i love no man

me: *having just discovered gorillaz, watching Feel Good Inc for the first time*

Murdoc:

Originally posted by murdocafniccals

Originally posted by darzeken

Originally posted by ksanzo

Originally posted by basicperfectionist


me: oh lort,, who is that???  👀 🔍

Murdoc, in every other fucking video:

me:  👀 ………………… …. *slowly puts down magnifying glass* ….

“Supergirl” has a pretty big ensemble cast. Do you have a favorite moment or experience on set?

Rahul Kohli: Yeah! I’ll tell you what caught me off guard was Chris Wood. He and [“iZombie” star Robert] Buckley are like the same person on different shows. They have the same sense of humor and joke delivery. He just had me in stitches. They have a lot more freedom. Us, being a comedy, we don’t realize improvise it. [Co-creator] Rob Thomas and the writers do such a great job of the jokes. We don’t chip in with improv at all. We pretty much stick to what’s been written on “iZombie.” What caught me off guard on “Supergirl” was that there’s a lot more freedom to experiment, and Chris definitely takes advantage of that. We did a scene where every time Chris came up with something funnier than the last line, and it was unexpected. I wasn’t expecting it to be that kind of gig, but it was. It was hilarious.

2

I wouldn’t have it any other way

One of the major things about the “Spencer has a twin” theory I can’t wrap my brain around is that the Hastings’ wanted Mary’s baby. They were 100% on board with taking Spencer and raising her as their own. No questions asked.

If there were another baby, wouldn’t they have taken her, too? The Hastings were well off and had plenty of money to raise twins alongside Melissa. Also, wouldn’t Veronica have mentioned another baby when telling Spencer about her birth mom?

It seems really unlikely to me that Veronica and Peter would just take Spencer and leave the other one to child protective services or whoever. Because surely it’s gotta be against policy for a Radley patient to be allowed to raise a baby in an insane asylum??

2

[ au’s that exist elsewhere ]

the sea was angry. the water thrashed and rolled and boiled and the sailors hung onto the rails of their ship, hanging on for dear life as they hoped that their captain would get them through this.

it happened so fast. faster than anyone could have possibly imagined. one second sam was hanging onto the ropes, his hair hanging wet in his face and then in the next blink he was gone. taken by the sea as their prisoner. as their offering.

dean found him washed up on shore, wet and cold and bleeding and barely alive and he hovered over the man’s body, brushing his hair out of his face and pressed a light kiss to his lips, healing the wounds that scattered his body.

dean was told the dangers of the land, of the men that walked on it. he was raised and breed to fear the ones with legs but there was something about this one that drew him in. dean watched, waited for air to fill the man’s lungs again.

and before sam truly woke, dean disappeared back beneath the waves, silver white scales catching the last rays of the sun.

[merman!dean and pirate!sam au]

anonymous asked:

What do you think about the clowns? What's their goal? specially Uta, he works with furuta but he's friends with yomo too, why nico helped kaneki's group, it's all very confusing :(

The role of a clown is to provide entertainment for entertainment’s sake, and that is exactly what the Clowns do. They push the story along in the directions they find the most entertaining. 

The Clowns are essentially hedonists; their goal in life takes the form of a sadistic pleasure in watching chaos unfold. So basically, the Clowns are fans of Tokyo Ghoul. They are the readers (and often the authors) within the story itself, detached from everything and everyone as they manipulate them for the sake of their art. Just look at how Roma appreciates Kaneki in the exact same way we did - enjoying his suffering from a detached perspective as an artform. When she says, “I won’t lose to any tragedy!”, she even describes Kaneki’s meta-rebellion against the genre of his story, his attempt to escape the tragedy he’s been written into.

They are literary analysts, meta-writers, and the representatives of the fandom - but because they’re inside the story itself, their fascination comes across as psychotic rather than insightful. Nico has the same fascination with Kaneki, noting his despair is what makes him beautiful. 

Here Nico states the detachment the Clowns draw between themselves and other people. You can either live beautifully - an artform and subject of a story - or you can live for beautiful people and be the writer of that story, directing them down the path of their struggle.

Uta makes for another great example of this. Tokyo Ghoul’s utilisation of extreme character development is one of its most fascinating features - can we really blame Uta for thinking so too?


He is an artist, after all. Uta goes on to talk about how he enjoys being so involved in the story because it’s lonely ‘on the edges’. 

As well as this being Uta openly acknowledging how he went from a side character to someone much more important (Clowns are so meta), he also admits his hedonism stems from loneliness. The easiest way to escape a tragedy is to become an author of it (or so they think). Donato is not so sentimental - his hedonism stems from purely evil intent.

The clowns all manipulate the transformation of characters in various ways. In the original series, their sole interest is in Kaneki, Uta’s “special customer”. Judging from the conversation below, it seems that this interest comes from an awareness that Kaneki is being reared as the One-Eyed King, since Nico starts talking about Kaneki immediately after the concept behind the King. Furuta, as a newer member of the Clowns, is at first unaware.

Furuta drops the steel beam on him (though unintentionally), Uta makes him his creepy mask, Itori convinces him to go to the Ghoul Restaurant, Nico helps Yamori abduct him, Itori leads him to Kanou, Nico gives him information about Aogiri, Donato encourages Amon to find him, Uta encourages him to see Yomo (and thus Rize). All of these events push Kaneki along in his development, first to his transformation into Shironeki, then towards his loss of conviction and his ‘death’. 

In :re, while still interested in Kaneki, they start playing with other major characters as well. Uta plays mind games with Mutsuki (Kaneki’s successor in tragedy), first at the auction, telling her that nobody will come to rescue her, leading her to desperate action which results eventually in her giving into her repressed desires and eating from a corpse, and again at the Clown Siege, making her snap entirely. He also attempts to manipulate Hirako and Suzuya, and he sends Kaneki his mask to help unlock his memories. Donato gets Haise to think more deeply about his amnesia and he breaks Urie, forcing him into becoming a Ghoul. Nico has brought Goat’s attention to the Great Wheel Act, and I believe that him seeing Kaneki at the party was why the Clowns were at the Auction in the first place - because they knew Kaneki would be there. See Uta’s reaction to Kaneki’s screams.

Like he’s found what he’d been looking for. If a character is skirting around an abyss, a Clown is always there to give them a helpful push.

Nico helping out Goat shows that the Clowns’ allegiance is solely to the most interesting turn of events, the same allegiance is us readers. But it’s not always easy being a Clown. You need to be able to draw that sharp divide between subject and observer that can allow you to enjoy people you know suffering from a detached perspective. Nico has mastered this; his emotion at Yamori’s death seemed sarcastic at best, and he’s happy to leave Roma in Goat’s hands. But his is where Uta falters somewhat. He does care about Yomo quite deeply, and this is expressed in his neck tattoo: nec possum tecum vivere, nec sine te (a quote from Ovid, albeit jumbled around a bit, and a hint that he’s a Clown; most meta-characters in the series are well read).

He’s struggling with fully detaching himself from this world to be a true Clown. He can’t live with Yomo because he is a true Clown; and he can’t be a true Clown because he can’t live without Yomo. I think one day he and Yomo will meet in battle, and he will be forced to decide…and I think that he will choose beautifully. He will die a tragic but beautiful death at the hand of his loved one; both author and character at once, like he has always been.

This dichotomy applies to Furuta as well. But rather than being attached to a person (his ‘love’ of Rize being just a part of his power complex), his goals are concrete, physical, and specifically within the world of the story rather than the abstract and metaphysical pleasure the Clowns derive from manipulating that world. He is a subject only playing at being an author, and that will be his undoing. Furuta’s only on Team Furuta at the end of the day, manipulating his many affiliations to further his ambition. But he’s fooling himself in believing he controls the Clowns, as Nico has already proven. Furuta is not playing the Clowns, the Clowns are playing Furuta, and they will cast him aside as soon as they stop finding him amusing.

In fact, the set-up’s already in place for his downfall when he made the hubristic move of hiring Akihiro Kanou, someone almost certainly in league with the Clowns. Roma’s presence in Kanou’s lab speaks volumes, and as much as Kanou talks about breaking open birdcages, the scorpion-butterfly on his wall says a lot more about his true nature - he takes abstract pleasure in watching things transform.

The Clowns were the ones who enabled Furuta into dropping the beam on Rize and Kaneki, providing Kanou with his ideal kakuhou and a ready test subject in one fell swoop. And Kanou has just created around 100 supersoldiers - not to mention he’s the one keeping Rize in her tank. If Donato decides he wants to control the story in a more direct way and take the throne for himself, Furuta will be easily cornered by his own Oggai, and when he rushes to see his love, he will find the tank empty, and a hungry Rize waiting to take revenge.

good and sensible mp100 fans that didn’t trust Reigen until well after the first fight with Claw: I love that Reigen is such a complex character that subverts your expectations throughout the story without actually changing as a character, he really grows on you as you find out more about him!

me who has been in disgustingly in love with his phony, shady ass since Day One when we were still probably supposed to hate him: [sweats] haha yeah…..

date a boy who can’t sit still. date a boy who’s a mechanical genius. date a boy who respects your autonomy. date a boy who will always support you. date a boy with an asshole older brother. date a boy who fed a rival captain’s fingers to his dog. date a boy who is the Ravkan king. date nikolai lantsov.

I genuinely had plans to write today until I discovered that whilst I was wrapped in the blissful oblivion of slumber, @jungblue and @kimtrain and @ellieljade all updated their fics. Ultimately, this has lead me down a long and treacherous path of procrastination in order to read each of their phenomenal pieces of work, and I am not at all upset about in the slightest.

Originally posted by bricesander