must be twins separated at birth

I got some thoughts on Little Nightmares. As usual for me, I am more interested in everybody else and not the main character. Typical me.

Anyway as far as the world goes the basics are not hard to grasp. You are a human on a giant’s vessel. Giants were known to be maneaters in many of the different cultures they appear in, so raising and preparing human like domesticated livestock is no big surprise.  

What I am interested in is this particular crew. Been looking at things and the websites and I got some info. Like many others, the sight of fat customers coming aboard to eat en masse reminded me of tourism/the food industry-and with The Lady looming over as she does, it’s not hard to deduce she runs this eatery. Now here’s what it says about “The Lady” on the site -

“Admist the chaos of the world outside, The Maw is the only place that makes sense.”

It gives off the impression she might have been drifting before, lost, without a purpose and without a place to belong. Obviously she looks Japanese and aside from the eatery, not a lot of other places in the boat follow that aesthetic. She is far from home. But not just that-I think the others were lost too-if fact I think they were all together before as well. Look at this one-

-”he fled the world and found The Maw.”  People point out the painting of The Lady with other shadowy figures when contemplating the identity of Six, but you’ll notice the other pictures are quite interesting too. I believe our man here is in one of them-the chefs too. 

With the chefs, I’m thinking they were probably twins who were born fused together separated a little after birth-more on that theory later though.


 Mr. Legless sure looks like Mr. Arms tho. That The Lady keeps pictures of them gives me the impression they must have all known each other for a long time-predating The Maw. 

Not only that, but they are all wearing masks. The Janitor’s mask seems to be peeling and blocks his view, The chefs can be seen scratching under their mask and The Lady is wearing a much more obvious mask. Perhaps they are all from the same place and are trying to “blend in” with their new found culture/people. -Another interesting possibility-they are outcasts even among giants. The smashed mirrors, the masks and the Janitor - maybe these were originally a band of misfits-rejected at home who drifted aimlessly for a while before finding a place to belong, a place that “makes sense”. 

After all, no one cares what you look like if you’re serving up grub. 

This game, I hear, was originally called Hunger. Once you play the game yourself, you’ll see how that theme remains. Hunger drives what we assumed to be an innocent little girl to prefer to kill and eat others savagely to survive. Hunger can take you dark places. The Maw itself is a dark place, I’ve heard a youtuber comment after seeing it all that Six became “like them”. 

Perhaps hunger was also what drove them to such an extreme. Fattening, slaughtering, serving, in an endless cycle. It’s not pretty but it keeps them alive. It’s a purpose-it’s a living. 

Maybe this was something the game was trying to get across. How ruthless the fight for survival can really be and how things like good and evil can sometimes be made to take a backseat when you’re starving to death. 

Is She Galra Mom or Nah?

I just wanted to point out this out- practically half of the fandom is fanoning the General Weblum Galra to be Keith’s secret twin sister on account she looks to young, almost as if she’s in the same age group as Keith… In retaliation of her being his mom.

and couldn’t be 100% false considering the fact they resemble each other at a remarkable degree.

-Particularly the jawline, parallelogram-like eye shape and even their noses. (Possibly their eyebrows too considering they’re making the same face in the two previous pictures)

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Title: A Grandmother’s Right
Rating: PG
Pairings/Characters: Padme/Anakin, Padme Amidala, Anakin Skywalker, Luke Skywalker, and Leia Organa.
Summary: The way Padme sees it, a life on the run as a rebel, a refugee, and a mother has earned her the right to spoil her grandchildren.

@baratheons creates for @jerseydevious


“Really, Mom?”

Padme turned her son with innocently arched eyebrows.

“Did you really have to get them their own holotables and that Galactic Rebels game and all that candy?” Luke clarified.

“Why not?” Padme asked, turning back to watch Anakin guide Rey in executing the perfect Form V against an imaginary opponent. Leia chimed in on the lesson every so often to tease or make suggestions. Anakin caught Padme’s eye and gave her a wink that made her look away with a silly grin. Even after decades of marriage, he could still bring a flush to her cheeks. “Why can’t we give our grandchildren a few presents now and again?”

Luke laughed. “Now and again? More like twice a week or more.”

“That’s a grandmother’s right,” she insisted.

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Sentence Meme for people with the same faceclaim
  • "But... how do we look exactly alike?"
  • "Oh my god its like looking in a mirror!"
  • "It's like looking into a very poorly dressed mirror"
  • "Am I drunk? I think I am because I'm seeing myself"
  • "Oh... are we not going to do that thing where we both move our arms in sync? Well now I feel stupid for doing those random arm movements"
  • "Is this some weird 'separated at birth' thing?"
  • "Are you me from the future?"
  • "Am I you from the past?"
  • "Witchcraft! It has to be! No two people can look alike without the involvement of sorcery!"
  • "I can't believe you look just like me?"
  • "Well, I must say that looking at myself makes me realize just how beautiful I actually am"
  • "Gosh I am... beautiful/handsome!"
  • "Give me my face back. It's not yours"
  • "Impostor!"
  • "Do you think you can just parade around trying to be me and think that I wouldn't notice"
  • "Are we long lost twins?"
  • "I am so exited to have a long lost twin!"
  • "Is this real? Or am I dreaming?"
  • "I can assure you, this isn't a dream"
  • "We look exactly the same!"
Integrating the Young Avengers to the MCU

I’m bored, and I’m thinking about this way too much. This is just from a character perspective; I’m too sleep deprived right now to think of a plot on how they’d actually become a team.

And Of course, the three characters I want to see the most in the MCU (Billy, Teddy, & Tommy) are the hardest to do. Go figure. Anyway. Stuff under the cut.

(Oh, no kid Loki though.)

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“still the stars find their way” - fic

This is another old one–I vaguely remembered writing a longer post-Endor fic that didn’t seem to be anywhere, and I finally dug it up in the depths of my dw.

fandom: Star Wars

stuff that happens: the Skywalker family figures out how to navigate certain awkward realities after the Battle of Endor.

characters: Luke Skywalker, Leia Organa, Han Solo, with some cameos

length: ~3600

warnings: references to canonical torture and quasi-incest

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da-ma-ge-deactivated20160701  asked:

Hello again! I need recommendations! I'm looking for books that portray a brotherly relationship. Basically anything in genre. Thanks!

Here are James Runcie’s top 10 sibling sizzlers:

1. The Brothers Karamazov by Fyodor Dostoyevsky

The ultimate tale of three competitive brothers and a hopeless father involves love, hate, faith, nihilsm, despair and patricide. Dmitri, the sensualist, Vanya the rationalist, Alyosha the hero priest may be archetypes for pleasure, reason and faith but each character is much more than an allegorical symbol. An intense interrogation of God, human purpose and the nature of suffering, the book is hardly known for its jokes but Freud called it “the most magnificent novel ever written”. Frankly, I’m with Anna Karenina, but this is the gold standard for fraternal fiction.

2. The Sound and the Fury by William Faulkner

First published in 1929, Faulkner created his “heart’s darling”, the beautiful and tragic Caddy Compson, whose story is told through separate monologues by her three brothers: the congenital “idiot” Benjy, the neurotically suicidal Quentin and the monstrous Jason. An intensely passionate novel about loneliness, selfishness, and unreliability, this is, essentially, Virginia Woolf on drugs.

3. The Master of Ballantrae by Robert Louis Stevenson

The two-brothers-on-different-sides-of-the-war story. The Durie family make an each way bet on the outcome of the Jacobite Rising of 1745 in order to preserve their inheritance; elder brother James joins Bonnie Prince Charlie’s rebels while younger brother Henry supports King George II. The rising fails, James is reported dead, the decent brother inherits and it’s all rather dull and disappointing until it’s revealed that elder brother James isn’t dead at all: he’s a complete shit who plans to ruin them all.

4. Death of a Salesman by Arthur Miller

A double helping of brothers here as Willy Loman mourns the absence of successful brother Ben, and, in a mirrored story, his two sons Biff and Happy, struggle to live up to the burdens of unrealistic parental expectation. The greatest American play ever written.

5. Goodbye My Brother by John Cheever

The classic slow-build story of the sudden outburst of rage that only a family member can provoke. The Pommeroy family gathers at a beach house in Massachusetts. Among the grown children present are the narrator, whose name we never learn, and his brother Lawrence, a “gloomy son of a bitch”. During a walk on the sand the narrator suddenly decides that he’s had enough of his brother and tries to kill him.

6. The Tale of Three Brothers by JK Rowling

One of the tales of Beedle the Bard that also appears in Harry Potter and the Deathly Hallows, this is also a re-working of Chaucer’s The Pardoner’s Tale – a simple, beautifully told parable about the fear of death and our inability to avoid it no matter how many special powers we might have.

7. Four Clever Brothers by The Brothers Grimm

An altogether more incomprehensible fraternal fable. Four brothers leave home, take four different routes away from a crossroads and return, guess what, four years later. One becomes a thief, another a star-gazer, the third a hunter and the fourth a tailor. When they return they perform an incomprehensible trick with five birds’ eggs before rescuing a princess from a dragon. It probably makes more sense in the original German.

8. Blood Brothers by Willy Russell

The nature versus nurture debate captured in song and plotted as a love triangle. Mickey and Eddie, a pair of twins separated at birth, have wildly differing lives but both fall in love with the same girl. Then one of them starts waving a gun about.

9. Pierre et Jean by Guy de Maupassant

The classic “family secret” story. When Jean is left money in the will of Léon Maréchal, but his brother Pierre is not, Pierre becomes convinced that it must be because Maréchal was his mother’s lover and Jean’s father. Plagued by an increasing obsession with his mother’s infidelity, Pierre forces the secret out, tells his brother, and ruins his family. Some secrets are probably best kept buried.

10. Monsieur les Deux Chapeaux by Alice Munro

Simple Ross mends cars and wears two hats at the same time. His brother nearly kills him, feels terrible, and realises that from that moment on he’s going to have to watch out for his brother for the rest of his life. First published in Munro’s collection The Progress of Love, it’s a story that’s both simple and complex and all that really matters is that it’s by Alice Munro and I wish I could write like her. She’s the tops.


Revisiting EMP - yay or nay?

Gathering my thoughts on TST. 

First, I want to say how much I *loathe* the “redemptive Mary” arc and explain why it’s so wrong, because I see a lot of casuals accepting it at face value. 

1. Mary shot Sherlock. He literally died. Only superhuman love for John Watson brought him back from the dead.

2. She would have shot him again at the empty house if her face wasn’t plastered on the building.

3. It was never explained WHY she shot him. To keep John from knowing about her secret identity? That justifies killing your husband’s bff who has offered to help you out? Similarly, we never see her apologize about it or justify it except as she’s dying. “Oh, so sorry I murdered you that one time.”

4. When Mary shoots the coin she’s a bit off – meaning perhaps she really did intend to kill Sherlock but “missed” by a few milimeters? There are other explanations for who called the ambulance (my money is on CAM).

Then at the end of HLV, and all of TST we have Sherlock, Mary and John basically acting like none of this happened and everything is fine. We get AGRA’s backstory and hey, it’s not all that bad. Sure AGRA, the team, “did things for money”, which probably meant bad things like assassinating innocents too, but heck, Mycroft used them so they couldn’t have been that bad. And Mary did try to leave that life behind. etc.

If this were HONESTLY going to be left like this, with Mary as the redeemed hero, I’d hate this show to my dying breath. 


OPTION #1. TST all happens “in the real world” of the show but it’s all a deliberate trick. Mary is really evil.  This would have to mean:

1. Mary deliberately played the role of ‘hero’ and sacrificed herself in order to permanently separate John and Sherlock. Mirrored with Emelia Riccoletti. Maybe Mary was already dying so “she made her death count”. But yet – didn’t she just give birth like 6 months ago? Wouldn’t her doctors then or, you know, her HUSBAND doctor, have noticed if she was deathly ill? But maybe it’s a secret twin? Let’s move on….

2. Somehow, probably during TFP, Mary will be revealed as the ultimate villain. Mary must actually be dead, because I can’t buy that everyone in that room was in on it or wouldn’t have noticed it was all fake. So we’ll get some new posthumous backstory on Mary that shows she was a villain all along and never loved John at all but merely hooked up with him to hurt Sherlock. Or possibly Mary is a twin and one of them died but the other will show back up at the end. (”It’s never twins.”)

In this scenario, we get Mary finally revealed as a total psychopath, the answer to Moriarty’s “Burn the heart out of you”. (with Mary as either Moriarty or his minion), and John perhaps confesses that he wasn’t happy with Mary anyway.

But we still have Sherlock being SOOOO blind for ages and ages, and John acting like… what? Why would he go back to her after she shot Sherlock? At all?  So, this option is problematic. It’s still possible, absolutely, and I’d say it’s the most likely scenario. Because I’m coming to accept that MOFTISS are willing to sacrifice logic for drama. But still pretty unsatisfying. John continues to just be a victim and have no agency. And I can see that “Sherlock is blinded by sentiment” but that badly and for that long? Ugh.


None of what we saw in this episode was ‘real’ but it was only a “one possible future” projection from coma-Sherlock. This solves the ridiculous “redeemed Mary” arc. 

In favor of EMP: 

* Lots of inconsistencies in TST like characters and things being mirrored on screen for no good reason (Sherlock on the stairs when Lestrade and John are taking the piss, John and Mary in bed, the door in the Watson flat).  Alternative explanation: These are deliberate artistic choices to tell us subconsciously that ‘something is wrong’, that we’re not getting a reliable narrator. Instead of EMP it could just be telling us that Mary is lying or Sherlock isn’t seeing things correctly.

* We have little lines of dialogue changing like “Mummy is coming” vs “I’m coming”. No idea what an alternative explanation is.

* Jumping in front of a bullet? Like seriously? That’s as stupid and unrealistic as the delayed action stabbing. 

* There’s the weird water/MP imagery the first time Sherlock notices the statue of Thatcher bust and a few other times. Alternative explanation: it’s another one of the show’s “visually demonstrating something happening in Sherlock’s head” that he’s noticing something is wrong (the shark/Mary/Moriarty) but does’t fully understand yet. We had tons of this sort of thing in ASiB. So it doesn’t necessarily mean EMP, but it’s suggestive nevertheless.

Against EMP:

* I’m frustrated with the apparent writing inconsistencies if this is all EMP. We see so many scenes that don’t include Sherlock such as Lestrade and Hooper in the hall, John and Mary in their flat, Mary’s New Jersey woman bit on the plane, John’s flirtation with bus lady. Let’s say Sherlock is imagining this entire episode – then some of those feel very OOC to me. The whole “gingersnaps” scene at the start. Why would Sherlock imagine himself as that much of a buffoon? The infidelity. Sherlock might guess that John would be unhappy with domesticity and might fall prey to temptation with some random woman. I can see that. But the whole thing with the flower in John’s hair feels too much of a “real dad” moment for Sherlock to dream it up. Then there’s the scene on the plane where John is feeling guilty remembering his affair. That feels more like a true John moment than something Sherlock would imagine about John. There’s the little parenting convo between John and Mary about 666 and the Omen and all that–that felt like something only real parents would be exhausted/exasperated enough to say, not something Sherlock would imagine new parents to say. Or we have John and Lestrade teasing Sherlock about the baby and Sherlock being clueless. With some of these things, it’s difficult for me to believe that the character of Sherlock would imagine them in his head –they seem outside his realm of experience not to mention why he would BOTHER imagining such things on this future path that are so mundane and don’t directly affect him or the mystery. So that remains my strong bone of wariness about EMP.  Alternative explanation: Moftiss simply aren’t that bothered about being consistent with Sherlock’s dream narrative and just want to to have fun showing this ‘alternate path’. 

* I think people will lose their shit if this turns out to all be a dream.  In Dr. Who they let the audience in early on to the fact that it was a dream. So then you’re always thinking “is this still a dream then”? Like, TST would make so much more sense to me as a dream if they’d interspersed little bits of John sitting at Sherlock’s bedside or even ANY bedside (keeping it cryptic). I honestly don’t feel like they’ve given us enough SURFACE CLUES to set up EMP for the general audience. Like, not just flipped cameras and shit, but bigger, more obvious things. Like in TAB when the entire room shook and then they’d break back to the “real world”, or characters were saying things like “you’re in too deep, you need to wake up!” That sort of thing was just not present in TST. And I think the fact that it’s not there is really significant. 

* The birth announcement in the paper. I know many dismissed this as just being PR, but I’m still disturbed with the idea of non-Sherlock characters breaking the 4th wall about the baby and Sherlock being on the phone all the time (i.e. not in a coma) if Sherlock is actually in a coma dreaming all this time.

At this point, it seems like BOTH option 1 or 2 are problematic and have some major story holes.  On the other hand, if neither is true, and Mary retains her redemptive arc til the bitter end, I will stick a fucking fork in my eye.

Thoughts welcome.
Jenna Ushkowitz on the End of "Glee" and Her New Role As Movie Producer

Next up: directing?

Glee viewers know Jenna Ushkowitz as the incredibly talented (and sometimes tragically underappreciated) Tina Cohen-Chang. But Jenna’s first post-Glee role is behind the scenes, as an executive producer of Twinsters, a documentary about Samantha and Anaïs, twins who were separated at birth in an orphanage in South Korea, and who didn’t know about one another until Anaïs happened upon Samantha in a YouTube video. (The movie premiered last week at the South by Southwest film festival.) spoke to Jenna about Twinsters, how the movie resonated with her as an adopted child herself, and — of course — the end of Glee.

Between wrapping Glee and promoting the series finale and South by Southwest, you must be exhausted.
Yeah, you know, I’m actually getting on a plane in a few hours to go to Paris for a Glee convention, so I’m really looking forward to the flight so I can sleep.

Are you a good plane sleeper? That’s such an important skill.
I’m an anything, anywhere sleeper. I’m very lucky.

At what point in the process of this movie did you become involved? I know it was a Kickstarter project at first.
I came in later in the process — they had already filmed almost everything before I came in. And then Sam called and said, “I want to tell you this crazy story. You’re an adoptee as well, so I wanted to share this with you.” Sam and I go way back — we’ve known each other since the East Coast because we were both kid actors and we’d see each other at auditions. The story was mind-blowing. I seriously was like, “What the hell is going on? That’s unheard of. You’re literally The Parent Trap.” I asked what she needed help with and what I could do, and she said she was looking for an executive producer, and I said absolutely. And then the response from adoptees was so huge that we ended up starting a foundation together [Kindred: The Foundation for Adoption] as well.

Were you looking to take on more behind-the-scenes roles post-Glee?
I totally was. It sort of fell into my lap exactly when it was supposed to. I’d been thinking and talking more about directing. That was my goal for the year. But then things got so crazy and busy and [Twinsters] was perfect. But I definitely want to develop and produce and get my hands dirty in all aspects of it.

Do you have other projects like that coming up?
Not that I can talk about just yet! But there are rumblings. And then I’m definitely going to look into directing and shadowing some directors to get an idea of what that work is like, because it’s such a different part of your brain that you use, compared to being on set as an actor.

Your Glee castmates recently outed you as being a loud crier.
Who said that!?

It came up on Ellen! And then I think again at the Paley Fest panel.
[Sarcastically] Oh, good. Yeah, [Lea Michele and I] are loud criers, actually. But we always cry, so it’s not a huge deal when we do.

So the loud crying wasn’t something that got in your way, working on an emotional project like Twinsters?
No, definitely not. These were like the quiet cries — the happier kind.

The film follows Sam and Anaïs as they do a homeland visit to Korea together, and your foundation helps make those trips possible for other adoptees. What do you think the value of those experiences is?
I think when [adoptees] are ready, it’s very important, in the sense that you learn about where you came from and how to be proud of it. A lot of the time international adoptees try so hard to be American and fit in, like every other kid in the world. But it’s a really beautiful thing when you’re ready to go home and see the culture you came from and how beautiful it is and how proud of it you can be.
And that definitely gets back to the movie for me, because I haven’t been back [to Seoul, where she was adopted from] yet – it’s not that I’m not ready, I just haven’t had time. So I’m actually planning to go in the next year or so with Sam. In the movie I got to see this beautiful culture and where I’m from, and all these people who are proud to be there, so I’m looking forward to it.

Maybe it’s just because I’ve been spending so much time thinking about Glee these past few days, but I saw a really strong parallel between Twinsters and the show, because both of them suggest that your relationships are what make your life special.
Yeah, absolutely. I think they both have a lot of heart. They’re both about embracing who you are and where you’ve come from, and realizing that you’re going to make it out okay and be a stronger person because of it.

I know you’ll be in France, but do you have plans to watch the finale?
Probably when I get home. I don’t think that we can see it in real time there. But I’ll watch it when I get home for sure, because I haven’t seen the finished product yet!

A Number On His Arm

Prompt: Phil’s a bar-tender, and Dan hoes out one night and ends up getting wasted, and then decides to go walk around the city at night. Phil is nervous, so he writes “if lost please call [phone number]”. And when Dan wakes up, he’s confused why there’s a phone number on his arm so he calls it, and finds out its Phil and they end up going on a date or something. It’s based off a How I Met Your Mother episode.

Genre: Fluff (ˊᵕˋ)

TW: Alcohol

Word Count: 1775

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