so for all intents and purposes

cheritsundere  asked:

Didn't notice it before but because of the way your mobile theme is set up, your icon kinda makes it look like Oikawa is cursing the skies and saying "Lance where'd you go, I miss you so" jdkwkfnlsdld

you’ve caught me,,,, figured out my intentions all along,,,, kait u get me like no one else wjifiowiefw

macateallthespookings  asked:

lol the far right seize(d) power through systematic manipulation of the system to restrict their opposition as well as straight up lying to the populace, shit like the antifa dude punching a man who is for all intents an purposes a nazi (oh but he's so polite so we can ignore that video of him leading a literal sieg heil at one of his NPI meetings) is but a blip of how they work to seize power.


To the girl who loves him next, make sure you have the patience and perseverance to love a beautiful soul. You’ll need every ounce of patience you can get because he will purposely test all of your buttons, through good intentions. He’ll love to get a reaction out of you, only to apologize and smother you with affection. He’ll purposely do things to get a rise out of you just so he can watch you with dilated eyes as you go through the motions, because in his eyes every emotion you show is special. To the girl who loves him next, your perseverance will only make the relationship stronger. Like every beautiful rose, there are thorns. It’s smart to remember nobody has the same upbringing, and everyone has different values. To the girl who loves him next, he’s a very affectionate person and he’s clingy. Not clingy in the way where it’s aggravating, but in the way only his arms can bring you the sense of protection you never knew you longed for. To the girl who loves him next, please give him affection in return. when he’s comfortable enough to tell you, he’ll tell you why, that without it, his petals will whither away. to the girl who loves him next, he’ll never tell you, but every once in a while let him know just how red he is. He’ll sometimes think he’s the dullest of the bunch, when in reality he’s the brightest. To the girl who loves him next, he was hurt in the past. reassurance will come in handy once in a while, but actions speak much louder than words ever will. To the girl who loves him next, no amount of time can ever prepare you for an eccentric personality. constantly be on your toes, because everyday is a new surprise with him. Ask him to tell you a story, and when he asks you what genre, tell him every. Listen as he can transform petty words into poetry. to the girl who loves him next, ask him to show you his music and his art. You’ll fall deeper in love with every paint, pen and pencil stroke, along with every note. To the girl who loves him next, please just love him. And from the girl who loved you first, I hope you find everything in her that you couldn’t find in me.

random things my fragile bi heart gets really emotional about: axton the commando, and the treatment of his sexuality in the game. just hear me out for a second.

like, for all intents and purposes axton is pretty much the most stereotypical video game character ever— a ruggedly handsome, confident-bordering-on-cocky, square-jawed white guy with a crew cut, a couple carefully placed facial scars, and a military career that’s probably just a bit too illustrious for his age.

but then he’s also canonically bisexual!! and not even on purpose originally, but because of a glitch that made him flirt with everyone instead of just the attractive female character the line was intended for.

and when fans saw this and were like, ‘oh this must mean axton’s supposed to be bi! awesome,’ the writers, instead of 1. freaking out and trying to quash those headcanons or 2. turning the situation into a gross queerbaiting mess (which seem to be the two things that happen most often), were like ‘oh, yeah, looks like axton is bi. let’s add some dialogue to the dlc that confirms this and make it irrefutably canon.’

and that was that. like, there was no uncharacteristically dramatic and emotional coming-out scene. no awkward forced romantic subplot with a male character to ‘prove’ he’s really bi. just a couple stupid and perfectly in-character lines about having dated lots of ‘people’ instead of specifically women and that quip about ‘guns and women… and sometimes dudes.’

and i just want to throw those moments in the face of every writer who’s ever claimed that it would be too hard to make a character bi, or that they can’t do it because it wasn’t the original intent of the character. all it took was two lines of dialogue for the bl2 team to confirm what players had already picked up on. it’s literally that easy and i’m just really tired of excuses for why characters ~can’t~ be bi!!!

I’m trying to phrase this in a way which does not sound smug because that’s the opposite of the intent here, but for those of us who were less emotionally blindsided by all this, it has been less a feeling of “I must dredge up some hope to get by” and more “ah okay I see what you did there.” I say this in the context of thinking the leaks served the dual purpose of a.) getting hacking and conspiracy on the minds of the public, and b.) giving us a few days of lower-stakes theorizing time to work out how very apparently wrong tfp was. so while it was a bit surprising when they aired the version we’d already dismissed, it wasn’t a total shock to the system because from that moment on it was really just a matter of expanding the scope of what we thought possible, not formulating some brand new theory of the show.

Headcanon that yamaguchi sometimes fights with his family. The fights aren’t ever anything terrible but they can sometimes get blown out of proportion and yamaguchi tends to just leave the house when he feels overwhelmed by them. Imagine that every time this happens, he goes to tsukishima’s house and hides out in tsukki’s room. In addition to a place to stay, he gains a guard for all intents and purposes because when yamaguchi’s parents inevitably come looking for him, tsukki will NOT allow them into his room without yamaguchi’s say-so. He’s not rude to them and usually doesn’t bother taking a side but he just refuses to let them into the room or play messenger boy (for either side). Tsukishima doesn’t even always agree with yamaguchi tbh. Sometimes he thinks his parents have a point or that yamaguchi is being too dramatic this time. But that’s between him and yamaguchi and no matter what he thinks on the matter he’s not gonna sell yams out. Yamaguchi’s staying in his room until he’s good and ready to leave

You know the Lads would be a fucking nightmare if they were kidnapped. Not the irritation of Geoff’s sarcastic drawl, the disquieting politeness of Jack’s unerring calm or the terrifying menace of Ryan’s entire existence, but a full blown regret all your choices, please god take them back nightmare.

Ray not so much; he shoots off a few snarky comments then closes his eyes and settles down, for all intents and purposes appearing to go to sleep despite the chains on his wrists and the cold concrete cell they’ve been locked in. Just sleeps and refuses to stir, limp and unaffected by anything from physical pain to the yells of his crew-mates. It’s an infuriatingly difficult reaction to combat and eventually their captors just give up and ignore him.

It’s impossible to ignore their other three captives though; they’re fucking loud, for one. Michael is throwing insults around left and right from the moment he opens his eyes, from the state of their lodging to the intelligence of their captors and everything in between; no threat works to shut him up and hurting any of the others only makes him exponentially louder. Michael calls out every ridiculous statement and every ineffective torture technique as though he’s merely watching a bad movie rather than living through one.

Jeremy is nearly as vocal as Michael though not nearly so straight forward about it; Jeremy drips sarcasm as he pushes every question back against his asker, inviting them to share where they stole their ideas from, who they thought they were kidding with this whole big bad act, if they’d chosen their last words yet. He and Gavin goad each other into increasingly absurd conversations whenever things are getting too tense, and Jeremy repeatedly acts like he’s broken and is ready to talk only to whisper another dumb pun into the interrogator’s ear; cackling wildly at his own jokes even as he spits blood.

Gavin flips back and forth between antagonising and commiserating, endearing himself to their enemies only to pick on their weaknesses and instigate in-fighting. He critiques their captors like they are on even footing, scathingly judgmental and haughtily unimpressed, identifying soft spots for Michael to tear into. For all his ability to deflect the anger of other people Gavin’s never been great at sitting back and watching his boys get hurt, so when things get a little too heated his comments tend to get more vicious and offensive. He twists deep into every insecurity, grinning wide enough to show all his teeth as he carefully pulls everyones attention back to himself. This honestly only pisses Michael and Jeremy off - Gavin you are a twig alright, just shut up and let the brawlers take the bruises - so soon enough all three are fighting each other as much as their captors, bellowing so loud and incomprehensible that the cell doors rattle and their interrogators are forced to take frequent breaks or risk going deaf.

Another strike against the Lads is their combined impatience; never content to just sit back and wait for the Gents to collect them, no matter how dire or trivial their situation may be. It’s not like the Gents won’t come, it’s not like their arrival wouldn’t be one hell of a show, a firestorm of possessive rage and righteous fury. It’s just that the Lads have never been passive, have always been threat. It’s just that they’re smarter than anyone gives them credit for, and nastier than most could ever imagine. It’s just that the Lads never could let anything slide, lean full force into everything they do and what they do is devastate, what they do is destroy.

The end begins, as most ends do, with a regrettable mistake. With a guard cocky enough to come in on his own, to taunt and jeer and rile them up. A guard green enough to let them see the keys he drops into his pocket, to think himself safe in their shackled presence. He’s clearly not well versed in the art of breathing menace, his efforts are rudimentary and uninspired at best, an embarrassment to the craft, and the Lads play him like a fiddle. He’s frustrated when Gavin lays on the mocking flirtation too heavily, circling behind in a clumsy attempt at intimidation and failing to notice to moment his pocket grows lighter. He rises to the bait when Jeremy sneers out a cutting commentary on his skills, completely missing the flash of silver flicking from Gavin’s hands to Michael’s in the blink of an eye. He turns his back on the three of them to aim a petulant shove at Ray, whose eyes pop back open for the first time in hours, snapping into motion as quick and dangerous as a snake. Ray uses his chained hands to pull himself up and deliver a solid kick, propelling their guard right into Michael’s waiting arms.

It’s unsalvageable after that; not quite quick, by no means clean, but hopelessly unstoppable; something akin to watching a man being torn apart by wild dogs. The rest of the mysterious crew have no chance to intervene, left watching in shocked silence over the security feed, their horror unnervingly acknowledged as the Lads bare their teeth at the cameras, chilling mockeries of real grins, full of promise. It doesn’t get better, the restless energy in the cell only growing as the four efficiently free each other from their remaining binds, laughing and crooning out childish singsongs as they destroy the room; Ready or not here we come.

See, the worst thing about taking the Lads hostage, the very worst part, isn’t their volume or aggression, isn’t the indifference and blatant disrespect. It’s not the looming danger of retribution from the rest of their crew, not even the way they will eventually, inevitably, break themselves free from any restraints. No.

The worst thing is the fact that even when they get out the Lads will not leave. There is no stealth, no mad rush for freedom or careful plans to storm the exit; they won’t escape, at least not until there’s nothing left to escape from. When the Lads break loose they don’t look to regroup, aren’t interested in taking a moment to recover before coming back with support. They want their vengeance and they want it immediately; want compensation for every injury, want to fulfil every promised threat, make good on every nasty laugh and hungry smirk, watch the terrified realisation in the eyes of their prey. When the Lads break loose they want to play.

The Purpose of Homestuck

In Gnosticism, Aeons are bonded pairs of male and female entities, that strive towards creation. Sophia left her bonded Aeon, and went to the Darkness. From it, she created the Demiurge, Yaltabaoth. Being a creation of an unbalanced Aeon, Yaltabaoth was flawed. Yaltabaoth saw existence, thought itself the Creator, and fashioned reality. As a flawed being, it could only beget flawed creations. Sophia descended into Yaltabaoth’s reality, and brought Wisdom, so that people could eventually rise to the level of the Aeons. Eve and Adam consuming the Forbidden Fruit was a key step.

Paradoxically, one of the events to kickstart the entirety of Homestuck was a mistake made by a kid at the end of the world, at the end of several worlds. Calliope and Caliborn were poised to begin their own session of SBurb, as Muse of Space and Lord of Time, respectively. They were a male/female bonded pair, their aspects and classes perfectly offset one another. For all intents and purposes, their session should have been fantastically balanced, and hopefully, successful. Proper completion of it could have wrought gorgeous results, and a wonderful Ultimate Reward.

But then Caliborn broke the deal. He turned away from Calliope, and looked towards the Darkness. Upon Derse, in the shadows of the Horrorterrors, he found Jack Noir, and commissioned him to kill Calliope’s dreamself while she slept. Jack succeeded, Caliborn artificially predominated, and his new session was wrought, with Yaldabaoth as its denizen.

Caliborn would quickly go on to create ‘Homosuck’ a flawed, horrible, copy of the reality surrounding him. It’s retelling of events was mistaken, altered, and an all-around inferior copy of the true reality of the story.

As he picked the Path of the Tyrant, Caliborn was granted the power to rampage across all reality at the culmination of his dead session. As he became Lord English, all reality bent to support and perpetuate his own existence. He gained control over at least the four preceding Universes (the Alpha Trolls on Beforus, the Beta Trolls on Alternia, the Beta and Alpha Kids on their respective versions of Earth), and even went so far as to speak in the very fabric of the narrative (his text is written in the same font as the comic’s title).

Both acts of creation were tarnished by another force, though. When writing Homosuck, an external intruder joined the story, and criticized the author. When  rampaging across the Furthest Ring, a sole entity changed events to cheat him.

John Egbert. John was able to access the world of Homosuck, thereby descending into the Demiurge’s own creation. John was able to access the narrative of the comic in a way no other character could, and save it from Lord English - an accounted-for variable with the power to keep bringing flawed, endangered, Universes into being.

When John first entered the Medium, thereby showing us our first glimpses of the world beyond Earth, and the greater scope of the comic, he did so by biting an apple. The apple is the modern representation of the unknown Forbidden Fruit consumed by Eve and Adam in the Garden of Eden. Generally, this is viewed as Original Sin, the descent of humans to mortality, etcetera, etcetera. Gnosticism instead posits that this was the first step towards enlightenment. In biting the apple, John was stepping beyond his world, and plunging into the unknown, so as to know it better.

In Homosuck, John descended into the world of the Demiurge, just as Sophia did. But John isn’t Sophia, he’s Adam, as posed above (given the apple by Rose, who can be compared to Eve in that scenario, but also fits Lilith quite well). He’s simply ascending to Sophia’s level, as she intended humankind to do. John further exemplifies her traits when he uses his newfound powers to make the biggest change to the story - changing the events of [S] Flip. John punched Vriska, thereby preventing Terezi from stabbing her, or being forced to let her go. This set into motion a chain of events that led to the kids knowing themselves better, and begetting a Universe no longer beholden to the 'malevolent tendrils’ of Skaia and destiny, as Rose so fantastically put it in her GameFAQ of Sburb.

But I lied above. John didn’t do this alone, he did it as part of a bonded pair (notably, a male/female one). Terezi guided him in undoing the events that led to Aranea gaining the Ring of Life, and dooming the Old Alpha timeline. She further guided him in orchestrating an entirely new sequence of events, and bringing about a Universe free from the flawed creation that Lord English engenders.

But what does all of this mean? Caliborn broke from his balanced pair, and absolute destruction ensued. John sought out a balanced ally, and through seeking out wisdom, was capable of rising above the flawed world he had been born into, and bearing a new world, free of the problems of the old ones. At it’s core, Homestuck is a story of friendship. Kids talking over the Internet, aliens coming together and working towards a common goal, romances blooming in situations no participant had thought possible. But it’s also a story of self-betterment. Not necessarily betterment through traditional means, but betterment through living life, and coming to understand it. It’s about “…[consuming] the fruits of existence [and] living.”

…I bet that fruit bit was intentional.

In Hushed Whispers Part 1

I have not written any type of fan fiction in years nor have I ever tried a reader-insert one but the idea grabbed on to me and did not want to let go so here it is. It’s shit but hey one needs to risk shit in life right. Also English not my first language so all mistakes are mine.

I would like to thank @thatonedaydream, @chocobrowritings and @chocobro-daydreams for existing and creating masterpieces that fueled me to try my hand at this.

EDIT: This is, for the moment at least, a ChocobroxReader fanfic, where the reader is from our world.

Keep reading

Of course Yuri on Ice is just baiting

Victor and Yuuri, who gave a closure to the season by skating to the song about gay love that brought them together, as their marriage rings shined and their eyes couldn’t look away from each other, are completely straight and without a doubt not in an intimate relationship.

The writer, Kubo Mitsurou, who tweeted about her desire to write romantic relationships where gender doesn’t matter, and expressed her intention for the Yuri on Ice world to be free from discrimination, along with the director, Sayo Yamamoto, who produced other animes with LGBT characters, totally made Yuuri and Victor’s relationship like that with the sole purpose to pander to the fujoshis. This makes complete sense.

Its obvious they didn’t do all they could to portray their relationship in a romantic way. Censorship doesn’t exist in Japan after all, so writers are completely free to show characters of the same gender making out in the most explicit ways in R13 series like Yuri on Ice. It happens all the time in sports animes, because homophobia doesn’t exist in Japan and same-sex marriage is more accepted there than it is in the West.

I mean, would I be writing this if one of them was a girl? Probably not, because straight ships don’t need to do that to be canon! One look is enough! But unless Victor and Yuuri say they’re gay it’s not canon!

Not a Creature was Stirring

by mldrgrl
Rated: PG
Summary: For @inutilidadesbytamara who requested an AU Little Will MSR Christmas fic.  For all intents and purposes, fit this in amongst They Grow Up So Fast and Ice Cream

Mulder curses under his breath as the tape he’s working with somehow wraps itself over his finger and sticks to itself.  He holds a partially wrapped present closed under his hand and peels the sticky tape from his finger and quickly grabs a new one.  The last flap of the wrapping paper gets sealed quickly and he sighs with relief.  A plastic bag of bows sits on his desk.  He sifts through them and selects a pearly white one the size of a silver dollar because he likes how it looks against the silver wrapping paper.

There’s a soft knock on the door and he slides the small box into his desk drawer before calling out to come in.  Scully shuffles in wearing white flannel pajamas and a blue robe.  She’s got slippers on her feet and a mug of something steaming in her hand.

“Is the child nestled all snug in his bed?” he asks, sliding a LEGO set to the middle of his desk to begin wrapping.

“Down for the count,” she answers, “though, I highly doubt visions of sugarplums are dancing in his head.”

“Guess I owe you ten bucks since it’s still before midnight.”

“Pay up,” she says, leaning back against his desk and holding her palm out to him expectantly.

He slaps her hand and bends his head to sniff her mug.  “Hot chocolate?”


“No mini marshmallows?”

“We’re out.  Want some?”

“Nah.  I’m on the last one.”  He shakes the unwrapped LEGO box and searches for the scissors somewhere on his desk under the unrolled wrapping paper.

Keep reading

Spiral Meditation 🌌

Spiral Meditation can be used to ground, center, and/or channel celestial energy - the spiral is meant to represent a nebula in which a star is born.

  1. make some room - this can be done indoors or outdoors
  2. create a spiral shape on the ground leaving enough space between the winds of the spiral so you can both walk and sit - this can be done using physical objects like herbs, flowers, garlands, confetti, crystals, etc., or by visualizing a spiral on the ground
  3. stand at the entrance of the spiral - take this time to relax and clear your mind
  4. when ready, walk to the center of the spiral
  5. once you reach the center, have a seat
  6. at this point, you are ready to begin meditating, grounding, or channelling (maybe all three)
  7. for the purpose of channeling or drawing down celestial energy, sit with your palms facing up towards the sky as you focus on your intent 
  8. to charge items during this ritual: place the item at the center of the spiral before beginning, and channel energy into the object at this time
  9. focus on your intent for as long as you feel necessary
  10. when ready, stand up and walk out of the spiral in the opposite direction that you entered - take this opportunity to reflect on your actions, and to ground the energy you just expelled 
A short thing I wrote

Oh boy. How’d she get herself into this situation?

Lena had her fixed with her intent emerald gaze, approaching with purpose, walking her backwards, until Supergirl bumped against the Luther’s desk. She stood so close then that Kara could smell the heady notes of red wine on Lena’s breath.

Lena reached up, cupping Supergirl’s face with both hands, pushing her fingers back through thick, golden hair, and gathered it all up in one hand.

“Lena.” Supergirl tried to protest, as she realized Lena’s intent too late.

With her free hand, Lena removed her glasses, placing them to rest gently on Supergirl’s nose.

Kara thought she may have caught the slightest twitch of a smile at the corner of Lena’s lips, but it barely registered over the sound of her own pulse drumming in her ears. Her blue eyes searching Lena’s for any sign of what the beautiful young executive was thinking.

“I knew it.” Lena whispered, still not betraying her true feelings though. Kara gulped as she swallowed the large lump forming in her throat, and suddenly the poised, impenetrable Supergirl, was that adorably awkward reporter, blushing and stammering once again in the L Corp CEO’s office, just as she had so many times before.

“L-Lena… I-I can explain… I swear, Lena, I wanted to tell you…” but Kara was abruptly cut short, her words swallowed up in Lena’s hungry mouth, searing lips pressed against her own. Kara was still for a long moment, until Lena’s tongue dragged the softest whimper from her mouth, as it plied between her lips. With one hand still a tight fist in Kara’s hair, the other had reached down to the small of her back, pulling their bodies together. Instinctively, Kara’s legs wrapped around Lena’s waist, her ankles crossing at the back of Lena’s thighs. Her hands gripped Lena’s hips, and she was kissing Lena back.

Legit Tip #175

Writing in the Gray - or, how to approach “morally ambiguous” characters.

Some characters are easily identifiable as heroes, or villains. However, these days, there is a lot more fiction that is including “gray” characters who have ambiguous morals, and who for all intents and purposes can’t be identified as falling on either side of the spectrum. 

So, who are these characters? They are those characters who are out for themselves - who get involved in a story because they have something to gain by getting involved. Think of the many, many characters in Game of Thrones who aren’t necessarily good or evil, but who simply have something to gain by throwing in with the ongoing chaos. 

Now, first and foremost, there are a few things to understand when it comes to “gray characters” - 

They may do bad, even reprehensible things. 

The already mentioned “Game of Thrones” is filled with what I think of as gray characters. Jaime Lannister is a good example. I wouldn’t consider him a villain - not at this point in the series, though he starts the series by committing a villainous act. 

Your gray character doesn’t have to throw a kid out of a window, of course, Perhaps your gray character is a con artist, or a thief. (However, if you have a character like this, I highly suggest you don’t gloss over these details of their background, as so often happens with these types of characters.)

Gray Characters are largely self motivated.

Rather than being motivated largely by “plot” reasons, gray characters will largely be motivated by their own desires. Your heroes may want to save the world and your villains may want to commit genocide, but your gray character may just want to save their own neck or make a lot of money or get a sweet title by marrying a Lord. 

The more villainous a character’s behavior, the more you must do to humanize them. 

In the case of Jaime Lannister, George R. R. Martin does a lot of work to humanize the character and to let us get to see who he is as a person. A lot of this work is done by pairing him up alongside Brienne of Tarth. So think of ways to humanize your “gray” character and to remind your reader that they aren’t a villain. 

I’m not saying that you should be excusing their villainous actions, mind you. This is actually the opposite of what you should be doing. It’s not your job to excuse their actions. It’s your job as the reader to show the complexity of human nature and to remind the reader that even people who do horrible things can still be capable of, say, loving their child (Cersei Lannister).

Remember that Gray characters can move into the light or into the dark - or vice versa. 

Just because a character starts with ambiguous morals doesn’t mean that they have to remain ambiguous. And often a character who starts out as purely a hero character or a villain character can become more interesting by becoming a gray character, or vice versa - a gray character can become interesting by developing into a hero or a villain as needed for plot reasons. 

The already mentioned Jaime Lannister began purely as a villain character, but became a gray character as the story developed. Meanwhile Cersei was more of a gray character, but is becoming more of a villain in the current status of the show. (Sorry of this analysis is GoT heavy if you don’t watch GoT).

All in all, just remember that gray characters represent the middle ground of humanity. 

Where our heroes are all the best aspects of humanity condensed to their brightest point and villains are all the worst aspects of humanity condensed to the darkest, you can think of gray characters as humans at their most human

No matter how cruel his intentions and inventions may be, I just can’t hate Zeref. Because I know that behind his title, “Darkest mage of all time”, lies a lonely heart. He’s family was taken from him a little too soon. He was alone and broken. For wanting his brother back, he was cursed. And when he found a reason to live again, the love of his life was taken too. 

So no matter how cruel he may seems, I just can’t hate him. I feel sorry for everything that happened to him. He could have used his intellect for the right purposes, but those things happened. He created those monsters because he wants to die. Because dying is the easiest way to have his family and Mavis back. Dying means being able to be with them again. So yeah, It’s so hard to hate Zeref because I kinda understand what he feels. 

oabuckvu  asked:

I honestly can't decide whether we are reading into the whole parallels or if they're purposefully there. I definitely think the cut on Homer and French's forehead and the whole Buck/Rachel red backpack/car accident thing was intentional but the other stuff idk. Part of me thinks theres so many similarities between all of them that it can't possibly be a unintentional but then some of the similarities just feel like a reach. basically my mind is a conflicting mess

Thanks to @theoanetflix for reminding me about the Rachel/Buck similarities. 

The more we discuss the further we get. Last night I made that obnoxious post in response to you, about how they don’t parallel each other, but everything about the original and secondary five is purposeful.

NOW I’m thinking, what if, what if these similarities aren’t parallels at all, but clues about dimensions brushing shoulders, or perhaps bleeding into each other. OR, similarly, maybe now that the family is being exposed to OA’s story, they are able to perceive that which they were not able to before.

For example, the Buck/Rachel car accident parallel.  At the end of “Champion”, Rachel tells her story about her brother. Later, at the start of “Forking Paths”, Buck passes the car crash site. They aren’t exact parallels and they don’t happen near each other. Maybe what Buck sees (and only HE sees it, from what we know) is a manifestation of the other dimension. 

Same thing with French seeing Homer’s reflection. French is the only one that sees Homer in the mirror. And it is just a mirror, it’s not like he sees Homer standing in the room before him. And Steve chasing the ambulance, same idea there. Maybe it’s just the other dimension breaking through, maybe the original five can sense what OA is doing and are trying to reach her, too.

Hope this helps! Love talking about it for sure.

If you ever want to be really upset, recall that Diana as a hate filled lantern drone was still so in love with Bruce that her vision of him brought her back.

He was for all intents and purposes dead, and he still meant enough and had enough power over her emotional state to make her into herself again.

So after the confession and shark hunt in 3x03, it’s hard to tell just how quickly Flint will start treating Silver as an equal. Now that Silver’s admitted his lies it’s certainly easier. But to me, what’s shocking about 3x04 is just how QUICKLY James starts listening to Silver. He is still horribly depressed, barely there, but he asks about Silver’s methods, actually answers Silver’s questions about his moods somewhat, and for all intents and purposes treats Silver as someone to be reckoned with. Almost like a friend. Certainly like a Gates or a Miranda, like a partner.


why ya’ll out here droppin dimes? fuckin over girls you begged to be with? choosin a girl that popped up in ya life over a girl who’s been down with you from jump?

I deadass don’t understand

yah use women for emotional support (which is FREE labor), money, time, attention, and then wanna be mad when she move on to find a nigga that will reciprocate all those needs && more. 

yah not honest about your intentions. why? 

yah wanna ignore her when she made you upset. why? 

yah cut these girls off for no reason && then wanna come back later tryna apologize. why?

 you want her to give you all her time & attention but don’t wanna commit. why? 

you think she cheatin or not being honest about some shit, so you purposely do her dirt instead of communicating what the fuck was up. why?

ya’ll niggas need to GROW THE FUCK UP. honestly. 

talk about ya feelings

say you’re feeling insecure

mention that this person makes you feel jealous

if you don’t say shit, she can’t fix it. 

ya’ll really out here fuckin up a good thing cus you don’t wanna do the work & communicate.

yes, it’s hard. yes, it hurts. yes, it’s scary. but how you think you gon marry shorty without doing the work it takes to get there?