megans musings

Little Jeremy Heere headcanons I’ve been thinking of/writing

  • Jeremy has the wORST BRAIN TO MOUTH FILTER EVER (and when him are Michael are dating it KILLS Michael cause he just randomly blurts things and its like ‘dude wtf stop being sexy with what you say’ and Jeremy’s just all ‘I’m noT TRYING??? WTF’ (credit to @groovymutants for Michael’s reaction))
  • The absolute worst at remembering to eat (especially when he’s not feeling great)
  • Asked Michael to prom by getting them matching Player One and Player Two bowties as well as pacman chocolates 
  • Cannot do laundry to save his life he always lets everything pile up 
  • You know this boy has like 10 million star wars shirts and theyre all slightly different 
  • THE BIGGEST LITTLE SPOON YOU WILL EVER MEET 
  • When he first realized he was bi he was all ‘man if i could just date a dude who’s exactly like Michael that would be perfect’ ‘im gay, man’ ‘HOLY FUCK’
  • I feel like this dude would either be a computer science major or go into video game design (either the programming side or the art side I havent decided)
  • Totally stuck with theater bc you know that boy loves it
  • Is EXTREMELY easy to fluster like holy shit that boy goes red in a second 

I might make a part two when I think of more

                    such a:

                                        [ x ]  quiet boy

                                        [ x ]  silent boy

                                                            c a r e f u l        w i t h
                                                            W     O     R     D     S

10

the “Stansberry parallels” - pt. 2
“Make sure your passion isn’t your sickness.”

&  a n   a n n e x : if we examine this “sick passion” idea in the larger context of the show, one possible conclusion we can draw is that Elizabeth Keen’s in fact Red’s sickness. She is the source (& embodiment) of a burning, soul-crushing guilt, and Red feels compelled to take increasingly extreme measures in order to “salve” it (as he put it in episode “216″). The word “salve” evokes the image of healing, of applying a medicinal ointment. But - interestingly enough - she is also the cure. She is also his ray of light, slowly nurturing him back to health: into the person he once was.

Raymond Reddington is Liz’s sickness. At one point, she calls him “the bane of her existence”. The word “bane” is found in the names of poisonous plants, which seems fitting given that Red has indeed “infected” her life with various deadly elements, including “Tom”. But Red is also the one who provides/administers the treatment; he can and does help her heal & recover. He is the antidote.

Red is a pharmakon and so is Liz.

Pharmakon is a very ambiguous Greek word, and “is commonly translated as ‘remedy’ or ‘poison’ but was in fact a signifier for many other things that do not easily fit that binary, and that invoke in one way or another the perception-altering powers of intoxication, such as ‘perfume,’ ‘pigment’, ‘magical charm, philter, or talisman,’ and ‘recreational drug’” (from Michael A. Rinella’s Pharmakon: Plato, Drug Culture, and Identity in Ancient Athens).

I think this oddly compelling benefit-harm-philter ambiguity that these two characters project towards each other helps explain why they feel so drawn to and possessive/protective of one another. Antivenom created from an animal’s venom is the only effective antidote for its bite. Simply put, only Liz can cure Red from the crippling guilt he feels, and only Red can help her recover from the nightmare she is still living. I’m sure that on some level they realize that, and I hope that one day this ambiguity clears up completely and only the benefits remain.

There were tragic endings on Mad Men

Setting aside cynical interpretations of the Coke commercial, the conventional wisdom is that the Mad Men ending was incredibly kind to its characters, almost to the point of straining belief– and this is true, for most but not all of the characters. Don and Peggy and Pete and Joan and Roger got essentially a happy ending. They got what Weiner promised: they ended up a bit (or a lot) better off than where they started.

Their endings were happy not because of what they got– Coke or a start-up or love– on a show where characters never know what to do with good fortune, those things could be poison as much as wine. No, their endings were happy because at the close of their narratives, they became a little more like the people they always knew they could be. From Joan’s independence to Peggy’s devil-may-care optimism to Don’s capacity for change, the final episodes highlighted the attributes we value most about them– and that they value most about themselves. Whatever happens after the fade to black, we can have faith that they’ll have lived the best life that they were capable of.

I would argue that this was even true for Betty. One could take her fate as proof that Weiner never loved the character, but I think that’d be wrong. If anything, I felt, as someone who had developed a strange wellspring of empathy and even love for Betty over the years, strangely vindicated by the empathy Weiner showed her with this final story. Yes, she is objectively worse off than where she started, but for maybe the first time in her life, you had the sense that she became who she truly was. In her final episodes, she took on a grace and maturity that she had within her this whole time. Isn’t that just what we want for the people and characters we love?

Betty’s fate may be tragic, but her story was not a tragedy. Tragedy isn’t in what happens to you– it’s in your inability to justify to yourself your choices and person you became. I don’t think Betty would have any of it differently– Henry who, whatever his flaws, really loved her, Don who she realised was a better ex and an occasional father than he was a partner, and Sally, who Betty unwittingly raised to be able to lead a life that is more adventurous and fuller than her own. 

But look beyond the major characters, and there is plenty of tragedy in Weiner’s world. With Megan and Ted and Ken, it’s not that misfortune befell them– it’s that they lost the best and purest part of who they were. We met Megan as a bright-eyed, optimistic young woman– someone we could almost believe really was something different– and by the end of her narrative she was fulfilling Roger’s prediction as just another one of those bitter second wives lining up for their check. Ted once managed to pair his creative acumen with at least a semblance of virtue, but by the final season, he was broken and embittered, happy to live out the rest of his days in McCann hell, satisfied with work and romance that’s just “a little bit deep.” And Ken, dear sweet Ken, whose carefree cheer and vibrant imagination always marked him out as probably the most fundamentally decent person on this show, gave up his chance to build a life around his first passion (writing) to work for a company responsible for the destruction of Southeast Asia– all in the name of revenge.

They’re not badly off, exactly. Megan can live the rest of her life in unemployed leisure, and Ken soon will have quite a fortune of his own, in addition to his wife’s inheritance. Ted’s certainly miles better off than when he was trying to murder-suicide clients in his little plane (and over my future alma mater, too!). They might even end up very happy. But it’s hard to look at their lives and choices and not think that they’ve turned away from what was best about them.

People have a lot of excuses about why they didn’t get to do what they wanted with their lives. You see Don realizing that Rachel Menken was the one. OK. Can I redo that?“ Ken’s going to be able to tell his kids, "I wanted to be a writer, but I had to put food on the table.” We know it’s not true. Peggy is going to say, “I never met the right guy.” We saw her meet the right guy.

Matthew Weiner, The Los Angeles Times (x)

Peggy won’t have to make those excuses. But Ken will.

RULES: share four songs/pieces of music that represent your muse.

(repost. don’t reblog.)

Cherry Bomb || The Runaways

Can’t stay at home, can’t stay at school.
Old folks say ‘You poor little fool’.
Down the streets I’m the girl next door.
I’m the fox you’ve been waiting for.

Human || Rag’n’bone

Don’t ask my opinion,
Don’t ask me to lie
Then beg for forgiveness
For making you cry,
For making you cry

'Cause I’m only human after all,
I’m only human after all
Don’t put your blame on me,
Don’t put the blame on me

The Ballad of Serenity || Sonny Rhodes

Take me out to the black.
Tell em I ain’t comin’ back.
Burn the land
And boil the sea.
You can’t take the sky from me.

Sherlock Theme|| BBC Sherlock

(instrumental)

Tagged By: @bloodiedsuit
Tagging: All of you 8)

Permanent established relationships & plotting call.

Hello mates! My old plotting call featured quite a few people who are not active anymore, so let’s make a new one. Long story short, I’m an extremely awkward person who (much to my mother’s and my friends’ dismay) never takes the first step in approaching people: on tumblr, that translates with me sending asks and memes in inboxes, but rarely (if ever) plopping into people’s IMs.

This established relationships/plotting call is intended for MUTUALS ONLY. By liking or reblogging (in case of sideblog) that post, you’re basically nudging me and saying “yo Woody Woodpecker what’s up I’d like to discuss the relationship between Megan and my muse in a bit more depth, exchange ideas and headcanons, so that we have a solid basis/background next time we start a thread”. Alternatively, if our muses already have a relationship or have interacted before, you can like/reblog this to say “I just really love gushing about our characters, and who knows, maybe we should explore some possible developments now that we’ve already explored these aspects of their relationship!”. Basically, this is a call for you if we’re mutuals and if, like me, you like tailoring and exploring muses’ relationships in depth. Once you’ve liked/reblogged this, I’ll plop into your IMs (or discord, if I already have you here) and we can easy peasy start talking business. Note: I’ll probably start the conversation with a stupid gif/image/song that reminded me of our characters because that’s a great ice-breaker.

(naturally this is open to all mutuals, including those I haven’t interacted with yet, and those I roleplay with since the beginning of this blog, and everyone in-between).

Say what you want about Night Vale, but I think it’s pretty damn poignant that a place where ritual murder and constant government supervision is normal is sometimes more accepting than the world we live in today.

breidxblik  asked:

"Alt!"

Meet more of Megan’s muses! | Accepting!

                 - Customized Female!Kamui : Fire Emblem Fates. -

✥ | “No. I’m not going to side with either kingdom. Both of my families in Nohr and Hoshido are still family, and I wouldn’t dare raise a weapon against them.” Even if they would do it to her…even if she’s resented for not making a decision…Megan did not want to harm any of those who were dear to her heart. “If I chose one over the other, wouldn’t it make matters even more complicated?” The princess shook her head, a determined expression written on her face. 

“It’s settled. I will walk my own path–and find a solution to stop both Hoshido and Nohr from clashing together in this endless war. They’ve already branded me as a traitor, and chances are this won’t be easy…” She exhales a sigh. 

“But that’s a risk I’m willing to take. If it’ll lead me to the right way to stop them from fighting each other, I’ll do it. I’ll be the one…to stop this war myself. I’m not choosing one family over the other.”

Meet more of Megan’s muses! | Accepting!

                  - Celica : Fire Emblem Echoes: Shadows of Valentia. -

✙ | Does violence and fighting always have to be the answer to settling matters? Is it really considered as naivete to believe that things could be settled peacefully? Celica knows it doesn’t always have to be this way. There are solutions to uphold a peace without a never-ending war. Embracing her true bloodline as the last of Zofia’s people–the redhead wears her circle with pride, with the motive of freeing Mila from Duma’s demise. Perhaps this would not only give back the peaceful days in Zofia, but all of Valentia as well. 

“Once Mila is saved, I’m certain that all will be well again. When she’s freed, this should surely cease all the fighting in this country.” Not only that, if there is no war occurring, there’s no point in fighting, right? 

“I’m certain of it. It may be a harsh and long journey ahead, but I will see through it until the very end. I promise–that your valiant efforts will not go to waste. It will be worth it once we all triumph together.”