. We love him anyway.)

OR he’s some kind of like cursed human who became a demon due to vile things in his past. And maybe he like lives in the creepy castles over yonder where you’re always told not to go “or the demon king will eat you” and you’re like psshaw I aint scurred. And you do a dumb and go and get captured and you see him and he’s like a freaking mountain of muscle and you’re like ‘holy shit he’s very attractive to me for some reason???’ And he can tell you’re attracted to him and this peaks his interest so he keeps you around assuming you’ll just be a bit of fun. But then of course he gets attached and when one of his servants goes to make a move on you he completely loses his shit about it. But then he’s like, wait, what if they like my servant better because they’re more human looking? What if they’re better off with them? What if I am not as attractive to them as I thought??? And he’s a big confused demon lord until you guys have a heart to heart and you reassure him you feel very strongly him.

I feel like I could keep going or go really in-depth but I will stop here because I feel good merely having been able to answer an ask at all and I don’t want to burn out.

honestly i’m pissed first i had to deal with all these idiot antis and now i have to scroll through nonstop text posts about how y’all didn’t think hunk and lance kept their character development from season one because they weren’t the focus

it was not their turn for further development, first of all. and we got to see lance save an entire brainwashed civilization himself!!! lance is heroic and adventurous and he doesn’t crack under pressure! that’s so freaking badass!!!!

 hunk started his journey to becoming brave and selfless in season one, but clearly he’s still at the point where his heart isn’t fully in anything unless it directly affects someone he has a personal connection with. otherwise, he’s mostly about self-preservation.

 AND YES, THERE WERE MORE FAT/FOOD JOKES THAN NECESSARY, I KNOW, AND I’M NOT HAPPY ABOUT IT EITHER. but stop ignoring all the new stuff about hunk we saw this season. He has like, not just an obsession with eating, he has a Passion for Cooking. He’s not a gluttonous idiot, he’s a complex person who’s interested in the culinary arts. you would miss earth food too if you were already a critic before and suddenly you’re stuck trying to figure out weird bland space food. 


when hunk got stuck indebted to vrepit sal, we saw hunk take that shit in stride! he saw the situation and was like “i can fuckin work with this” y’know, LIKE HE DID IN SEASON ONE WHEN ALL OF Y’ALL WERE SCREAMING ABOUT HIS ENGINEERING SKILLS, INNOVATION, AND INTUITION. we got to see hunk take fucking charge in that kitchen!!! he was having NO foolishness!!! it’s nice to see hunk being confident enough to not take no for an answer when it comes to his area of expertise.

and that’s just the POSITIVE development we see in season two! there was negative stuff we learned about them too!

lance is still super insecure around shiro, and especially keith. lance feels threatened by keith’s mysteriousness and how close he is with their leader and lashes out at him at every opportunity. keith does his best to be civil and avoid conflict, LIKE I TOLD Y’ALL HE DOES back in my super long keith post. sometimes keith is able to keep the peace between them, and sometimes he gives into it because he’s just a competitive person and lance keeps provoking him. i don’t think lance fully understands yet that keith isn’t always looking to outshine him.

we also learn that hunk uses humor as a defense mechanism, (much like shiro.) i mean, i guess we kinda already saw that in season one, but like, this season it’s more clear that he’s just deadpan joking and not actually stupid. and he can be super insensitive!!! like, the whole “galra keith” thing was funny for like two seconds, but hunk is fuckin milking it, and guess what!! that shit is racist!!!!!!! hunk probably thinks it’s not the same thing because it’s about keith being an alien and not him being two different earth races, there’s a disconnect in his mind about it. hunk is not the most precious cinnamon roll we’ve built him up to be!!! hunk is kinda an asshole!!! i look forward to that issue being dealt with in the upcoming season/(or possibly?comics). 


upsettoland  asked:

thoughts on the relationship between marvin and jason? :0 (i know we've discussed this a bit before but !!! i love them)


As a preface, let me just say that Marvin and Jason are indisputably the most important characters in the entire musical. It’s honestly a fierce debate on which of those two are the quote-unquote “main character” because literally everything is centered around these two (the conflict, the subplots, the other characters, etc). They both single-handedly as well as together drive home the whole musical through their internal struggles, dynamic with the other characters, and character developments. I cannot articulate how much I love these two characters and esp how they mirror and struggle against one another.

Act One

The whole focus of Act 1 is centered on the estrangement between Marvin and Jason. As we know from the preface in Tight Knit Family, Marvin not only “divorced his wife…ran off with a friend” but he also “left his child.” Marvin essentially abandoned his family (or at least, that’s definitely how Jason sees it) in order to pursue a relationship with Whizzer and cultivate his true sense of identity as a gay man. Marvin’s abandonment of Jason is the direct cause of Jason acting out, and - as we see Mendel assuming the role of father figure after Tight Knit Family (Reprise) - Jason seems way more grounded and controlled while Jason’s (and Trina’s) perceived abandonment causes Marvin to snap (as seen clearly in “Marvin Hits Trina”). It was very, very pointed in the behavior reversal - In “My Father’s a Homo / Everyone Tells Jason to See a Psychiatrist,” Jason is shown to be stomping around and knocking over blocks, much to the annoyance of his parents; in “Marvin Hits Trina,” Marvin does the exact same thing. They pull the exact same temper tantrum (except Marvin’s is obviously way more extreme).

Jason is very visibly angry and hurt by his father’s abandonment, and this anger clearly manifests in his fear of being gay (he is so averse to being anything like Marvin). Throughout Act One, he tries very hard to make Marvin angry and exasperated (”Daddy is a prick…Daddy isn’t mine” / ”just because you failed as parents” / “I wanna speak with Whizzer” / there’s more, but you get the gist). It’s to the point that Marvin is convinced Jason doesn’t even love him (Jason, “I love my mother,” / Marvin “Why not me?”). And what’s so frustrating is that Marvin even thinks that he’s trying so hard (taking him to ball games and museums, encouraging Jason about how smart he is, trying to speak “words of wisdom”) when it’s then revealed/heavily implied in “Father to Son” that Marvin had never even apologized for what he had done to his son until then. Marvin literally was “marching in one place” because he refused to see his actions as selfish and kept trying to have this “tight-knit family” when he was the one who tore it apart in the first place.

And it just always hurt me because it’s not like Marvin and Jason don’t love each other. In “I Never Wanted to Love You,” Jason says, “I love my dad / I love the things I never had” (which could mean a positive role model in the form of a father but shh that’s just me being super super meta). Jason - despite his behavior and affirmations to otherwise - loves Marvin and desires his presence in his life. Marvin had just been so blinded by the perception of what a family should look like that he had ignored Jason, who was acting out specifically to get Marvin’s attention. And Marvin acknowledges his son’s internal conflict (“How he adores and hates me”) as well as admitting (quite cruelly) that he never even wanted to love Jason in the first place. He just wanted to “see [Marvin’s own] face in [Jason’s].” He wanted a mini-Marvin, but Jason wasn’t that. And it frustrated Marvin to no end throughout the entire first act, and it isn’t until “Father to Son” that he gives Jason “his blessing” to be his own person and learn from Marvin’s mistakes.

SPEAKING OF FATHER TO SON - OH MY. Most musicals have a “let’s see how many throwbacks to prior songs we can fit into this last one in the act” song as the act one finale (obv it should be noted that Finn maybe didn’t do this because “Act One” of Falsettos was originally written as its own stand-alone musical entitled “March of the Falsettos”), but Falsettos didn’t do that. No, it stayed focused on the one relationship that Marvin had any semblance of saving: his relationship with his son.

And it’s just so powerful because it’s in “Father to Son” that you really see Marvin’s redemption arc. Like, he realizes his mistakes (”what I’ve done to you is rotten”) and he freely admits to wanting that closer connection to him (”Kid, be my son”) and he is finally dropping his expectations of Jason being a mini-Marvin (”I’ve made my choice. You can sing a different song”). And Christian Borle and Anthony Rosenthal really, really did an amazing job with this scene - the soft tones, the crumpled looks, the hug at the very end oh don’t even get me started. Like, it was one of the most powerful songs in the entire musical and it can get me real choked up so I’m just going to move on to Act Two now, okay?

Act Two

Act Two is less heavily focused on Marvin and Jason’s relationship, but it is still very prominent. Marvin is a lot more open and doting on Jason (”My child” - tbh literally all of Year of the Child), and his “becoming of a man” is shown to be really, really important to Marvin. He supports Jason and is a lot less self-absorbed, but we can still see some friction between them. In “Everyone Hates His Parents,” Jason is shown to be really fed up with his parents bickering and fighting, demonstrating that though Marvin has grown up considerably, he can still be over-bearing and self-absorbed about things. 

And like? I wasn’t going to mention this, but it should be mentioned that Jason is the whole reason that Marvin found happiness again by inviting Whizzer to his baseball game, knowing damn well that Marvin is still not over him. Like honestly?? Jason, way to be a bro.

But OH LORD, JASON’S BAR MITZVAH!!!! Don’t even talk to me about “don’t know why but he looks like Marvin.” It is one of my favorite lines of the musical, and yeah, it seems kinda offhanded and stupid (because of course he looks like Marvin - it’s his son???) but it ISN’T. 

Do you remember how averse Jason was in act one to resemble his father in any way (see: Jason’s therapy)? Act One Jason would have balked at this line, but that’s not the reaction that we see from Jason. Instead, we have Marvin fiddling with Jason’s clothes and Jason smiling up at him and Marvin’s whispering words of encouragement, and it’s important because that line isn’t an insult anymore. 

In Summary

Jason and Marvin are parallels to each other. They throw temper tantrums and are very, very idealistic (Marvin’s “Tight Knit Family” Dream and Jason’s “Another Miracle of Judaism” Prayer”) and wrestle against insecurities and had loved and lost someone that meant the absolute most to them. 

Trina was right in that Jason certainly is “Marvin’s child.”

13 Going on 30 (Part 8)

Summary: When your 13th birthday party goes awry, and you make a life changing wish - you wake up to discover you’ve flash forwarded 17 years ahead.

Word Count: 1,730.

A/N: Tags weren’t working again so if you got another notif saying that I tagged you, well that’s why. Anyways here’s part 8! Words can’t even express how things are going to turn out. Hope you guys enjoy and I’m always happy to hear your feedback :D

13 Going on 30 (Masterlist)

Originally posted by rohgers

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“I love Ben Whishaw. He’s very open, permissive, hard-working, warm… and he has that kind of thrumming majesty in the moment. Both of us were sort of circling around the play, and the day President Trump was elected I said, ‘Look, I’m going to do this play, because it feels important,’ and he said, ‘Yeah, I’m with you,’ so that kind of in-sighted the thing for us two to happen.

He inspires companies, and something I love about him in this play in particularly, he’s not just light, and luminous and open, he’s really kind of virile and conflicted. I think he can do anything. It’s such a privilege to have him in this play.”

Ian Rickson, director of ‘Against’.

anonymous asked:

how do i create characters that feel clearly different from each other, but while still making sense as to why they get along?

Thanks so much for your question, love!  I’m gonna have to clarify on something, but I’ll give you a few different takes to hopefully help you :)

Reading your question, I wasn’t quite sure what to make of the idea of “feeling different from each other,” as that can mean a few different things.  It could be anything from feeling differently about wanting children to disagreeing on the death penalty, and those are two very complex situations.  So you’ll need to identify on what level your characters disagree: situational, moral, or personal.  I covered this very briefly in this post, but I’ll expand here.

  • Situational Conflicts – These conflicts are the easiest on relationship as they’re usually short-term and less personal than other conflicts.  The disagreement arises from a current situation – the two characters may disagree on a course of action or how a problem will play out, putting them at odds with each other.  The more important the issue is (or the more frequently it comes up), the more awkward or even contentious interactions can be.  Discussion, compromise, or altogether ignoring the issue/allowing someone else to make the decision will reduce tension.
  • Moral Conflicts – These conflicts are much harder on a relationship, as they have more to do with the people involved.   This involves beliefs on religion, ethics, politics, etc., and can be spurred by situational conflicts.   Moral disagreements can weed their way into many situations, so they have to be either purposefully avoided/ignored or resolved in order to maintain “normal” interactions.
  • Personal Conflicts – Lastly, the deepest and most difficult conflict in a relationship – personal conflicts, including past hurts, different desires for the relationship, different methods of emotional expression, and so forth.  While these disagreements can be ignored day-to-day, they color how two people see each other, and can prevent further relationship development.  The more emotionally-charged these disagreements are, the easier it is to hurt each other.  Personal conflicts can only be ignored for a short amount of time, and rarely can two people “agree to disagree” on them.

Overall, situational and moral conflicts can reach a point of mutual disagreement without being contentious.  Many people navigate those differences through humor and teasing each other, engaging in respectful (or sometimes heated) debates once in a while, or completely avoiding the topic.  But personal conflicts can only be ignored on the surface.  If your characters disagree on something major, it’ll be difficult to “get along.”

Just remember to have some areas in the characters’ lives where they do connect, so they have something else keeping them talking.  No two people disagree on everything and still want to hang out!

Anyway, that’s all I can give you without more information.  If you need further help, be sure to let us know in the future :)  Thanks again!

- Mod Joanna ♥️

If you need advice on general writing or fanfiction, you should maybe ask us!

It’s weird. It’s just different. It’s not… men… it’s just him.” – Ianto Jones

Whereas Will Graham is very definitely heterosexual, but that does not necessarily prevent us from a homoerotic subtext.” – Bryan Fuller

One is queer. One is not. That’s life. It’s not queerbaiting.” – Cory Michael Smith

a lot of people are up in arms about what cory said. and i understand. people are completely entitled to be upset. however, ed being straight definitely doesn’t mean this ship has sunk, and that we were all lied to and strung along and baited. far from it.

two of the most popular gay live-action relationships on tumblr are (arguably) jack and ianto from torchwood, and hannibal and will from hannibal. however, ianto himself says that he’s not gay. he’s not attracted to men. he’s just attracted to jack harkness. and bryan fuller has said, in various interviews, that will graham is straight. and yet hannigram is still one of the most beautiful depictions of a homosexual relationship in television history.

ed being straight doesn’t end nygmobblepot. i mean, first of all, cory’s word is not gospel. yes, he has some creative control over his characterisation, but ultimately, the writers can flip ed’s sexuality any which way, if (and when) the story calls for it.

at the moment, ed’s claimed to only be in love with kristen and isabella, but that could all change. (especially given that ed’s love for kristen and isabella wasn’t genuine love at all, and he’s never sacrificed anything for either of them. more on that in my other meta here.)

secondly, ed might think he’s straight right now. but that doesn’t necessarily mean that he’s right. this is a guy who didn’t lose his virginity until his late 20′s, and presumably had few close connections to either men or women before adulthood. so (because heteronormativity is a bitch) ed probably just assumes he’s straight because the only “love” he’s ever experienced has been for kristen and isabella.

ed’s heterosexuality doesn’t mean that ed and oswald won’t still have a complex, interesting, relationship. there is no denying that ed cares deeply for oswald, and that oswald had a huge hand in making ed into the man he is today. there are some deep, complicated emotions between these two. it’s not as simple as “ed loves oswald, and then they become boyfriends.” it’s a lot more complicated than that.

ed’s feelings might be similar to ianto’s. he sees himself as straight. and, for the most part, he is straight. he’s usually attracted to women. but oswald is the exception. because oswald is right – no one knows ed the way that oswald does. no one has loved ed as selflessly, and deeply, as oswald now loves him. ed labels himself as heterosexual, because, perhaps, he mostly is. and yet he’s still in love with oswald.

will never outright said that he was in love with hannibal. they openly said that hannibal was in love with will, and will was super queer coded, but will’s feelings were never explicitly stated. he said some pretentious poetic things that implied that he loved hannibal (“i told him to leave because i wanted him to run… and because i wanted to run away with him.” “you and i have begun to blur.” “we’re conjoined. i’m curious whether either of us can survive separation.”)

but he never actually said the words “i am in love with hannibal lecter.” he didn’t have to. it was clear, by the end of the season, that will felt something for hannibal. whether it was infatuation or obsession or love, it was definitely something. just as ed doesn’t have to explicitly state that he is in love with oswald, it’s still clear, from his expressions and his reactions to oswald, that he feels something for him.

ed spends most of 3.14 looking conflicted and confused (see: his angry reaction when oswald says “i did because i love you. you should know that.” and his expression when oswald asks if he passed the test, and his expression while oswald is telling him that they need each other, and his expression after oswald falls into the water.)

the final straw of ed’s grand plan™ depended on the fact that oswald couldn’t change. but now ed’s been proven wrong. do yourself a favour, and re-read this beautiful bit of dialogue:

oswald: “the fact that i love you proves that i can change. just give me a chance.”

ed: “you know as well as i that a man facing death will say anything to save his skin. and you won’t change… because you can’t.”

that’s ed saying that he’s not giving oswald a chance because he believes that oswald is incapable of changing. not because he doesn’t reciprocate his feelings. but because he thinks that oswald is capable of love. ed is basically saying “i’m not giving us a chance because you are incapable of love.”

(though, that’s probably a subconscious thing on ed’s part. he was just completely closed to the idea of having a relationship with oswald because, in his mind, it could never happen. he just didn’t consider the possibility, so it’s not even a conscious thing.)

so, now that he knows oswald is capable of change, his feelings towards entering a relationship with oswald might change. because his view of oswald as a person have changed. he thought that oswald was a heartless, loveless, person. turns out, he’s wrong. and ed hates being wrong. so that’s gonna prey on his mind.

of course, ed later says “i don’t love you”, but i think that’s just a case of ed being in super deep Denial, because he’s conflicted about his very complex feelings for oswald. ed can say he doesn’t love oswald all he wants, but there’s no denying that the two of them have a very deep, twisted, relationship.

nygmobblepot isn’t over, y’all. it’s just getting started.


Jeremy, a socially powerful man and your obsessive lover, finally admits that leaving his family is out of the question and that all the two of you can have are these sporadic sexcapades. Coincidentally, this takes place around the same time you meet Tom, and end up falling in love with him. When Jeremy finds out that he has no interest in you, he threatens him saying he’ll destroy his career and reputation if he doesn’t marry you. The same will happen if he dares try to control you in any way, stop your affair with him, or divorce you in the future. 

Once you discover what your ex-lover did and how you’re in a loveless marriage, you decide to take advantage of it to get back at everyone, and when you and Tom are on his business trips, you start having affairs with two other powerful men, Sebastian and Michael. You don’t hide that from your husband, in fact, you’re extremely shameless about it. As time goes by, Tom starts developing real feelings for you and is suddenly conflicted because if he does anything about it, he knows he will have to deal with Jeremy, who won’t believe a word that comes out of his mouth.

The more I think about it, the more I’m convinced there should have been a Vashoth companion in da2. I mean, the entire central conflict of Act 2 revolves around the conflict with the Qunari and the stigma against them, right? And since the game seems keen on giving us a companion that connects to each conflict in the game, I feel like it dropped the ball there. 

Think about it. A Vashoth companion would have given the persecution going on in Act 2 more weight. Throughout the game, the Qunari and the Tal-Vashoth mercenaries we encounter are treated as the Other. They remain alien to the player throughout the game. Having a character like Sten or the Iron Bull around could have de-otherized them–which I believe ultimately would have made the conflict more resonant. Not to say that I think the Qun is good, but I feel like it’s worth it to characterize your fantasy peoples as well, people, instead of weird “barbaric” monster-looking foreigners that you don’t have to give much thought to before you cut them down in combat.

No, I don’t think Tallis fills this role–she’s a Qunari convert, yes, but she’s temporary and she’s another elf when we already have two in a game that’s not all that much about elves. I feel like the story could have benefited from someone who was horned and grey.

Forgotten (Grayson x Reader)

Summary: Requested by two anons: “could you do a imagine/fic about grayson being really busy with youtube and work and his girlfriend being hurt about him not having time to hang out but also feeling conflicted about being mad at him since its his job and he loves what he does?” and “could you make an imagine about Grayson forgetting a date because he was out with his friends or something?”
Word Count: 1,347
Warnings: None.
A/N: I felt like these two requests could go together, so anons, I hope you enjoy this xx

Lately it had been weird between you and Grayson. You had been busy with school and he had been busy working on creating bigger and better things with Ethan. At first it was fine, you had seen each other maybe two, three times a week, spending every spare moment together. But when you graduated, you began feeling like you had to see more of him.

He had been getting busier, which resulted in you seeing each other once a week, and if you were really lucky, twice a week. You never expressed your thoughts to him though, because it was after all his job and he loved what he was doing. You never wanted to be the one who put a stop to that, you loved him too much.

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Jonsa Battlements Convo Analysis (for the worried shippers)

I actually wrote this when replying to a thread, but figured it would reach more of you if I tagged it appropriately and posted it as a meta (bear with me, I kinda suck at these). I see a lot of asks floating around about what many feel is Jon’s ooc behavior while conversing with Sansa, so I’m here to (hopefully) put some of you at ease.

I went back and watched the beginning of this ep. again so everything would be fresh in my mind.

So let’s start from the top at the Stark town hall meeting lol - Jon’s laying down the game plan, and Karstarks and Umbers come up along with the word treason (I feel like this is a good time to mention that this is probably a touchy word for Jon considering what happened on the Wall). So we all know the convo, we all know that Sansa interjects her opinion. She’s not wrong, but I’ve mentioned before that I agree with Jon’s reasoning on this matter. But, let’s break this down a bit more - a war is upon them and the WW are coming and Jon KNOWS they don’t have the numbers (as clearly mentioned when he ordered that girls/women would have to take up arms as well) -he needs everyone united.

Taking this a bit further, we all know that Jon’s KitN status is tenuous at best, and so he needs it to be clear to his “subjects” that he is a STRONG leader and that his say is the final one. At the end of this scene, when Jon talks about living by Ned’s words: “the man who passes the sentence should swing the sword” he lets everyone know that he’s been betrayed and executed men for not following his orders, but he’s also a fair man, and doesn’t believe in bestowing the sins of the fathers onto the children. It’s a moving speech really, and when he beckons the children forward and they bend the knee and swear to house Stark, the camera pans to Sansa’s face TWICE - the first time she’s looking up at Jon and then afterwards, her eyes are lowered and she’s looking down and the scene cuts with LF smirking in his creepy Chester way. Now, I get the impression that Sansa’s expression is ambiguous for a reason- and we are left to interpret it in two ways: she resents Jon for going against her, OR she realizes that what he says rings true and therefore lowers her eyes a bit shamefully (and maybe that’s not exactly the best word to use, but I hope you all pick up what I’m throwing down here -like when someone brings up a better point than you, and you know deep down that they’re right). I’m going with the latter, and I’ll explain in a bit more detail below.

I know I’m not alone here in thinking that Jon, Sansa and their advisors should have probably discussed this prior to the meeting, however, they are new to this “ruling Winterfell together” thing, and are learning as they go. I think the writers wanted to make that painfully obvious.

So moving along, and now they’re walking through Winterfell and Jon seems tense and agitated, walking a bit ahead of Sansa, as they hash out their differences. I reiterate: they are talking about it, NOT burying their disagreement and allowing it to fester and drive a wedge between them. That’s an important distinction, even though I believe the writers are trying very hard to tease a “growing conflict” between the two of them -but not exactly the type of conflict that you would see at face value. Does that make sense?

Sansa is more bold here in her home, she doesn’t have to keep her mouth shut like she did in KL -she feels safe in Winterfell, and safe enough around Jon to express how she really feels about things. That’s really fucking important you guys!!! And so, she DOES.

J: you are my sister, but I am king now.

S: will you start wearing a crown?

This is blatant sarcasm. Don’t let the power go to your head, Jon. He may be the KitN but she is also the true born heir to Winterfell, and NOT ONCE has she made mention of that or tried to wield her power over him. She just wants to be heard. She brings up Joffrey as a warning -he was a cruel little selfish shit who did what he wanted, when he wanted, with no thought to consequences or how it would affect others. He let no one question his authority. He wasn’t a good king.

J: do you think I am Joffrey?

Jon says this with utter disgust -in both inflection and his facial expression. He’s insulted, visibly upset, and it stops him dead in his tracks. Sansa comes around to stand before him, she looks away and sighs, her features soften. Of course Jon is NOTHING like Joffrey. She tells him so in a very sincere and heartfelt way.

S: you are as far from Joffrey as anyone I’ve ever met.

Jon thanks her sincerely for the obvious compliment and quickly looks away and down at the landscape. Why is he having such a hard time looking at her lately? Especially when he couldn’t keep his eyes OFF OF HER last season?? What’s with all this Starkbowl tension of an unusual kind?

Now earlier I said I’d explain why I felt Sansa’s expressions (and looking down) in the last scene meant I felt the latter -that she believed Jon was right in what he did even if she didn’t fully agree with it - what she says next pretty much seals the deal for me.

S: you’re good at this, you know?

J: at what?

S: at ruling.

J: no. (He sighs and looks away again).

S: you are. YOU ARE (I’m on mobile, so pretend my caps are italics for inflection instead).

Sansa is persistent. She really does believe he is a good King. A good man. Our sweet Emo Jon really has the lowest of low self esteem. He wants to be worthy of the name Stark. Worthy of Sansa. His expression here is so fucking important, guys! His eyes are downcast, and he drags them up to look her in the eyes. Sansa believes in him -the approval he always sought from Lady Catelyn (who Sansa is portrayed so much as very similar to her mother), who never let him forget that he was an (unworthy) bastard. And here’s where it gets sticky -

S: they believe in you, they really do (a sort of eye-roll) but you have to ….

Jon gives a sardonic shake of his head and a laugh to accompany it. He almost believed her and he feels like the joke is on him. Sansa asks why he’s laughing, because she TRULY is being sincere, but Jon feels like she’s just placating him. He brushes past her and starts walking again. Their gait is a bit slower now, but he still walks in front of her, explaining what Ned said/meant about “anything that comes before ‘but’ is horse shit”.

S: the world is dirty -father couldn’t protect me, and neither can you, so stop trying. (I can handle the truth, remember the chat we had about being honest with each other -heed your own advice Jon).

J: right. I’ll stop trying to protect you when you stop trying to undermine me.

S: I’m not trying to undermine you. 
(Dammit Jon, listen to me. I’m on your side.)

She grabs his arm and forces him to stop and face her. He sighs again, looks down at where she’s holding onto him, and again drags his eyes up her body before meeting her gaze (FYI: this in itself is a romance trope and it’s funny that the cameras pan in on her grabbing his arm -like “hey! See what we’re doing here in plain sight?”). She tells him he has to be smarter than Robb and Father -they were good men, honorable men, she loves and misses them, but they made stupid mistakes which cost them their lives (and she doesn’t want the same fate to befall you Jon, duh!).

Jon: and how should I be smarter? By listening to you?

Sigh. This is an asinine statement, and I agree, quite OOC for Jon, but okay, bear with me here, Jon needed to say something to keep this “tension” bubbling -and I think this was tossed in here simply for her reply.

S: (voice so very soft and imploring, her pretty blue eyes boring into him) Would that really be so terrible?

Jon sighs again -like a full-on, heavy body sigh. His own expression softens (note how closely and intimately they are standing now?) and he looks like he’s about to say something, and then they’re interrupted. (Ned/Cat parallel from S01xE01).

GOT7 reaction to another member flirting with their s/o

Awww thank you ily


Mark would be pissed, to say the least. I think he’d probably walk up to the two of you with an expression only to be described as murderous. He’d probably ask the member wtf they thought they were doing before taking your hand and pulling you away. I think he’d hold a grudge against that member for a while, honestly.


Oh hell no. Jaebum would be at your side so fast you’d wonder if he’d just materialized. I don’t think he’d say anything to the member at that second, preferring to let them explain themselves later, but he’d definitely shoot a glare and lead you somewhere else, where he’d ask you exactly what the member was saying to you so he could get a better grasp of what happened. 


Jackson is pretty impulsive, so I think that when he saw another member flirting with you, he wouldn’t think twice about chewing them out right then and there. Later, though, once you had cooled him down a bit, he would probably want to talk more civilly about it and work something out because he doesn’t want to hate any of his members, even if something like this happens


He’d try his best not to murder the member in question. I think instead of leading you away like the others, he’d throw himself into the conversation and throw some serious shade not-so-subtly let the member know how pissed he was. Eventually he’d get so angry he’d just come out and ask why they were doing such a thing when they knew you were with him and it wouldn’t be pretty


author’s note: I searched for forever, but this is the best gif I could find omg

Youngjae wouldn’t be able to think clearly, he’d be so upset. He’d doubt whether you wanted to be with him or not, not because he didn’t trust you, but because he’d suddenly start to doubt himself. I don’t think he’d come and talk to you or the member, but would wait until he saw you again to ask what happened. Honestly, he’d be so upset about the whole situation, he might just have to talk shit about that member for a bit to cool down enough to go and deal with him face-to-face. 


Pissed. When he caught the member flirting with you, he’d hesitate for about .5 seconds, but then would stroll up and announce that you were dating him, so he was going to take his girlfriend on a date, thank you very much. When you two had left the area, he’d start ranting, asking who tf the member thought he was. He’d probably feel a little insecure, like Youngjae, so you’d have to comfort and tell him you weren’t going to leave him for another member.


I’m really conflicted about Yugyeom. On one hand, I think this would really upset him, but I also think he’d be good at controlling himself and not doing anything rash. That said, he’d definitely walk over to the two of you and just sort of put an arm around your waist and stare at the member. If, for some reason, the member kept up the conversation, Yugyeom would roll his eyes and start to pull away.

What Sex With 5SOS Would Be Like Based Off Their Venus & Mars Sign

I’m really into astrology so this is going to be a blurb (?) on how I think sex with the boys would be like based off of their Venus and Mars signs enjoy

disclaimer: i’m in no ways a professional okay don’t come for me if you don’t agree with something i said but i’m all up for discussion on it though! these are my opinions based off their birth charts okay cool. feedback is always appreciated

(if you’d like to see 5SOS’s birth charts explained and all read the link below)


Quick rundown

Venus represents love/romance
Mars represents sexual desires

Obviously these two play a big role in sex so this is about how I think these two work hand in hand with the boys and their sex lives.


Venus: Pisces 

Mars: Aquarius

Because of Calum’s Venus sign he’s very romantic. Pisces love the idea of a movie type love. During sex, he may tend to do more intimate things (I can see Calum being the type of person to kiss you passionately after eating you out and vice versa.)  Pisces also really enjoy pleasing their partner because they typically put that person before themselves. Sex with a Venus in Pisces is super passionate ugh don’t accidentally fall in love.

NOW on the contrary, because of Calum’s Mars sign he’s definitely into trying new things (ex. new positions, different ways of foreplay etc.; routine is not in their vocabulary.) Aquarians have a very ‘I don’t give a fuck attitude’ about a lot of things and they’re also very curious by nature so I’m sure he’s blunt about what he wants to do with his partner. Also, Aquarians may seem to be emotionally detached with their partners SO something he’s could be super into is phone sex /cyber-sex because he doesn’t have to deal with the activities that come after sex such as cuddling (and because again of his curious nature of trying new things!)

These two signs obviously conflict slightly because one is so romantic and the other is so distant so this is frustrating. I honestly think it depends on who it is he’s sleeping with and how he feels about them!

Venus: Leo 

Mars: Gemini

Leos love and crave attention. Ashton’s Venus sign would make sex a time to show off what he’s capable of. Ashton probably tries to be the best he can be in the bedroom. Leo’s love to feel like they’re superior, like a Lion (duh,) so Ashton’s most likely going to play the dominate role during sex surprise surprise. While they like to feel this way, Leo’s like to make their partner feel like the king/queen they are (or maybe Princess *wink*.) Ashton’s probably super into pleasing whoever it is he’s having sex with. Also, I’m 100% sure Ashton appreciates feedback during sex because Leo’s need a lot of validation in their love/sex life so being vocal is something he would ask for, (ex. “Tell me who’s making you feel this good.”) Lastly, since Leo’s love affection I’m sure Ashton is up for pillow talk or getting held after sex, (Remember when he said he likes being a little spoon? I think his Sun sign and Venus have a lot to do with that.)

Now as for Ashton’s Mars sign (which I’m crying at,) Gemini’s are very non-traditional individuals. They get bored very easily so don’t expect the same thing from one at all. Gemini’s are into trying new ways of pleasure whether it be new positions, role playing, toys etc. They’re generally very kinky people, which only makes the ‘conspiracy’ that Ashton has a daddy kink STRONGER. Also, just like his Venus sign, people with a Mars in Gemini appreciate vocalism. If Ashton wanted to try something new he’d tell you straight up.

In summary, I personally think Ashton has the best Venus and Mars it’s a crazy mixture of fire and air I’m here for it. (HONESTLY ASHTON’S WHOLE BIRTH CHART IS PRETTY GOOD OVERALL.)

Venus: Gemini

Mars: Gemini

Now, before I even get into this I have something to say. Y’all need to put some respect on Luke’s stroke game. I am TIRED of people thinking he’s a little soft ass ‘vanilla’ loser. Now, Luke having his Venus in Gemini makes him a very playful person. Gemini’s get bored very easily so they enjoy variety so he’s probably into experimenting new things in the bedroom to spice things up.  Despite the Gemini’s need for a fun sex life, they still tend to overthink the act. What if’s may come in the way of trying out something.

So, Luke’s summary of his Mars sign is going to sound repetitive cause Ashton has the same one. One thing I didn’t add is that people with their Mars in Gemini love talking during sex whether it be dirty talking or actual talking. It’s seen to them as “extended foreplay.” And, Gemini’s love kissing! I’m sure Luke loves a good passionate kiss during sex. Luke’s totally into trying new positions, I’m sure he has kinks, I personally can see him just being into edging or the whole dominate submissive thing. (I bet he wouldn’t mind being the sub either with both signs being a Gemini you never know!)

Long story short put some respect on my boy’s name! Just cause he’s a cancer doesn’t mean he won’t BEAT IT UP in bed! He’s still a sweet sensitive person but he’s definitely not traditional/boring.

Venus: Sagittarius

Mars: Sagittarius

So Sagittarians are super flirty and unpredictable like any fire sign would be! They’re also very adventurous, so just like the rest of them, Michael is totally down to try new things in bed.  If sex becomes predictable he could quickly become tired of his partner. With Michael’s Venus sign, he likes his partner to be just as open as he is when it comes to sex. Michael is very fun person in bed, and is always ready to endure in the act. These signs are literally down to have sex anywhere, (outdoors, showers whatever it doesn’t stay in the bedroom, cause that’s BORING!)  

Now his Mars sign is the same! Sagittarians see sex like a sport, literally passion is not in their vocabulary. Michael is very open and direct with what he wants pleasure wise. Sagittarians tend to be a little selfish when it comes to them getting off, they like foreplay, but not too much. Michael would much rather get right to it because he’s so impatient. Also, Sagittarians have high sexual stamina, so Michael is probably wanting someone who’s up for multiple rounds.  

Basically Michael’s a dog LOL I’m joking but seriously though Michael loves sex every smut writer perceives him as that guy and his birth chart agrees so that’s in ter est ing