I want to put together a video for Mark and the gang showing them how much we care! I know projects like this have been made before, but I wanted to go ahead and get some people together and make ourselves our own video!
If you wish to contribute, you can post pictures, fanart, and video to Tumblr under the hashtag #weareteamiplier so I can gather them for the video.
If you wish to take video of yourself, please just put it on YouTube, then link it back to Tumblr under the hashtag and I shall get it! (Unless somebody has a better idea to receive video! I would love for some more ideas!) Please have the video in landscape mode. 1-minute max time for video. Sorry for this inconvenience. I need to fit everything.
Rules: Be respectful, 1-minute max for video (as seen above), please put what name or username you want to go by in the description of your photo or video link so I can put you in the credits
Also, please understand that I will be using these photos and videos strictly for this project only! They will not be shared around so you don’t have to worry, and you will get credit!
Deadline to receive images and video: November 5th
I will start putting the video together that day.
Everybody is welcome to contribute! Please share this around and reblog so we can get this message to others!
K so my outlook on Caryl ain’t great right now but I have an idea just for fun.
So like, spoiler alert for comics, if Dwight doesn’t shoot the fake tainted arrow at Rick, it makes sense to shoot it at Daryl right? Cos they have a history and we also need dat duh duh duhhhhhhhh Daryl gonna die cliffhanger. okay stay with me.
So what if before Dwight can get to him to tell him the truth, it’s not a bad arrow. Daryl thinks he’s gonna die. And so does Carol. And. And there’s not much time left and I think yall got where I’m going with this ☺️🤔🤷♀️😏😏🐝🌷
So to say that Brad Bucker and Eugenie Ross-Leming are ham-fisted is an understatement. Other writers may use elegant golden quills to craft their stories, Buckleming uses a hammer and smashes plots into submission.
Thus, naturally, their idea of subtext is to have a three second shot of the Song of Solomon after Dean literally throws the Bible at Jack.
They are to subtext what sociopaths are to emotional intelligence. They’ve heard it described and try to emulate it, but they don’t seem to understand it.
So, Song of Solomon.
Why would Jack not turn to Genesis? Like, he can read, but he doesn’t know how to start a book at the beginning? Genesis is also the book of “begats,” which lists all the descendants of Adam and Eve ad infinitum, and Jack is concerned with his lineage, so thematically it would fit. Why, would he not flip to 21:23, “Show to me and the country where you now reside as a foreigner the same kindness I have shown you,” since Sam is so concerned with teaching him to be A Force For Good TM.
But no. I have a feeling that Dabb said, “Make this season meta!” And he wrote 13x01 as a template– he showed us acrobats twirling on strings and strange bejeweled creatures enacting half-understood tales of grief and innocence…. And then the next act on stage was the roustabouts telling rape jokes. (No offense to roustabouts, it’s just a metaphor.)
So you have a writing team that can’t do nuance and don’t do very good subtext (how hard the meta writers strive to make sense of their episodes!) or refuse to because, again, dysfunctional. What do they give us for destiel subtext?
THE SONG OF SOLOMON.
I’m sure I’m late to the party and that other writers more insightful than I have already tread this ground, but I’d like to wander this path, as well, and talk about the steamiest book of the Bible.
Sex is a big deal in the Old Testament. Everybody was obsessed with having kids, or with barrenness, with who was sleeping with who, and who could and could not get married (guys, you can’t marry your sister. Sorry I don’t make the rules.) In Genesis, marriage is described as a couple “becoming one flesh.” That book also contains the story of Tamar, who had sex with her own father-in-law for a goat. There’s David, the adulterer, who knocked up Bathsheba. Lot screws his own daughters. Good times.
But the Song of Solomon. Song of Solomon is about love and passion.
The book’s conceit is that of a series of poems from two lovers, each describing their love, devotion, and carnal desires in turn.
It begins, “Let him kiss me with the kisses of his mouth—for your love is more delightful than wine. Pleasing is the fragrance of your perfumes; your name is like the perfume poured out.”
“My beloved is to me a sachet of myrrh resting between my breasts… Like an apple tree among the trees of the forest is my beloved among the young men. I delight to sit in his shade, and his fruit is sweet to my taste… I am faint with love.”
The man says, “My dove in the clefts of the rock, in the hiding places on the mountainside, show me your face, let me hear your voice; for your voice is sweet, and your face is lovely…”
We should all be so lucky to be so intoxicated with passion for another person.
There is one particular passage that I love where the woman tries to retire for the night, but her lover isn’t to be found. She restlessly, desperately combs the city in search of him—“I will get up now and go about the city; through its streets and squares; I will search for the one my heart loves.” She comes across the night guards and they beat her up, but she finds her lover and her wounds don’t even matter at all.
While at one point the man praises the fact that the woman he is enamoured with still has all of her teeth— “each has its twin, not one of them is missing” – it is a powerful, powerful love story.
My absolute favorite passage, though, (which I constantly misremember,) is this:
Place me like a seal over your heart, like a seal on your arm; for love is as strong as death, its jealousy unyielding as the grave. It burns like blazing fire, like a mighty flame. Many waters cannot quench love; rivers cannot sweep it away.”
Read it. It’s amazing.
Sooo, basically, this allusion is about as subtle as a brick wall.
We’re used to looking for hidden pictures like ships on window shutters, and here we are now, Buckleming literally just throws the Bible at us and says, “Here, have some Teen and Up smut with tooth-rotting fluff on the side.”
I’ll never forgive them for April Kelley or Charlie or Jack’s self-harm or even for putting “I’ll be the one to kill you” in Dean’s mouth, but they did give us this…
I’m more persuaded that what Dean and Cas have surpasses just sexual attraction, and this connection they’ve been dancing around for almost a decade burns very deeply indeed.
But this is Buckleming, they just don’t get it.
So they gave this to us.
*All quotes taken from the New International Version. And I’m not a canon-positive blog but god damn this was powerful.
what about pynch How to Lose a Guy in 10 Days AU with a side of bluesey, tbh pynch are more interesting and bluesey are kinda boring
The AU works better for Bluesey, the pairing I already planned it out for extensively. Bluesey, the pairing I am going to write it for with a side of Pynch and with Adam and Ronan showing up a lot as Blue and Gansey’s best friends.
I like Pynch a lot and tend to come up with more ideas for them and guess what? They’re my favourite pairing for this series.
But this is a Bluesey idea that works for their characters and that I already have so many ideas and plans for and I’m going to write it as a Bluesey one. I was excited about this idea and I don’t really appreciate it when I say I have extensive ideas for a Bluesey AU with a side of Pynch, just to be told Blue and Gansey are boring and I should write about Pynch instead.
Nano prep: I have a character that gets infected with a plauge/infectious disease that is separated from her family by a corrupt version of something like the CDC. What kind of symptoms can result from being forced apart from family by strangers and thrown into a sort of prison with other sick people? How would I write the character as having some type of medical related PTSD? What are some good ways of showing them responding to triggers/ways to write a flashback?
So for the most part the answer to ‘how do you write a character with medical PTSD’ is.. how you write a character with PTSD- and I suggest you check out the character profile for more ideas there. You’re just going to want to tailor things to the trauma-
but also I’d also say this falls less under medical trauma and more … interpersonal trauma. Now, if it was PTSD from getting sick or from … correct treatment- that’s medical trauma.
But what you’re describing is more ‘someone, for a reason, is essentially kidnapped and put somewhere they are treated terribly’
Obviously, both things are probably linked in the character’s mind, but there is a large.. human element there.
Like I talk about in the character profile- you have a few elements you need for it to be PTSD:
You need avoidance type symptoms, re-experiencing symptoms, and some sort of arousal symptom. Depending on the length of your piece, I don’t think you necessarily need to /show/ all the symptoms, but you need to know what is going on with your character.
With reacting to triggers, you have two main choices-
Self soothing behavior.
Symptoms break down to things like… flashbacks, panic attacks, intrusive thoughts, avoidance behaviors.
self soothing being things your character might have learned- consciously, or unconsciously, to deal with anxiety/uncomfortable feelings/symptoms- Counting, pacing, breathing exercises, coping skills.
I’ve written two guides to writing about flashbacks, here:
I honestly don’t have much hands on with them, so I cannot give you much information but I do like the idea of them. It’s a nice alternative for folks who aren’t as well suited for the needs of a GSD but appreciate their appearance. The ones I’ve seen were just in passing at a IABCA show and they were very chill with everything going on.
Mass hug for those who didn’t spoil the show for everyone else.
I’m so jealous that you got to go to the VERY first show. You’re the only people who can say they had NO idea what to expect. But the level of respect I’ve seen so faron tumblr has been amazing. (I’m avoiding Instagram tags)
There have been no real spoilers, no real videos - I know he asked, but not everyone respects that. YOU guys respected that, and the surprise hasn’t been ruined for anyone going in future. You have no idea how grateful I am. I was really worried that by the time I get to go in Europe, the entire show would already be online in various clips and streams.
But if everyone is as respectful as you guys then we have little to worry about.
Thank you SO much for not spoiling the experience for the thousands who are awaiting their turn. I can only hope those attending the next 2 shows are as amazing as you guys.
Does not show absolutely NO interest during the press conference during the Stolen Century
His small talk game is SO bad during Here There be gerblins “How is everyone liking the adventure so far?”
Has little to no idea how to talk to people without using charm person or exposing his true aloof/sarcastic snips
He didn’t NEED to charm Tom Bodett at the train station but he had little confidence in what they were doing
The awkward silence that came after he tried to have slmall talk over Palmoa’s scones and failed
His response “I’m Taako from TV” for the dating show bit in the Suffering Game is a combination of 1. his ego towards his own fame and 2. he has no idea how to sell himself
Taako talks more when he’s not around many people
That fucking charisma stat is kind of pitiful
Lup is clearly the charismatic one without needing to try, Taako got his fame not by his personality alone. Sizzle it up with Taako was him dazzling through unnecessary magical flares along with his cooking
During Candlenights Taako just walks around going “macaroons” and literally says nothing else
Taako relied on Lup to get him through social situations, when he started his new life not remembering her he taught himself (perhaps subconsciously channeled her) how to put up a fake tv personality
Long Story Short, I love how awkward Taako is in reality. I think its a lovely balance and works so well with Lup in the long run
I sincerely believe that acting is about the fine art of being alive. As an actor, through a performance I get to captivate an audience and allow them to feel something wholly and truthfully. I think that idea behind the art form is what inspired me to realize that acting is so much bigger than I had ever thought it was. It made me realize the potential you have as an actor to inspire others and show them ‘this is life – now go out and live it.’ I also get to exercise my empathy muscle, and put myself in somebody else’s shoes to be able to understand what separates us and what brings us together. Being an actor has made navigating thrrough life so much easier because it allows you to see so many different perspectives.
Alternatively Titled: Local Girl Digs Heels In So Hard She’s Laying on the Ground. “This Is My Home Now,” She Says.
Listen. Listen. No, I don’t know when to quit. Yes, I have a midterm tomorrow and am procrastinating. Shut up.
Now, since this is going to be long as hell (because I really don’t know when to quit), here’s a quick summary of my argument: 1. we’re building up to a leadership arc with Lance, 2. the pilot of the Black Lion depends not just on Black but on the team, and 3. Keith and Red still have a connection.
Blah blah blah, general disclaimer, I am probably could be wrong, lesgo:
Season 4 episode 6 sees the introduction of a new galra super weapon – a planet rigged to explode and take the whole solar system out with it. Right after destroying the galra stronghold on said planet, the team is suddenly surrounded by giant spire things and have no idea what they are.
And it’s Lance that makes the right call. He’s the one that not only says “hey let’s leave,” but also “and here’s how we’re going to do it.” He looks at this situation, sees a need to distance them from it immediately, and knows exactly who to delegate the task to.
I imagine before he got to know them, Kravitz absolutely HATED the IPRE crew. Like, the dude is competent, but the guys have a habit of completely humiliating anybody they end up fighting.
Let’s rewind a few years. Kravitz is doing his thing. Kicking ass, reaping souls and killing liches. Heads back to his office in the Astral Plane (because i refuse to believe that the afterlife is anything but a stupidly complicated bureaucracy) and checks in on his current list of bounties.
There’s the usual list of necromancers, immortals, escapees from the stockade and users of profane rituals, you know the types, the guys who have the twelve syllable names and such. But there are seven new people he needs to hunt down. And all of them have died at least eight times. You hear that? It’s the sound of Kravitz getting paid.
So who does he go after first?
Merle Highchurch, fifty-seven deaths. God. So much reward. Kravitz hunts anybody by the name of Highchurch down, but nobody has any clues as to where the guy is. Kravitz heads back to the office and checks out all the information he has on the guy. And surprise surprise, he’s a follower of the god of bloody travelers. Krav could hunt down this guy for the better part of a decade, and he’d only find the guy by luck. Great. Wonderful. Fine. He has six other bounties to check out.
Magnus Burnsides, nineteen deaths. Okay, so Magnus is MUCH easier to find than Merle, if only because Magnus announces his name to anybody who asks. Lives in somewhere called Raven’s Roost. He’d been there a few times, not a bad place. So Kravitz heads over there. And great, the entire bloody town is on FIRE and the populace is DEAD. As a reaper, he’s legally required to take care of wandering souls he finds wandering around. So he has to take a good month or so wrangling a good 600 people into the afterlife. Much to his surprise, Magnus has a wife who recently died. The woman stares at him for a moment before laughing, because apparently Magnus can get lost in a goddamn hallway and it would take a goddamn miracle for Kravitz to track him down. Goddamn it.
Taako Taaco, eight deaths. Taako is, unlike the others, a complete goddamn ghost. The most he can gather is that the guy is a wizard and an elf and that is generally it. It is by pure luck he’s assigned to the Glamour Springs case, and hears about Taako Sizzles It Up. Okay, THAT is easier to track he thinks. Except Taako apparently did a show in literally EVERY TOWN in the world at some point and is charismatic enough that nobody is willing to tell him much of anything. And then, like both Magnus and Merle, he has apparently vanished into the mist and NOBODY KNOWS WHERE HE IS GODDAMN IT.
Lup Taaco, twelve deaths. Kravitz is not surprised that Lup is related to Taako because she is even harder to find than Taako. There is literally nothing except the fact that she died in some cave near Neverwinter. There are literally no souls in that cave, and he checked. Twice. So where the hell is she? Who the hell knows. Who even cares.
Davenport, nine deaths. Is somehow just as elusive as anyone else. Because these people hate Kravitz. Kravitz checks everywhere. A few merchants in Neverwinter remember having met a guy named Davenport a few years back, and he seemed pretty cool, and he bought a can of soup once. Great. THANK YOU MERCHANT MAN. SO VERY HELPFUL.
Barry J Bluejeans, twelve deaths. Barry fucking Bluejeans. BARRY GODDAMN JAY GODDAMN BLUEJEANS. Kravitz has no end of words for this asshole. Unlike the others, Kravitz has met this guy. He has no idea what goddamn class Barry is other than a magic-user because WHAT SPELLS DOESN’T THIS GUY KNOW GODDAMN IT. Oh oh oh and get this, he’s fueled by the power of love. Love. As if a normal lich isn’t annoying enough to deal with, but this guy apparently refuses to leave without his wife. A wife who, COINCIDENTALLY, has the name of LUP. And Kravitz knows. He goddamn knows, in the depths of his heart, that this Lup is the exact same one as Lup Taaco. BECAUSE THE UNIVERSE HATES HIM.
Lucretia, ten deaths. Somehow even worse than Taako, Davenport and Lup combined. Because he has nothing on her. At all. No class, no god, no spell-list, no ANYTHING. Alright. Fine. Detective Kravitz time. Her name is spoken very very rarely, and she is apparently the leader of some mysterious organization called a Bureau? Fine. Where is this Bureau. What’s that? It’s hidden? You can only summon a way there if you’re a member? Of course. Obviously. Wonderful. Why not. Cool. Great.
So now. Let’s advance to the start of the story. Kravitz is called out to investigate Phandalin. He arrives, and is immediately hit by a wave of pure fire. When he wakes up? He sees four figures in the distance. And three of them are Magnus. And Merle. And Taako. And Kravitz is about to fight them, when a goddamn orb appears from the sky and carries them to a goDDAMN SKY BASE WHAT THE HELL I HATE THESE PEOPLE
And then he finally meets these people by complete chance in the lab of Lucas Miller. And he is so happy. Because for the first time in six years, he has THREE OF THESE JACKASSES in front of him. There is no possible way they can escape this.
Guess what happens next.
So now, finally, let’s advance to post-Story & Song. And he has all seven of these assholes in front of him. Defenseless. He could reap their asses right now. But he can’t. Because the Raven Queen has declared they’ve earned a pardon.
A few hours after the celebration party, Kravitz warps back to his office and screams for a solid hour.
EDIT: Somebody mentioned the whole Barry dies like twenty times over the course of a decade so now I have to establish that at least five of those were Barry staring Kravitz dead in the face, killing himself instantly and rising out of his body as a lich. Just so that Kravitz can know EXACTLY how petty Barry Bluejeans will be.
He finds Lance waiting on his bed for him when he returns to his room, and can tell from a single glance that Lance knows. That somehow— either because Matt or Coran told him, or because he just understands Keith that well, even after so many months apart— Lance knows exactly what happened while Voltron was fleeing Naxzela. What Keith had been prepared to sacrifice. What he’d nearly done.
Lance looks up at the hiss of the door sliding shut. He hasn’t even changed out of his paladin armor. Not fully. His arm guards and chest plate have been removed and discarded on the floor, but otherwise he looks just as he did when Voltron finally reached the Castle again— singed, disheveled, and staring at Keith with large, mournful eyes.
Keith can’t bring himself to meet those eyes. They’re even more blue than Keith remembers, and so full of hurt it makes Keith’s chest ache. Lance should never have to look that way about anything. Particularly not because of him.
Keith turns away and takes his time removing his black, Marmora armor. He can’t bear to see Lance so upset. Can’t stand the heavy silence between them. The thick tension just waiting to snap. Can’t stand it at all, but also can’t think of anything to say to dispel it. Words were never his forte, after all. He was much better with actions. Except, this time, his actions are what’s causing this situation, and he doesn’t quite know how to handle it.
He hangs his armor in his closet— the one spot of black among all the red and white he’s so used to wearing. A visual reminder of all he’s left behind. All he’s given up so his team can keep moving forward. Across the room, Lance shifts. He shifts, and he clears his throat, and Keith closes his eyes, waiting, as always, for Lance to cut through the tension. For the berate that’s surely on his tongue. For the angry words and endless rants he’s come to expect from Lance.
It doesn’t come, though. When Lance finally speaks, it isn’t loud, or enraged, or anything Keith’s used to. It’s soft, instead. So soft he barely hears it. And so rough and broken it nearly breaks his heart.
“Keith,” Lance murmurs, voice shaking even over that single word. “Why?” Why did you leave? Why did you abandon us? Why did you give up? “You glorious, reckless idiot. Why did you do it?”
Why did you almost let yourself die?
Keith swallows thickly. “Something had to be done,” he answers. “It was the only choice.” He glances over his shoulder at Lance and gives him a sad smile. “After all, the universe needs Voltron. It doesn’t need me.”
“We need you,” Lance protests, standing. He crosses the room in three quick strides and turns Keith to face him, hands gripping Keith’s shoulders like iron vices, and the most serious expression Keith’s ever seen across his face. “I need you.”
And if that isn’t the most ridiculous thing Keith’s ever heard. Because if either of them needs the other, it’s not Lance. It’s not this boy who shines so brilliantly, who is everything Keith has ever wanted to be and more, who could probably charm the whole universe into peace if he really put his mind to it.
Keith’s smile turns wry and he shakes his head. “No you don’t, Lance,” he says, emphatically because he needs Lance to understand. “You don’t need me. Just look at everything you’ve done.” Look at all the people you’ve saved and inspired and encouraged in a way that I never could.
It’s not enough to convey everything Keith thinks about Lance, of course, but he honestly doesn’t think any words in the English language (or any language, even) will ever be enough. There’s no way to describe the way Lance shines in his element. The obvious joy he brings to his flying, and the fierce passion that flares through his fighting. The excitement he exhibits whenever they find a new ally. The way he draws people to him without any actual effort. The way he cares and protects and gives hope wherever he goes.
He’s a much better paladin than he gives himself credit for, and much more valuable to the team than Keith ever could be. Keith’s absence over the past few months has proven that. Has shown Voltron can continue, and even thrive, without him. That they would continue to do so even if Keith had died. They’d still have their heart, after all— it’s right there inside Lance. He’s the drive that pushes them all forward, and the glue that holds them all together, and if Keith can keep that alive by sacrificing himself, he doesn’t consider death too great a loss.
Clearly, however, Lance doesn’t agree. “That’s not what I meant,” he chokes out, voice watery and blue eyes shining with unshed tears. “That’s not what I meant at all, you idiot. This isn’t about the team, or Voltron, or even the whole goddamn universe.” His hands shift, sliding across Keith’s shoulders and up his neck to cup his face. Keith fights not to lean into the warmth of Lance’s hands, but when Lance gently tilts his head back he knows it’s a lost cause. He’s so weak to the man standing in front of him. Weaker still to the way his bright blue eyes bore into Keith, more intense than they’ve ever been before. More urgent. More desperate. More filled with longing.
“I’m your right-hand man, aren’t I?” Lance asks softly, so close now that Keith can feel his warm breath against this skin. “We’re in this together, you and me. I’d follow you to ends of the universe. So just please,” he pleads. “Please. Promise me you won’t go where I can’t follow.”
And how can Keith say no to that?
The tears are falling down Lance’s cheeks now, wet streaks against his dark skin. And, this time, seeing Lance so upset over him, over the near loss of him, Keith’s heart does break. It cracks and shatters under the weight of Lance’s grief, and Keith already knows it will never fully recover. Even if he tries to tape it back together and pretend it’s all alright, there will still be fragments missing— little shards that will belong to Lance, and Lance alone, whether Lance realizes that or not.
Keith closes his eyes and lets out a long breath. He turns his head into Lance’s hand, pressing his lips lightly against Lance’s skin, and if Lance is surprised by the gesture, he doesn’t show it. Doesn’t try to pull away or even protest.
“Ok,” he murmurs against Lance’s hand. “Ok, Lance. I promise.”
He’d do much more for Lance if Lance ever asked it of him, but supposes this promise is a good place to start. And when Lance smiles for the first time all day, and then pulls Keith into a tight embrace, he wonders why he ever thought leaving was a good idea. Lance’s arms are warm around him, more comforting than anything Keith’s ever known, and beneath the palm Keith’s spread flat against Lance’s back, he feels the faint, steady thump of Lance’s heart. Takes comfort in the fact that Lance is alive and well and right there with him. Takes comfort in the fact that Keith himself is still alive to feel it.
Wait, i just... I need to ask you 'cause i'm really confused. You think sheith will be canon? Please don't take it as an attack, you can of course ship it in fanon but i really don't see how it could ever happen in canon? It's been mentioned multiple times that Shiro is a mentor/brother figure to Keith (and even said by Keith in the show) and hinted that there's this big age gap, and we actually saw Keith in his student uniform while Shiro's wearing his teacher one in the flashback so?? pls tell
Alright, so–the fact of the matter is, I just don’t see how Shiro or Keith could end up with anyone besides each other in canon. All of their major character development coincides with one another, they’re each integral to each other’s story arcs. They care for one another first and foremost, are closer to each other than anyone else. Keith in canon has this desperate desire to see Shiro–in his trial, Kolivan says as much. Keith’s constant fear of losing Shiro and this sense of longing for him–you don’t see that in a platonic, brotherly relationship. Keith’s fear of Shiro walking away and abandoning him is far more characteristic of unrequited love.
Shiro and Keith’s dynamic is built up like a romantic relationship rather than a brotherly one. It’s written with clear parallels to zaggar,
and the dynamic is noticeably different from Matt and Pidge–two actual sibling characters. This isn’t an accident, it’s very much apart of the narrative. Compare the way Matt looks at Pidge to how Shiro looks at Keith. There’s an obvious difference:
Keith’s overarching quest to save Shiro “as many times as it takes,” is also incredibly romantic. The way Keith mourned Shiro like his grief was the only pain that mattered, like no one else could’ve possibly cared about Shiro the way he did, like he’ll keep carrying a torch even when everyone tells him Shiro would want him to move on, that reads far more like someone grieving a lost lover than a brother. And you could see it in how differently Pidge reacts to losing Matt.
There’s also the fact that Shiro always gets these very personal, tender goodbyes with Keith, something you’d expect from a love interest. Not to mention how Shiro is the only one Keith will prioritize over the mission. And even Shiro and Keith’s first scene would’ve established them as clear love interests if Shiro were a girl. The longing gazes Shiro and Keith share certainly aren’t brotherly either. And so many sheith scenes are very purposefully given a mood, framing, and intimacy of romance. Consider how Keith reunites with Shiro in the first episode compared to him seeing the other paladins. The closeups, softness, and tender way Keith reaches out to turn Shiro’s head closer. Or how they both hug after the BOM like they’re the only two people in the world, with Allura staring on and then quickly turning away guiltily–as if she’s intruding on something very private and intimate.
One shows Keith and Shiro in the dark and vulnerable, there’s a heavy atmosphere and gravity to the scene that you didn’t get with the lightheartedness from Lance. The way Keith and Shiro are so close yet so far, closer to one another than they’ve ever been with anyone else, but still backing away and holding their distance–that’s not brotherly. It seems more like two people who are trying to suppress their feelings and are afraid to make that breach. And there’s always that sense of gravity that draws them together anyway
There is the “Shiro, you’re like a brother to me,” line. But curiously, I’ve never seen anyone say kl/ance was impossible because Hunk throws his arms around Keith and Lance and says, “We’re brothers.” I’ve never seen people say ka/llura or all/urance or sha/llura is impossible because Allura says “I’ve grown to consider you and the paladins my new family.”
I’ve never seen people say you couldn’t ship Keith with anyone on Team Voltron because, prior to the brother BOM line, holo Shiro says, “We’re all the family you need.” We as in, everyone on team Voltron is seen as Keith’s found family. Keith singling out Shiro with his brother line response is interesting though, because–yes, he does see all of Team Voltron as family.
But he only focuses on his bond with Shiro, because it runs much deeper than what he feels for everyone else. Focusing on one line out of context as if Keith and Shiro is the only instance of found family is really transparent to me. If you’re going to discount sheith for that, every other ship between Team Voltron is out too. All of them.
And as a bi guy, I’ll tell you that I’ve pulled the “you’re like a brother/sister to me” card before because I was scared of admitting my feelings for someone and it was a way to backpedal out of the situation without worrying that the other person would leave me for it. And we do know Keith’s worst fear is feelings, know that Josh said “[Keith’s] constantly scared he’s gonna say or do something wrong and he’s gonna lose Shiro.” It makes sense for Keith to hide his feelings. Plenty of people who’ve felt romantic attraction have done something similar. Also–Harry and Ginny, Ed and Winry, Aang and Katara–why is it that thinking of someone as just being like a brother or sister and then having it evolve into something more is seen as a natural progression if you’re straight, but somehow doesn’t apply if you’re gay?
We already know that age isn’t a problem in canon because Matt flirted with Allura. He did that. That was fine. Allura has been said to be about the same age as Keith (who started at 18 and now is either 19 or turning 19) and we know Matt is the same age as Shiro. They were in the same class, and they graduated together. One wears the cadet uniform though and one wears an officer uniform. This is because, despite age, they have different ranks. Shiro has never been referred to as a teacher and has only been acknowledged as a past student at the garrison by staff. And we also know that Shiro graduated only a few years prior to Kerberos. You also don’t go up to your teacher and say you think of them as a brother. That’s not how it works and they’re not student and teacher. And if Shiro mentored Keith a bit in piloting, I don’t see a problem. Katara mentored Aang in water bending, but they still got married.
Staff have repeatedly supported Shiro and Keith in a romantic context, and have done so since the very beginning. To the point where Shiro’s VA came up with the ship name for it and one of the episode Directors drew fanart of it. Doesn’t sound to me like they were trying to push the whole “brotherly” idea very much.
And we’ve been told that the show runners are fighting for lgbt representation, and that it’s something they’ve been working towards since the very beginning, that the start of that has been there since the first season:
Lauren (after being asked about the lgbt rep in korrasami and whether Voltron would ever “take that step”): “We have those first 13 episodes and if we ever went beyond that, we would like to push the envelope.” (source here)
Will we be seeing any lgbt representation?
Lauren: “It’s super important to us.”
Joaquim: “Just know that from our prospective, we’re fighting to create as open and broad a spectrum of characters as we can.”
Lauren: “We can’t give you any definite answers, but just know that–”
Joaquim: “We’re fighting for as broad and open representation as we can.”
The only possible relationship I can think of that could’ve grown between two characters since season 1, that the writers have been steadily growing and still supporting, that has even a fraction of a chance of happening and would be worth fighting for in how prominent and well written it would be–is sheith. I know people like kl/ance too, but the writers have already said point black it isn’t happening and have only used female pronounce to describe Lance’s future love interest:
Interviewer: “I feel like there was a little tease? It seems shippers want to ship Lance and Keith together, so are there gonna be any hints of that at all? Or is it just more like–okay, they’re friends, they’re starting to become friends.”
Lauren: “I think we had a very natural arc in mind for those two. Which is, they start out at odds, but then they grow to kind of respect each other. And if that leads into people being like–they’re spending time together! Then that’s a ‘thing,’ but…We’re not trying to cater to or bait anyone into anything, we’re just trying to do what’s right for the story.”
Joaquim: “We also try not to be overtly affected by what popular opinion might be.”
Lauren: “And we’re working in animation. Our schedule is so far in advance for that–even if people shipped Keith and Lance, we couldn’t go back and just change the story–to be like and now they’re in love!”
Joaquim: “There’s just no way. We’re already years past that storyline, you know?” (source)
Interviewer: What would Lance look for in a future Mr. or Mrs. Blue Lion? I’m gonna guess she meant Red Lion now. I think she’s trying to fill out her space Tindr profile. But yea, what is Lance’s–And I like this, because Lance is kind of all over the place. He hits on anything that moves and is pretty, which all the aliens are pretty. But what would he look for, really, in a partner or a soulmate?
Lauren: I don’t know if Lance knows what he needs. I know what he might look for, but what he might look for is not necessarily what he needs. I think he needs someone who is self-assured and knows herself, so that he can kind of become that same person and know himself. (source)
So if there’s going to be any lgbt relationship, I’m certain it’s sheith. Recently, Lauren has also talked about fans pointing out the sheith cameo at the garrison, and excitedly said, “I put that shit in there!” And added that, “Shiro was still his guiding light. It was good.” I honestly think part of why she got so enthusiastic over it was because they’re coming closer and closer to revealing a relationship they’ve worked very long on and fought hard for and have kept under wraps. This was also teased when Jeremy said, “Hey, backstory guys. There’s more of it.” And Joaquim added, “It exists!” So there is a big story there, and we’re definitely getting it. (source)
Unlike Matt and Pidge, any inkling of Shiro and Keith’s backstory prekerberos is something the narrative’s always very secretive about it. Why keep that hidden unless it was going to reveal something monumental about their relationship? Like say, Keith harboring feelings for Shiro? Even just throwing in this little cameo like that, people might say it’s nothing. But we saw a similar background cameo with Zarkon and Honerva in the Black Lion’s flashback–and that leads to a whole love story. It honestly makes sense to me if they were planning something similar with Shiro and Keith.
I’ve been seeing a whole bunch of stuff being thrown around
about the Raven Queen after the latest Talks Machina, mostly centering around
the speech that could have happened if anyone in VM had tried to argue with the
Raven Queen for Vax’s soul. For simplicity’s sake, just in case anyone hasn’t
seen or read it, this is the speech Matt gave:
“Do you have idea how insignificant you are? You are the
instruments of divinity. Everything you have accomplished is because we gave
you the tools to accomplish it, for goals unforeseen to you that fit our needs
and interests. You are nothing, and yet you come and beseech me this, after all
I have done for you?”
And I get it, it’s incredibly rude! After everything VM has
done, after everything they have bled for, struggled for, lived and died for, to call them insignificant at the moment of their
greatest triumph? It’s a slap in the face right before she takes away someone
who should have gotten the happy ending that everyone else was getting.
But I feel like maybe we’re forgetting a key element of the
Raven Queen in the Critical Role setting.
are ships.. really so important that you’re gonna just harass the people that gave you this material in the first place. make them hate fandoms in silence and worse make them hate what they create? this is especially irksome when its directed towards a)disney shows and b)shows with heavy plot. im not really directing any of this towards any show in particular mind you, theres far too many fandoms going after this trend to single any out at this point, there are some high contenders though.
more under the cut because this rant ran away from me and became way longer than intended
Once upon a time there was a beast and a curse and an enchantress, which I’m sure surprises nobody. Better put it this way: once upon a time a girl was locked in a castle, and she begged so hard not to be the sleeping princess that she became the beast. That’s more like it, anyway — fairytale logic. You get what you wish for, but it isn’t what you want.
“Don’t let it be a prince,” she begged, “don’t let it be a kiss I can’t see coming and can’t refuse.”
Enchantresses, wicked fairies, call them what you will — they’re all the same story in the end. No one will remember if this enchantress began the story by giving the princess a naming day gift of a hundred year sleep once the tale switches to another track. The point is that she didn’t mind granting this one favor. Maybe it was an issue of statistics. Maybe she thought finding a girl who would fall in love with a princess-beast would be harder than finding a prince to kiss her, make her curse harder to lift (considering the probabilities of who might wander onto the cursed castle grounds). As if girls who love girls don’t know they have to fight harder to begin with, as if they won’t cross miles for each other.
So maybe there was a spindle once, but now there is a rose, and a girl who wanders through a thorn maze unable to find her way. This is the wrong story, she thinks to herself, clutching her leather satchel tighter, but she doesn’t know what the right story is.
“Let me through?” She suggests to the roses that grow squeezed between their own thorns along the twisting hedges. “I’m looking for the love of my life. I’m in a hurry.”
She’s met only with the rustling of leaves and haughty scoffs. “No prince ever found his true love by being in a hurry.”
“I’m not a prince. I’m a shoemaker, and I’m lost. Can you let me through to the castle?” It rises dark and spindly overhead, but though it seems so close she can see no way out of the maze.
Laughter, echoing through the hedge corridors, and then something dark prowls around the corner and half-crouches there, hidden as much as possible under a hooded cloak. Shining talons dig into the earth under their feet.
The beast says, “A shoemaker? You really are in the wrong story.” Her voice is gravely and doesn’t match the laughter. That must have been the roses as well.
“I have glass shoes,” the girl says, staring at those claws. “Or I can make something sturdier, if you give me time.”
“I don’t have enough time of my own to be giving it away,” the beast says, bored, and gestures around them. Even now the hedges seem to be encroaching further into the maze’s corridors, the roses growing and multiplying. One day soon, the girl realizes, the maze will entirely fill in, and the castle will be blocked off.
She’s clever, and she’s brave, and those are the two most important things for a fairytale heroine to be — besides pretty, but that’s easy enough to fake with the right kind of smile. “Then don’t give it to me,” she says, “we can share.”
So the beast reaches out one arm, fingers tapering into knives that she curls so gently they don’t more than scratch the girl’s skin — and the shoemaker takes it with an earnest gravity, looking right under her cloak’s shadow and into her eyes.
The beast’s eyes are unnaturally big and inhumanly shaped, but they’re not cruel, and in fairytales the evil beasts always have cruel eyes. The girl bobs a polite curtsey, using the beast’s arm for balance, and sees those eyes narrow slightly with amusement.
They walk through the twists and turns of the maze to the castle, the beast bent slightly so as not to tower over her guest. “About those shoes,” she says, when they reach the front doors, golden light spilling from the entrance hall and shining through the delicately carved details in the ancient wood.
“In the morning,” the girl says, and because she clearly has not even entertained the thought that she might be argued with, the beast cannot summon an objection. She watches the girl follow an unfurling carpet along the floor to a dusty guest room with no hesitation, as if every dwelling should be as accommodating.
And in the way of fairytales, that’s enough to make the beast fall in love — a disregard for every unspoken rule, a smile that glimmers in the darkness. Should I tell you that the moment the girl arrives at breakfast the next morning the beast can barely look away from her for a moment, that she stays by the girl’s side as she produces leather and tools from nowhere and searches floor by floor for the perfect room to work in — or should I let you imagine for yourself?
Gradually the hood is pulled back, eventually the cloak discarded altogether; they sit in patches of sunlight together to eat lunch, staring down at the maze below. Roses and leaves devouring each other and everything in slow motion.
“If you stay too long you’ll be trapped here,” the beast warns, anxious when the girls shows no concern in her usual solemn air as she watches the maze devolve.
“I haven’t finished your shoes,” is all she says. Each new morning she promises that in return for this latest night of hospitality she is making the shoes more beautiful, and each evening that she has not finished she stays another night.
Sometimes when the girl has gone to bed the beast sneaks back into the workroom, in agony over whether to rip out the stitches or finish the work for her.
Leave before you are trapped here forever.
Stay here forever because I love you.
Each night she does not touch the shoes and returns to sleep herself, and in the morning the girl thanks her for letting her stay, as if the beast could ever turn her out, and promises to repay the night with even more beautiful shoes.
And each morning the beast says, “That’s fair,” and wishes she could find different words, the words she means to say.
The maze grows. The roses are larger than hands with fully spread fingers. The corridors are barely large enough for a small girl to squeeze through. In the dawn light it is lit gently and slightly pink, but the sight of it is painful. The wide window of the workroom shows the progress the maze had made alarmingly clearly, and it’s only then that the beast wonders if that was the appeal of this room over all the others.
The girl appears silently in the doorway as she has for the past week. “Thank you for letting me stay last night. I’ll repay you—”
“No,” the beast says, her voice alarmed and rough. “No. You are leaving now.”
“Before you can’t leave. You must go now.” Her throat is closing up and her voice growing thicker with each word. They’re not the words she wants to say.
The girl cocks her head, a curiously nonjudgmental silence. Finally she crosses the room to her worktable and picks up the shoes, turning them around and around again. They’re boots, really, and almost comically big in her hands. The beast cannot tell if they are as beautiful as she was promised, because the girl is smiling now and that eclipses all else.
“Are they finished?” She asks.
“Yes,” the beast says, unable to choke out anything more.
The girl leaves the boots on the table and swings her satchel, out of nowhere, across her shoulders. “Thank you for sharing your time,” she says. For a moment she holds the beast’s hand in both of hers, and then she’s gone. From the window the beast can watch her leave; for all her trouble getting there, she finds her way out with ease.
She leaves the workroom and doesn’t return all day.
Do beasts grieve? She hadn’t thought they could. She hadn’t grieved when the curse was settled on her; she hadn’t grieved at the idea that it might never lift once the maze finally knit itself together during the coming night. But the loneliness she feels now was different. The absence of the shoemaker is something worse. She’d had no choice in her fate, but she had told the girl to leave. This misery she’d brought on herself.
At night she wanders back into the workroom out of habit, sleepless and hopeless and refusing to glance out the window. Has it happened yet? Is she truly trapped now, or will it happen in five minutes, an hour, at dawn? She stares at the boots for an indeterminable amount of time before she thinks of putting them on.
She does so only because she thinks the girl wanted her to wear them; left to her own devices she might have destroyed them with as little thought as she now gives to slipping them on. They are big enough, and the fasteners are easy to close even with her unwieldy claws. Designs etched into the leather yet invisible in the darkness spiral and branch out beneath the thumb-pad she runs over them. Vines, she thinks. Roses.
A tear slips out, or three, as she stands in her beautiful new boots and smells leather and rotting roses. I want her back, she thinks, even as a wave of thankfulness rises up from the deepness in her, thankfulness that the shoemaker will never feel this trapped. I want to go to her, she revises. Since she doesn’t know how, she goes to leave the workroom instead.
One step and darkness is rushing past her. The rough scrap of stone walls, the rustle of leaves and the tearing of thorns, night air soft all around her. She has stepped not into the hallway but out of the castle, beyond the maze, into the star-dappled night.
“What did you do?” She asks, alarmed, almost before she sees the shoemaker sitting cross-legged on the grassy hill, as still as if she has been waiting all day and night. “What happened?”
“I found what I came for,” the girl says calmly. “And I made her shoes.”
WARNINGS: graphicsmut, very angsty, vulgar words, riding, overstimulation, kitten kink, friends with benefits
genre: smut / angst
Summary: He had a tough day at work, and needs you to help him blow off some steam. But maybe being friends with benefits was never a good idea.
There was something off.
You couldn’t quite pinpoint what it was, but you knew there was something wrong. By the way Yoongi called you at an odd hour of the day, his voice laced with anger. You did your best to talk to him, and calm him down. But he just wasn’t budging. And you weren’t sure what happened.
You bit your lip, anticipating for him to walk through the door.
He abruptly hung up on you, muttering a loud ‘I’m coming over, wait for me’. You weren’t sure what he meant, or what he was going to do. But you knew it was going to be exciting.
This was how Yoongi was.
Whenever he had a stressful day, he went to you and blew off some steam. You didn’t mind, in fact, you enjoyed it. It proved that he saw you as someone he trusted.
Yoongi didn’t just have sex with anyone. He chose his partners very carefully, and you knew that. So when he first kissed you, you found it quite a surprise. But, over time, you both turned into friends with benefits. You said you wouldn’t catch feelings, and neither would he.
But time changes, right?
You never imagined yourself with someone like Yoongi. Someone so self-collected on the outside, but dying on the inside. You knew how much he was hurting himself over the small things, how much he stressed himself out just to make others happy. But, over time, he really started to grow on you.
You saw the small things in him. The way he would scratch the back of his ear when he got nervous. The way he would would scrunch his nose when he did something embarrassing. The way his laugh was cut into pieces, and only sometimes let out a sound.
Just thinking about him made your heart hurt.
Yoongi never imagined being with someone like you either. Someone so kind-hearted, and honest. He always thought he would end up with someone cold, just like him. But, instead, he found you. Someone so warm on the inside, and someone so beautiful that he swore it hurt his own heart when he saw you.
You saw things in him that no one else could, and that’s why he chose you out of everyone else. You understood him, even during his worst times. You got where he came from, and respected him as, not only an idol but also, a human being in general. You understood his passion for music, and you supported him through everything. You were there when he fell apart, or when he was stressing over small, or big, things.
He envied you.
On how you could be so understanding of everyone around you, and still keep yourself sane.
But one thing he didn’t know was that you were actually driving yourself towards the edge. You were suffering in more ways than one. You had no one to support you the way you support everyone else. Sure, you had Yoongi. But he was never around. But you knew how much music meant to him, so you painted a smile on your face. You couldn’t take away the one thing keeping him sane for your own selfish reasons.
You sat on your bed, letting out a sigh as the thought of Yoongi barging through the door filled your mind. As you still remembered how he felt against your skin. As you still knew just the exact way he smelt when he held you.
You weren’t sure you could do it anymore.
You couldn’t be friends with benefits with a man you were in love with.
You heard the door swing open, and your eyes shot open as you sat up in your bed. His eyes were dark, and he looked absolutely angered. But, even then, you still saw the beauty in him. You still saw a man you knew you loved.
You swore to yourself that this was it.
This would be the last time you would ever be with him, or even see him for that matter.
He ushered towards you, kissing you roughly as your back hit the bed. His hands were roaming over your body, lifting up his loose shirt that you were wearing that you found in your closet. He loved it when you wore his t-shirts, he thought you looked absolutely wonderful in them.