i like the way things are going on this season

tbh i’m not quite sure how to put it into words but like. season one is pretty amazing. because it starts and it’s this show about two boys who go around hunting monsters and yeah it’s nice because it’s got this cool classic americana aesthetic with this dark ass lighting that sets the tone but i dunno. that kinda seems to be it. but then dean shoves sam up against the bridge and says in that deep, low way of his don’t talk about her like that and just for a second you’re like oh, oh, okay, and it’s this hint of something more

like the story of supernatural is original and all but the whole monster hunting thing has been done already and hell someone watching season one could easily say well why am i watching this when i could just be watching the x-files but like

the reason that they didn’t do that was because of dead on the water, because of faith, because of devil’s trap and john begging sam to shoot him while dean whimpers on the floor not to. because someone who didn’t know this show beforehand would think they were signing up for a show about guys who hunt monsters and demons and ghosts but the story just unfolds and suddenly this monster hunting show has some of the richest and deepest characters that all of television has to offer

realizing just how lonely dean is, how desperate and afraid, and realizing how similar sam is to john when you thought it would be dean who was, and then watching how john interacts with both of them and the different ways they respond to it, that’s what makes season one, it’s the show saying hey, here are these two brothers, these cool all-american guys, and then it slowly unties all the knots until all the threads are laid out on the table and wow, it goes a whole lot deeper than you thought it would

so basically in conclusion season one of spn is extremely underrated, please love it as much as i do

Samurai Jack: Scaramouche is a Bard

I have been peeking in on the latest Samurai Jack episodes, and I have got to say, I’m impressed! The show was already very badass for its time, and with the much darker tone of season five, it only gets more amazing from here.

Before I go rambling any further, I would like the point out a very interesting thing that I noticed while watching the fight between Jack and Scaramouche: by all rights and definitions, Scaramouche is in every way a tabletop RPG bard.

Spoilers ahead! Consider yourself warned!

Let’s look at his first weapon of choice…

It’s a magic flute, as he mentions later, and while many bards make it a point to use magic instruments, most of their early bardic magic comes from themselves (but still projected via the music/instrument).

The flute allows him to create and recreate a golem with which to battle Jack. Seeing as Scaramouche’s flute is the source of the golem, Jack makes quick work of the flute, but that’s not the end of the fight…

Scaramouche then proceeds to make his own music a Capella scat jazz. For those not familiar with musical terminology, a Capella is when a person imitates musical instruments using just their mouths. Scat, while technically meaning shit in other contexts, simply means that the ‘words’ of Scaramouche’s song are nonsensical. Still, they achieve the desired effect and control the sword that he previously threw at Jack.

This also plays into the mechanics of a bard. With very few exceptions, the general rules state that as long as a bard can produce sound, they can utilize their spells and abilities. This can also be read as such: Only death or Silence spells can completely incapacitate a bard.

Ok, so that last one should TECHNICALLY be impossible unless Scaramouche is an epic level bard. Actually, I take that back—it’s implausible, but shouldn’t be impossible for an epic level bard. Scaramouche would need to have a high enough concentration check to not only focus on fighting Jack in front of him, but also having the other sword fighting Jack on the other side. It’s also very plausible that Scaramouche IS at epic level; he claims to be Aku’s favorite, and when we revisit him in a later episode, he is STILL within Aku’s Top 10 List.

Another important bard-worthy aspect of Scaramouche is his use of sonic damage. Now, I have been playing D&D for years, and sonic damage has only come up very few times. But make no mistake—sonic damage is SOUND-based.

Bardic spells, such as Shout, do sonic damage, but most others either heighten the odds in the allies’ favor or serve detriments to the enemies. In the case of Scaramouche, sonic damage is as the forefront of his fighting style.

I won’t spoil anything else, but let’s just say that Jack turns Scaramouche’s tactics against him and the bardic robot is incapacitated.

I hope you enjoyed this. I encourage feedback in case I missed something important, such as other bardic aspects or corrections on notions that I may have gotten wrong.

anonymous asked:

(Part 1) Hey Rosy! I definitely agree with you with the whole time jump thing, it just doesn't make sense with how the story is going. But I also feel like somewhere along the way, like in season 5, there is going to be a time jump whether it be a small time jump or I don't know what. Unless there is some big twist in the finale that we wouldn't expect, which could happen because this the 100 we're talking about. I mean would the entire next season be them in the bunker?

(Part 2) I just don’t see them being in the bunker all of season 5, then again there is the nightblood solution so I’m not sure. I’m just excited for the rest of season 4! Love your page by the way.

I’m not convinced the 5 year time line that the characters came up with is accurate. I think they’ll find a way to get out of the bunker or ship or whatever. These guys find a way to survive. That’s what they do. In fact all of them are survivors. They’ve survived one apocalypse, they’re going to survive this one. 

One thing that has never been brought up is that 4% of the earth left habitable. I think that might be part of what season 5 is about. Also the nightblood. Also smaller bunkers. Also environmental suits (which we saw in the promo pics) and tanks and who knows what else they might find. Also the mutants we’ve seen now and again, they might come up again. Who knows? 

I just don’t think that the idea they figured out in the beginning of season 4 is going to be how things shake out. 

2

I got a call from Ali Adler and Andrew Kreisberg, and they were saying, “Hey, we’d really love for you to come in and sit down so we can talk creative with you.” I was like, “Oh, okay, I didn’t realize we were going to do that, that’s great!” I was sitting in their office, and all of a sudden, they’re like, “So, we want to just tell you what we’re thinking, what we’re going to do, and wanted to get your take on it.” They had this funny little smile on their face, I’m like, “What’s going on?” They’re like, “Well, so this season, Alex is gay.” I was like, “Oh, what?” They just went into the whole story, explaining the why behind the what, and that it’s not like this thing that all of a sudden is just spilling out, it’s a discovery for her. That’s how we wanted to approach it. You have so many stories — shows and movies — where people are already established as gay, lesbian, bi[sexual]; these are people who are coming in like that. This was a great opportunity to show somebody who’s figuring it out, the light bulb moment and putting the puzzle pieces together.

When they were explaining it to me, I was like, “Wow, I wouldn’t have thought it,” because last season you just didn’t really see any of that side of Alex. When they originally said, “Hey, we’re thinking about a love interest,” but they didn’t say what the whole thing was, I was almost like, “Oh, I don’t know if we should do that yet,” because I don’t want it to become about Alex in a relationship, where we don’t get to see enough about her discovering more about who she is because so much of it was hidden last season. Then when they started to explain the whole idea, at first I was kind of taken back a little bit, not in a negative way, but just going, “Oh, okay.” Then the weight of it hit me, thinking, “Oooh, okay, we need to really, really do justice to this in a really beautiful way.” It was right around the time of the Orlando shooting, and I just all of a sudden was hit with this weight, because I knew that then I was going to be a face for the LGBT community, and I was like, “I gotta get this right. I don’t want to go out there and say one thing and then do something else. I just want to make sure that this is very respectful and tasteful and being done with sensitivity.

read more on EW.

anonymous asked:

I'm very confused is there some new show in which Betty and Veronica from the Archie comics make out? What is happening? What is

oh buddy YOU HAVEN’T HEARD OF RIVERDALE? where to even BEGIN.

so once upon a time some CW executive was like “you know what The Kids like? those wholesome Archie comics in which people actually go by names like jughead and moose and two incredibly amazing women fight over a thoroughly mediocre boy”

look at how precious and innocent they are, god bless.

“… but you know what else The Kids love???????” the exec said, speaking aloud because why not?

HERE’S SOME STUFF KIDS LOVE

“WHAT IF” says this executive, eyes gleaming in a way that’s a little more than manic, now, “we have ALL THE SAME CHARACTERS FROM ARCHIE only instead of keeping that feel-good tone we turn it into TWIN PEAKS meets GOSSIP GIRL meets VERONICA MARS but like not the good veronica mars, awkward middle of season three veronica mars.”

that sounds terrible, i can hear you thinking. are you endorsing this?

it IS terrible, pal, but let me tell you

let me just say

they have gotten one thing– 

or rather, two things–

very

very 

right

are veronica and betty going to be endgame?

NO!

do they even legit like girls?

DON’T BE RIDICULOUS

is this show actually, like… good?

HA HA NOT REALLY

but then why…????

look man.

sometimes you want to watch a show that’s going to change your life. a show that gets at the heart of what it means to be human, that really thinks through every twist and turn, that cares about its characters like they’re real people. a show that you then judge all others against.

and sometimes

you want to watch a show that is then judged against those other, actually good shows.

the bad news is that Riverdale is garbage

the good news is that it’s the best kind of garbage

the GREAT news is that IT’S ONLY SIX O’CLOCK AND YOU CAN STILL CATCH UP ON THE FIRST TWO EPISODES BEFORE THE THIRD ONE AIRS TONIGHT AT 9/8C ON THE CW

if i go down i’m taking you all with me

3

Why couldn’t you have left well enough alone? You were happy.
2.20 // What Is and What Should Never Be

Okay if anyone actually thinks that the BMoL are offering a “better way,” and that thoughtlessly eliminating “every vampire in America” is actually a good thing, you can go eat worms. 

For proof of this, I would like to quote Mr. Sam Fucking Winchester from Season 2 Episode 4, Bloodlust:

Sam: No, Dean, that is not our job. Our job is hunting evil. And if these things aren’t killing people, they’re not evil!

Sam knows the BMoL’s blanket “exterminate all the monsters” plan is fucking wrong.

Dean knows the plan is fucking wrong.

I can’t wait for Mary to learn this lesson.

anonymous asked:

headcanons about victors return to the competitive figure skating scene?

1. Victor gave his last fuck to Yuri. He doesn’t care if he wins or loses. He’s like literally, just out there to do his best and get Yuri to his best and honestly he could come in number last as long as he feels like they’ve both tried their hardest and had fun together seeing who could do things. 

2. Obviously Yuri P spends the season screaming at them, but in a loving way, because Victor is all GROSS and LAME and also GROSS and also wearing and dancing to everything he ever wanted to but it clashed with his image. 

3. A side effect of going Fuck it!! YOLO!!! I’m here to have fun and flirt with my fiance and if I win a medal that’s cool!!! is, unsurprisingly, a feeling of joy and enthusiasm in your performance, which means Victor’s already insane PCS fuckin skyrockets.

4. “If you win I’ll give you fifty kisses!!!!” “what if you win?” “you can give me fifty kisses!!!!!” “I’m pretty sure that’s not how it works, Victor” “KISSES!!!!!”

5. He and Yuri trade the gold and silver spot pretty much all season. Victor’s so happy. He’s had so much fun with skating again. He retires for good at the end of the year and he’s perfectly satisfied with it and so is Yuri. 

PLL cast/ crew on PLL defying logic-
  • Mandi Line: They never go to class. They always have coffee dates and breakfast. I’d be like, “Marlene, did they go to school?” “Not yet!” “What time is it?” “1 p.m.!” The absurdity trickles into every department. If someone said about Aria, “That skirt is a little short,” I would say, “She sleeps with her English teacher!"
  • Ian: I love the fact that they're supposed to be like, “We’re so exhausted; we’re being hunted and harassed, and are vaguely suspicious of the cops due to one thing that happened in the second season … so we're never going to go to them.”
  • Janel: We just joked about the fact that every cop that we've had on the show has been bad in some way. What the hell, Rosewood?
  • Lucy: They were always dressed to the nines at school. And always running in the woods in heels.
  • Troian: We live in Pennsylvania but there's never been snow except for the Christmas episode.

Warning: flashing image below!




Chapter Three of a Fatal_Error has Occurred will start in a few weeks!

Taking a break before starting this past chapter made a HUGE difference in how quickly, efficiently, and stress-free creating updates was for me because I spent time writing a script, sketching updates ahead of time, and getting organized. So that’s how I’m going to approach this upcoming chapter as well :) This’ll also give me a chance to just draw and derp around and have a bit of fun with the asks, which I’ve missed doing :D

Also, we’ve finally reached the point in the story that I can start introducing some other story elements that I’d like to explore, like the File Not Found comic. And I think ya’ll will be interested to see what I have in mind as well ;) But this requires some pretty careful planning, and I want to make sure I get it right, and at the level of quality I hold myself to. So look out for announcements about this in the weeks to come~

Along with all of this (and on a more personal note) I’ve got a LOT of things going on in my life right now, both blog/comic related and not, and I just need some time to take care of things right now so that I can keep working on my art in the future the way that I want to :) It’s nothing bad, I promise, but as a seasoned procrastinator it’s just important that I take some things seriously and handle my potato business like the potato I am.

Anywhoo! As for the main comic, ya’ll will know when I’m ready to get things started once I post the Chapter Three cover :3 I thank ya’ll in advance for your patience! <3

Unpopular opinion about HTGAWM

Unpopular opinion but I actually liked the finale????

Like, I totally and completely understand where everyone’s anger and disappointment is coming from, but I thought that all in all, it was a good way to end season 3 and it leaves a lot of new potential storylines for season 4.

Now, here are some things I wanted to talk about:

[[SPOILERS AHEAD, OBVIOUSLY]]

1. Wes’ death:

Yes, I am pissed that they ACTUALLY killed off Wes. I was pretty damn sure that the body being “moved” was just an excuse to cover up for the fact that THERE WAS NO BODY because HE DIDN’T ACTUALLY DIE. I thought that that was going to be the big plot twist/OMG moment. I was latching onto the possibility that maybe, just maybe, he faked his own death with the help of whomever he called on the phone in the cab that night. I was wrong. HOWEVER… I get WHY the writers did that. Killing off, for example, Frank simply would NOT have had the same emotional response from the audience and wouldn’t have really opened up any new and exciting storylines to explore in the future either. Same thing with killing off Nate. (It seems that the majority of the fandom is kind of indifferent about his character, so the consequences of his death would have been lackluster for the most part – other than some inevitable scenes of Annalise grieving). Killing off Simon (the annoying new guy) would have just been plain dumb and a total cop out. As sad as it is, Wes’ death is opening the door to a lot of new storylines. Killing off Connor, Laurel, Michaela, etc. without knowing enough of their respective backstories first would have been stupid and unfair. At least with Wes, we’ve already spent 2+ seasons exploring his backstory in great, great depth. Most of the main storylines on the show revolved around him. Now his arc has come to an end and it has undoubtedly impacted every. single. character. The fact that it was overwhelming tragic continues to show what we all already know about HTGAWM: it’s one of the REALEST shows out there in terms of depicting everyday life and social issues. HTGAWM is woke af. There’s no denying that. Life is tragic. Did they really have to kill off Wes? No, of course not. But did really have to make Annalise be raped repeatedly by her uncle when she was just a little girl? What about Bonnie? No, right? And did they really have to make Annalise be in a car accident that caused her to lose her unborn child, thus traumatizing her for the rest of her life? Nope. But you know what? These things happen in real life and not a lot of shows have the BALLS to depict that on screen. HTGAWM does. Wes’ death is so powerful precisely because of how UNFAIR it was. I’m not justifying it. I’m just saying it makes for powerful storytelling. Again, how many of you would have cried if it had been Frank or Nate? Likely, not many. Would Frank dying have started a discussion about the kind of crap POC experience everyday? That was the point. In conclusion, at least Wes’ character was not rushed, his death was premature for the character but not for the story, and at least now we can focus on Laurel, Michaela, Connor, Oliver and put the spotlight on their backstories more.

2. Annalise throwing Wes under the bus

Idk why so many people were upset about this. This is literally what Annalise has been doing since day 1. She’s a brilliant character but has ALWAYS been morally questionable. Season 2 Episode 4, anyone?? That was the EPITOME of Annalise’s dubious morality! Do you guys remember what Michaela said to her after they framed Nate in season 1? “How are we supposed to be okay with this? He’s innocent. And he’s Black.” Here’s the thing: Annalise framed an INNOCENT Nate for Sam’s murder. And you know what? After the framing served its purpose (protecting Wes and the others), she got him off about four episodes later with Eve’s help. She then framed an INNOCENT Catherine Hapstall for Sinclair’s murder AND her own shooting/attempted murder (at the hands of Wes, might I add). And you know what? She took the blame away from Catherine literally in the next episode. Right now, Annalise has pinned Rebecca’s murder on Wes and has also outed Wes as Sam’s killer (which, remember, is NOT a lie… Like Bonnie said, Wes IS a murderer) Why did Annalise do that? Well, to prevent them all (herself, Nate, Bonnie, Michaela, Connor – WHO WAS KIDNAPPED AT THE TIME, Laurel, Oliver, Asher, Frank) from going to jail! And you know what?? I’m willing to bet that next season she’ll think of something to restore his good name and image (just like she did with Nate and Catherine) AND get back at Denver. She just couldn’t do it all at once. Poor woman needed a break after the LITERAL HELL she’s been through. She just needed an impromptu solution asap.

3. Wes’ killer being Laurel’s dad

Not random at all, seeing as how WE DON’T EVEN KNOW THE MOTIVE YET. If when we finally find out his motive and it turns out to be lame and stupid, THEN we should complain!! NOT NOW!!! In season 1, we didn’t know WHY Frank was the one who murdered Lila. It seemed random as fuck. Then in season 2, we find out why and it was such a well-written and complex backstory that even managed to involve a number of characters (Sam. Annalise, Eve, Wes, the Mahoneys, etc.) Pete Nowalk already confirmed that we’ll be finding out more about Laurel’s family and backstory next season so CHILL. (Side note: My personal theory is that Annalise hired Laurel’s dad to murder Frank – since the first hit man she hired failed – and the guy that Laurel’s dad hired messed up and killed Wes instead. That would explain Frank saying to Annalise, “I know it should have been me.” That would also make Laurel’s “It should have been YOU” to Frank at the hospital technically be considered foreshadowing/a clue/hint).

4. Laurel’s and Oliver’s offensive comments

Laurel’s telling Connor to kill himself was NOT OKAY. Oliver assuming Laurel’s dad worked for a drug cartel because he’s Mexican is NOT OKAY. You know what else is not okay? The way Annalise treats Bonnie, Annalise also telling Frank he should kill himself just a few episodes back, Connor telling Laurel she should get an abortion and that it was good that Wes died, etc. These aren’t writer flaws. They are CHARACTER FLAWS. It is BELIEVABLE that after all the traumatizing shit these people have gone through, that once in a while, a darker and uglier side of them comes out. A side that will make them go, “I’m sorry… That wasn’t me…” later. That makes sense to me. Is it okay? No, of course it’s not okay. But it’s believable. They are human beings completely capable of fucking up and unintentionally hurting others, especially when they’re panicking, when they’re in the middle of a crisis, and after all this life-changing insanity that’s ruined their lives and screwed them over and has likely permanently damaged them and, let’s be real, has probably given them suicidal thoughts, too. 

Let’s remember that HTGAWM continues to be one of the most diverse shows out there, with an abundance of POC and LGBT+ actors and characters, and that it also shines light on a variety of pressing social issues. That’s it, y’all. That’s all I wanted to say.

So… see you all in season 4.

(Sorry if there are typos in this post. I don’t feel like proofreading).

I get really upset every time I see someone say that Derek and Stiles hated each other, and people say it all the time, and it’s really getting to me at this point because I do not believe that they ever really had reason to hate, as in not being able to stand each other, detesting/loathing each other. And what I hate even is more is saying that SCOTT BROUGHT THEM TOGETHER BECAUSE NO.

Stiles was the first one to trust Derek. He didn’t think Derek had ill intentions. When he saw Derek drive Allison home from the party , Stiles saw it as a nice and kind act and he didn’t think there was anything to be wary of - until Scott started claiming Derek was the killer and Stiles of course trusted Scott more than someone he (as far as we know) only heard about, someone who lost almost his entire family in a suspicious fire and who then disappeared. Stiles probably recalled all the villain stories he’d heard/seen/read and concluded, hey, Derek had all potential to be that villain. Except that Allison was safe at home like he had expected in the end. Nonetheless SCOTT GOT BETWEEN DEREK AND STILES FIRST and was the reason that Stiles suddenly had no idea what to do with Derek because he was unsure what was going on. And Scott stayed wary and uneasy around Derek long after Stiles fully trusted him.

Stiles’ first instinct was to trust Derek.
Then Scott ruined that and kept ruining it, even when Derek proved otherwise.
Then suddenly Scott went to Derek for help with his shift, whereas he totally disregarded Stiles’ attempts to help. Scott was becoming a part of something that Stiles couldn’t be part of and so it probably felt like Derek was taking away the only friend Stiles had. Derek, who Scott claimed was dangerous. He knows Derek’s a werewolf, which could very well justify him being dangerous.
Then they find half of Laura in Derek’s yard, and yeah, Stiles is scared. He has all right to be. (Fear doesn’t equal hate though)
This new werewolf thing is way over his head, and it’s distancing Scott from him and people are dying and they don’t know what’s going on, and Derek is suspicious.

I don’t see any hate in that.

Stiles might say he wants Derek dead but we see in later seasons that that’s just one of the things he says. I mean, he looks terrified of Derek dying from the wolfsbane bullet in Episode 4. He doesn’t actually want to experience Derek dying. As early as in Episode 4. And I can’t remember when I last watched the show and which episodes I watched but as far as I can remember their relationship only builds and gets better after that.

None of the behaviors showcase any hate to me. They’re in life threatening situations, they don’t trust, they CAN’T trust, and they threaten each other because of that, they are rough toward each other because many lives are in danger and because they are in over their heads, not because they personally have something against each other

i wanna talk about amy santiago for a second because my girl is so brave omg

maybe this is just me but imho there is nothing in the whole world more terrifying than being emotionally vulnerable with another human being. like she prides herself on being completely independent and self-sufficient (which is totally expected considering she’s got 7 brothers but i digress) and like, yeah, she’s initially the one to call it off back in the third season but then

she goes to jake’s apartment

(not knowing jake was about to do the same thing - that’s for another post, a follow-up to the similarities between them maybe)

and she literally lays her entire heart on the line

like, she has no way of knowing what he’s going to do or say. he could have decided that the whole relationship just isn’t worth all the trouble. he spent so long pining after her and then once they finally got together, they killed a guy, got threatened by another, and she ran away. he could have just decided to wash his hands of the whole thing and move on. like she probably thought of 30 different ways he could flat-out reject her just between her apartment and his and yet she - she who is notorious for over-thinking and anxiety attacks - pushed through it and marched right up to his front door. like!! i don’t think anyone gives her enough credit for that because sticking your neck out like that, laying your whole heart on the line, that’s such a terrifying experience even if it is with someone she’s presumably known for years

amy showing up at jake’s apartment, amy laying it all out there and making the First Official Move, that’s such an out of character move in comparison to everything else we’d seen of her up until that point. but it’s 100% believable because there’s literally no one else in the whole world for whom she would lay her heart on the line like that. not a single soul.

it’s already been established that jake makes her have more fun and helps her loosen up, but i think one of the more subtle things he does is that he makes her brave. he makes her lay her heart on the line, he makes her say ‘i love you,’ he makes her trust her intuition. she’s already got so much courage on her own but it’s a strict kind of courage; with him, all of the clauses and conditions that come along with her bravery are stripped away.

anyways i was just really thinking about emotional vulnerability earlier and the scene where amy’s standing on his threshold came to mind and i just really admire her a lot

Quick Fic Recs

What’s up my guys after season 2 I went hunting for some fresh content and found some nice fics, ayo :3c Most of these are Klance because I’m basic and also the general Voltron ao3 tag is scarring on a good day so I don’t like going through it lmaoo.

Honestly you can probably find these fics just by hunting through the first couple of pages but.. whatever lmao

Gen fic:

Knowledge or Death (And Ignorance is Bliss) by squirenonny

Keith tells the rest of the team what he learned in the Trials of Marmora.

[Season Two spoilers! Set between “The Blade of Marmora” and “The Belly of the Weblum”]

So yeah, a nice no-relationships just feel-good-family-feels fic. I felt like the reactions were in-character and realistic, and the way you can see the Paladins adjust and accept Keith warms my heart. I especially enjoyed the platonic Keith and Lance and Keith and Pidge. Really, really nice!!!

Klance fics lmao:

Keep reading

there is no way that Mary doesn’t think dean and cas have a thing going on. Like, the first time he saw them interact was here in 12x01

and then this shit in 12x12

like cooome on. Especially since he later said “i love all of you”. bitch knows

p.s. his “flirting” with the waitress earlier was embarrassing and very “look at how straight i am. very hetero. much flirt”

anonymous asked:

nr 6 and msr please! I love you!

Dear lovely anon, thank you so much! Here we go. Set in season 6.

‘On a sunny Tuesday afternoon, the late sunlight glowing in your hair’

He’s been planning it for months.

Long months spent running after shadows, as always, trying to escape ex-girlfriends, not so common, and trying to find a way back to each other. He feels like maybe that’s their thing, after all.

The first it happens it’s messy and unplanned. Born out of pure relief; he’s alive, she’s alive and he’s in his time, with her, giving him The Look and she doesn’t believe a word he’s saying. His I love you is thrown away like the punch her alter-ego directed at his cheek; still burning when he woke up. Just like her ‘oh brother’ stings, just deeper, more profoundly.

So after that he plans. He doesn’t tell her when she asks him if he ever wants to get out of the car. He doesn’t want to and maybe that’s why he jokes, doesn’t say what’s really on his mind. I love you, he thinks, and I want to spend the rest of my life doing this with you. Driving on a deserted highway in the middle of nowhere, chasing answers to questions no one else even thinks about. The rhythmic roll of the tires screeches I love you with every inch traveled. The words never land on his tongue, though, and so he doesn’t tell her.

Mulder whispers I love you to her when she’s forced to share her hotel room and her bed with him in Kroner, Kansas. She’s fast asleep, her even breathing never once missing a beat. A perfect rhythm that he watches silently, guiltily if he’s honest because he knows she hates it, feels embarrassed by it. Watching her then he thinks of later, planning to tell her when the case is over. Look at me, Scully, I don’t want to be like Holman. I can’t make the weather for you, but I can tell you that I love you. He doesn’t, though.

Christmas comes and goes without a single I love you uttered. When Diana strolls into their life, her feelings ever present on her face and her tongue, his plans are crumpled up like a piece of paper, forgotten in his favorite pair of pants. He thinks it still, sometimes, when Scully looks at him, raises her eyebrows and questions his loyalty. I love you, he thinks, but can’t tell her because she wouldn’t believe him anyway. She walks away from him, their shared trust trampled under her heels as she leaves him standing there. He pushes his hands in his pockets, empty, like his mind.

He tells everyone but her that he loves her when they go undercover as a married couple. My wife, who I love. My wife, who I adore. She rolls her eyes, thinking he can’t see it or simply not giving a damn. He at least hopes it’s the first. One night, while on the couch in a strange house, playing a role he hates opposite the woman he loves more than anything else in the world, he decides that it’s time. As soon as this is over, he promises. He’ll tell her. He’ll tell her he loves her and she’ll believe him. He falls asleep before he can have any doubts; when does Scully ever believe the same thing he does?

Months pass and his plans get derailed again. Gun-shot wound to the abdomen and he loses his courage touching her hand, warm and steady. His gratitude of being able to touch her, to see her there is greater than his need to tell her. She wouldn’t believe him anyway, he thinks bitterly, as she tells him she’s fine and to please stop babying her. His courage leaves him again a million times over on a Monday that repeats itself again and again, like a bad, broken record. Like that outcome, maybe it’s just not meant to be.  

The day is perfect. He leaves a message on her answering machine; he knows she needs a reason for everything. A simple I want to spend time with you outside of work and government conspiracies is not going to cut it. A birthday present, either way too late or way too early, might put a smile on her face, lure her out. He can’t stop grinning when she shows up, humors him and lets him hold her. Her hair tickles him, her scent entices him as they stand close, molded together for no other reason than wanting to be. It’s the perfect day. The moment she makes contact, when her eyes watch the ball fly in amazement, just watching, marveling, is there. I love you, I love you, I love you. He wants to scream it into her ears, rather than say it, but instead he just grins against her skin, takes everything he can have. He doesn’t say I love you, again.

When it happens, finally, on an average Tuesday afternoon, they’re both tired and sticky. Having spent half the day in a rented car without air conditioning, Scully furiously trying to tame her hair and Mulder giving up on his dress shirt desperately and hotly clinging to his back, they decide to stop at a diner. Order me something cold, Mulder, Scully lets him know before she makes her way into the bathroom. He orders a coke and a diet coke with extra ice and waits for her at the car, unwilling to go back in just yet. He absent-mindedly plays with the straw, occasionally taking a sip, reveling in the sweet, cold taste he knows will make him sweat even worse. Then she starts walking towards him. Mulder lifts his head the moment he hears the cheap bell over the door ring. It’s Scully, all right. She’s opened another button on her blouse, still tasteful, still professional, and her face looks flushed, devoid of make-up. Her hair, previously having stuck to her neck, gently flaps against her cheeks now. Scully’s mouth opens as she walks towards him and he thinks she is going to say something. But he wants to say it first. He could tell her about the blazing color of her hair right now, how the late sunlight captures her color perfectly, transforming it into a gentle fire, burning him. Waxing poetry, though, that’s not what she needs. Or wants. 

“Scully, you look…” The words shoot out of his mouth and when she glances at him, her hand reaching for her diet coke, he knows this is the moment. He couldn’t have planned this. This is not how he wants to tell her, and yet this time, he does.

“I love you, Scully. I love you.” He repeats it as if saying it more than once will make her believe it this time. She, however, cups her drink, captures the straw and takes a sip. His heart beats, waits, beats again. Say it again, he thinks, tell her you mean it, his mind demands.

“I know, Mulder,” Scully tells him and her voice is as gentle as the breeze, as soft as the sunlight caught in her hair, “I love you, too. I was just waiting for you to say it again.”

I have a few thoughts about the sneak peeks and this most recent CS drama.

I get being disappointed and annoyed. I’m not here to tell anyone not to be. That said, I’m not. At first I did think it seemed very out of character, given that she literally went to hell for him last season, but thinking about it… Emma’s reaction makes sense to me, for a few reasons. It’s her initial, and emotional, reaction and it seems very “you don’t want me? Fine! I don’t want you!” to me. (We also don’t know the whole context, whether she’s assuming he’s gone or whether she’s been told in some way, etc.)

Emma is in a situation here where she is not in control. Killian left. She can’t bring him back, she can’t do anything, the ball is in his court - partly because she put it there. She’s left with a “maybe”, and Emma Swan is not good with “maybes”. She needs control, and she doesn’t have any right now. The only thing she can do is try to close the chapter herself, by putting his things away and basically saying “screw you, I am making this decision for myself”.

It’s an emotional reaction and I think it’s one she’ll probably reconsider, maybe even feel bad about later, and they’ll sort things out in the end anyway. But it doesn’t feel that out of character for me. It’s not about Killian, it’s about Emma.

Should she know that he’d never leave her? Maybe. Then again… why? Emma knows her pirate and his tendency to angst, she knows that he would totally leave if he thought it was for the best. And lest we forget, he was fully intending to leave. If not for Snow’s sudden inadvertent interference, he would have. So Emma isn’t very far off in her assessment of him there. She was almost right. And as long as that’s the case, she couldn’t trust him not to leave, because given the right circumstances and his stubborn notions of honour and self-sacrifice, he would leave. I can’t really blame her for that (especially since unlike me she’s neither seen any of his Emma-less scenes, nor can she know, whether because of narrative logic or filming spoilers, that of course he’s coming back).

The other thing is, last season, she made him stay against his will, turned him into the Dark One over it. It didn’t go well. He was furious, and rightly so. She’s learned that lesson.

This is the first time Killian has voluntarily (she thinks) left. It’s the first time Emma has dealt with a situation like this. And instead of falling apart, broken-hearted, she’s being proactive - not in a constructive way, but still. And honestly, I think this is healthier than “must get him to stay no matter the cost”. It’s Emma saying, and realising, that she doesn’t need Killian. She wants him, she chose him… but she doesn’t need him. It hurts, but she can handle it. That’s good. For both of them.

So now, when he comes back, their relationship will take another step forward. They’re learning to trust each other on a new level here. Killian has already realised that he can trust Emma with anything, that she’s not better off without him. That’s new. So when he comes back and they work this out, Emma will realise and know, from now on, that he won’t leave her voluntarily out of some misguided ideas of honour or whatever. But up until this, neither of them knew those things, because they hadn’t come up.

Their relationship is still a work in progress and they are both still learning and growing as people. They don’t always react perfectly or sensibly and they don’t always know what we know. But they’re working on it and they’re getting ever closer to a point where they’re together because they choose to be, with love and trust and honesty, and none of the insecurities and co-dependency and fears and needs that have plagued them in the past.

muldez  asked:

18) things you said when you were scared & 99) tell me a secret

season 6; an easy, stupid case 

He’s holding the gun wrong. Arms straight out like divining rods, elbows locked so the veins nurse’s love to poke at go an uncanny blue. Mulder wants to nudge Scully. Say: He’s going to break his arms firing the gun that way, you know. She’s a doctor. She would want to know things like this.

“I’ll kill you both,” he says. Scully is alter-idol still beside him, but he can feel the slight waver of her fear like a change in wind. Here’s another thing he wants to tell her: We believe the same thing this time.

He’s holding the gun wrong, gonna break his arms, but the muzzle is the right direction. Mulder can see it: the kid is maybe twenty-three, wild-eyed, and if (when) he fires, it’s going to kick back so hard he’s going to break his skull on his living room wall. Still. Mulder has never been so certain, so stupidly sure, that he is going to die. The kid is going to break his skull and the bullet that he’s going to fire from that held-wrong gun is going to blast through his stomach and catch Scully in the collar. They’re gonna bleed out slow and angry on this crappy farmhouse floor.

Just a routine background check, sir, he imagines telling Kersh. Did you know that sometimes people who buy mulch are making bombs and their own meth and don’t know how to hold guns? Did you know they’re too stupid not to fire them?

“Mulder,” Scully whispers next to him. The kid is blinking slowly, like trying to re-focus his eye like binoculars. His tent pole arms stay sharply out in front of him.

He wants to say: I know. I know you’re afraid. I wish I wasn’t just wearing the ankle holster so that you could reach my gun. You know how to hold a gun, Scully. You keep your arms bent like you’ve calculated the angle. You don’t miss and you don’t die.

“I swear to God,” the kid says.

Mulder wants to say: Amen.

Scully shifts, just about imperceptibly. She’d been yelling earlier, voice flat and unaffected. The threats they teach you in Quantico, but the kid’s face had remained blank. Now she just says his name.

When she’d been sick, she’d been sharpened down to a quick point. All eye games with death (blink, you motherfucker) and bared teeth. When she’d been dying, she had not been afraid. Now, with a scar under by the skin of her neck, she curls her fingers into the arm of his jacket and mutters his name.

The kid opens his eyes again, and they are wild, still, but clear. He rests his finger on the trigger and squints.

Scully tugs at his jacket again. She mutters something so fast and serious that he thinks is a Hail Mary, but no. “Mulder. Fuck. God, Mulder, I have to tell you something.”  

He wants to say something gallant. Wants to say: I know and fashion himself swashbuckling in his last minutes. He’d always wanted to look like Harrison Ford. But her fingers are digging through his jacket into the skin at his wrist and he doesn’t. He doesn’t know. He wants to say: Tell me a secret, like summer camp, but then the kid takes a swaggering step forward and Scully says something that is most definitely a prayer and Jesus, he’s never heard her voice climb the scale like that before.

Then. The kid learns to bend his arms. His uncanny blue veins disappear as he jerks his arm to his head, holds the gun the right way for this, and god, he’s twenty-two, twenty-three, he is a kid. Mulder reaches for his gun but Scully is faster and she, she knows how to hold it correctly and her arms absorb the shock like she might stand in front of a wave, California baby, and the kid’s arm drops away from his head. 

He feels the fear go out of her like smoke. Puff and you’d blow her out. She looks at him and says, “We’re gonna need paramedics. He should be fine, but.” She’s feeling around for her cell phone. He wonders if her hands remember how hard she’d been holding his coat.

And, when there is nothing to do but sit on the porch steps of the old farmhouse as sirens fade away, there is the knowledge that this is just one of many. Cut it, print it, that’s a wrap. The kid didn’t have a name and if they wake up shaking, well, at least this time everything happened fast. Neither of them bled. The certainty from before drops away like a curtain in the hazy evening light.

He nudges her with his shoulder. “Hey,” he says. The crickets hum. “What was your secret?”

She pauses for a second, squinting into the falling light and the reanimated corpse of a red truck in the unfamiliar yard. Someone will be coming to take their statements shortly. The town was short on local force.  “I didn’t say it was a secret.”

“But you were whispering. That means it was a secret, Scully.”

If they lived out here, he thinks, and it surprises him that that is the whole thought. Before he cuts it off and the crickets hum, he realizes he was finished. If they lived out here. If they. If they lived.

She huffs something like a laugh, says, “Mulder.”

“Yes?” He looks at her for the first time since she’d dug her serious fingers into his arm. She is fading into the light out here, he thinks. Going gold with the sunset and pretending not to feel him look at her. Her mouth twitches. Yes, he thinks, there it is. I am sure, sure, he thinks, but he doesn’t think of what. I am sure. “I’m just waiting for my promised secret.”

She sighs, turns to look at him and squints at the scrape on his cheekbone from the slug the kid had greeted him with at the door. She bites her lip, brings her hand up to his face. Says, “Hold still.”

“I am holding still. I’ve got all the time in the world.”

She breathes in. The EMTs who came for the kid had checked his head already. She opens her mouth and then closes it again. The click of her teeth is sharp, like the snap of a mousetrap. Holding something down and in. Her hand goes still against his temple. He closes his eyes. The crickets hum. If they. If they lived. He thinks that maybe, if it is possible to feel someone smile, then he is feeling hers in her fingertips - warm and familiar with the power of a trigger, soft against his face. She’d had a secret to tell him. They’d been ready to die stupidly on the farmhouse floor. The light is gold out here. 

He wants to say: Yeah, Scully. That was mine, too.

anonymous asked:

why do they call you scout the useless prophet?

because somehow, some way, i can predict the most ridiculous aspects of spn years in advance

these aren’t serious, major plot points that i work out. they’re the stupid little things that people tag as “#spn crack” and then they come true

for instance, the poop emoji being used in response to someone being upset. there’re more recent examples that i don’t have right off the top of my head, but i know others have pointed out

in season 11, however, the word “useless” was brought into question, as i’d basically worked up 3 years of what i believed chuck was going to be like when he came back

and 

would you believe it

Anonymous said:

Gabriel would LOVE a fancy trumpet, though. A heavenly noisemaker? Just think of how annoying that could help him be!

but imagine with me:

you’re 8 years old. it’s christmas morning. you wake up a little late, along with your older sibling who’s, say, 14. under the tree there are two presents left. one that clearly looks like a sword, and a small box.

the box is labeled for you, the other for your older sibling. they unwrap what was clearly a kickass sword. eagerly, you open your own box.

inside is a toy trumpet you don’t know how to play and some socks

your dad claps you on the back and says “imagine the possibilities, kiddo!” and then turns to your older sibling and talks about how cool they are

and you’re just like

???????????????????????????????????

Chocolate Protein “Fluff” Cake with Chia Seed Jam and Fresh Fruit: What we have here is a cake of sorts. It’s more of a fluff–shall we say? It’s very tender. Eggs are replaced with zucchini, but I added an extra bit of moisture with a little oil anyway. That really lends to it melting in your mouth. It’s topped with a raspberry chia seed jam for that hit of acidity and the crunch of seeds. Also, who doesn’t love a little fresh fruit and vegetables with their protein and healthy fat? It feels like something you shouldn’t be eating first thing in the morning, but there’s absolutely no reason not to!

Protein powder is actually way more versatile than a shake, and I wanted to concoct a few other ways to use mine. While the gardening season is only in the beginning stages, I also wanted to plan a few ways to use the eight thousand zucchinis I’m going to receive from my dad this summer. It’s not just for zucchini bread, folks!

Chocolate Protein “Fluff” Cake

  • 1 scoop unflavored protein powder
  • 2 TBSP cocoa powder
  • ¼ tsp baking powder
  • pinch of salt
  • ¼ cup stevia (or any granulated sweetener you prefer)
  • ½ TBSP of any mildly flavored oil (such as grapeseed or canola)
  • ½ cup zucchini puree (zucchini and a couple TBSP of water blended together)
  • ¼ cup almond milk
  • dash of vanilla extract

Directions: Preheat the oven to 350F. In a bowl, add all the dry ingredients and whisk them together with a fork. In an additional bowl, add and mix all the wet ingredients together. Combine the wet to the dry, stir to combine, and then pour them into a ramekin or any oven safe single-serve dish you have that’s suitable. Make sure that has been hit with the no-stick spray beforehand. Bake for 20 minutes, or until the center is done. This “cake” has a very soft texture, much like any flourless cake. So, what you’re looking for is the top to be cooked over, but the inside of the cake will be extremely soft; though it shouldn’t be raw.

Raspberry Chia Seed Jam

Using chia seeds and their ability to gel means we can just use the natural sweetness of fruit and not need the added sugar to create that effect! It’s also criminally easy to make. You should totally do this for PB&Js, ‘cause no one is ever too old or too fancy for a PB&J.

  • 1 cup frozen raspberries (you could seriously use just about any fruit this way, though)
  • 1 + ½ TBSP chia seeds
  • juice of half a lemon
  • pinch of salt
  • few drops vanilla extract (optional) 

Directions: In a small saucepan and on medium high heat, add the frozen fruit (thawed), chia seeds, lemon juice, salt, and extract. Stir frequently and watch for the berries to let their liquid out. Keep stirring and heating through until the mixture begins to lightly bubble. Bring the heat down to low and allow it to simmer for a minute or two. Stir to prevent burning. Take it off the heat and prepare to store it. It can be served hot but it will thicken more in the fridge overnight. Serves 4.