why does it have to work like this

anonymous asked:

I find it strange that your objection to religion is believing in unproven things. I'm very uneasy with the organised structure of religions because I've seen them being abused for bad things so many times (although I acknowledge it doesn't have to be like that), but I don't see a problem in having faith in something (in the religious sense), as long as you don't try to force me to live by it...

I think it comes from people telling me “your mental health symptoms will go away when and only when you fully believe in this unproven thing.”

Listening to this and finding yourself unable to believe in the unproven thing (precisely because it is an unproven thing! WHY IS THIS SO HARD TO UNDERSTAND OMFG) even if you trytrytrytrytrysohard leads to “I am broken, always will be, and can never get better.”

PTSD does not work like that, and theism does not cure it. Plenty of theists have it even if they are fully confident God loves them/is looking out for them/is there for them/etc.

i’ve just seen a post made by a writer in our fandom about feeling bad when they look down a rec list and don’t find themselves on it and it’s not the first time i’ve seen a post like that

not being on a rec list does not have a bearing on your worth or your skills as a writer

people have different tastes in fics, some people have tropes that they don’t like reading, some people choose to put their close friends work on rec lists, some people choose to put fics with a small number of kudos on their work

there are a dozen reasons why they may have not put your work on their list and i can promise you that it isn’t because they dislike your work

you are perfect and wonderful and this fandom would be nothing without your work

dear white male writers: DO NOT DO THIS

These horrific, sexist, racist paragraphs - screenshotted and shared for posterity by James Smythe, to whom we are all indebted - are the work of one Liam O’Flynn, a writer and English teacher. Evidently, they come from his book Writing With Stardust: the Ultimate Descriptive Guide for students, parents, teachers, and lovers of English, and are intended as examples of good writing.

UM.

Dear white male writers: DO NOT DO THIS SHIT. IT IS SUPER GROSS AND FETISHISTIC AND ALSO TERRIBLE WRITING. THIS IS WHY WE CAN’T HAVE NICE THINGS. 

Like I just. “Her virility-brown eyes -” WHAT DOES THIS EVEN MEAN? How can you have an “Amazonian figure” ON a “wafer-thin body” when “figure” is a word that describe’s a body’s shape, and Amazonian means pretty much the DIRECT FUCKING OPPOSITE of “wafer-thin” in the first place?  What the shitting fuck does ANY of this mean, apart from “I am only nebulously familiar with the concept of women and completely at a loss if I can’t compare their various bodyparts to jewels, animals and footstuffs”?

STOP 

GO TO WRITING JAIL

GO DIRECTLY TO WRITING JAIL, DO NOT PASS GO, DO NOT COLLECT $200

1 season of “one day at a time” (netflix) contains 13 episodes, and has covered the following subjects:
  • feminism
  • ptsd
  • white privilege
  • sexuality (and religion)
  • religion vs atheism (vs agnosticism)
  • the struggles that come with being a single parent
  • sexism in the work place
  • what mansplaining is and why it’s insulting
  • war veterans and their struggle against the red tape
  • being proud of your heritage
  • called out the fact that che guevara was not a hero at all and took the time to explain exactly why
  • the danger of deportation that many immigrants face
  • the hardships that immigrants have went through when coming to america

i probably missed stuff but heck, this is already way more than the typical multicam sitcom that networks like to dish out to us that all use the same formula anyway so what does it even matter which one you watch? yes, this is a sitcom. and yes, it has a laugh track. but this show rises above the humdrum and teaches us about family values, real issues that many families have (i for instance don’t believe in god but my family does, how do we overcome this divide?) and shows us that it’s possible to be funny and woke at the same time, without ever sounding condescending. it will make you laugh, it will make you cry (i had real tears on my pillow) and it will make you think (i’m not cuban, so a lot of the stuff they’re talking about is things i Learn)

in its 13(!) episode first season, one day at a time definitely did not slow down. every episode felt equally important to watch, while avoiding to seem like a speech. it did not rest, and my tip is: do not sleep on it. i know many of us are exhausted from those tiresome, carbon copied, unfunny as all heck ‘me too’ sitcoms. but if there’s any sitcom that deserves your attention, it’s this one.

when you’re having a nice time with jonathan and then he says, “Nancy Wheeler, she’s not just another suburban girl who thinks she’s rebelling by doing exactly what every other suburban girl does… until that phase passes and they marry some boring one-time jock who now works sales, and they live out a perfectly boring little life at the end of a cul-de-sac. Exactly like their parents, who they thought were so depressing, but now, hey, they get it.“

“A Date with Markiplier”, Darkiplier Theory.

After watching “A Date with Markiplier” multiple times, and replaying and replaying the parts where Darkiplier is featured; I have created a theory as to why Dark acts the way he does (In these videos, not as whole). Now, let me first start off by saying, this probably, (definitely) is not the BEST Dark theory out there. And there are probably holes are mistakes in this theory, or repeating themes. But nonetheless, it is a theory that I have created that is interesting.. hopefully. Note: This theory comes with spoilers! If you haven’t watched the whole video, or at least the Dark parts, please do. (The video and Darkiplier parts are linked above.) And even if it may not seem like it, I worked really hard and long on this theory. (Literally about 3 days. And typing all of this up took about 2-4 hours.) So please treat it with respect. (But don’t be afraid to add your own theories or thoughts on this! Feedback is always welcome. Positive or negative. Just don’t be a butt about it.) So, without further ado, let us begin! I hope you have the patience to read it all. Enjoy! 

This theory is mainly based on the parts where you are confronted by Dark while you are watching “The Dark Mark”. What you are going to read below is me basically showing images of Dark, taking direct quotes he has said in the videos, and explaining why he is saying what he does. 

We start off by having Dark glitch and fade into view. He tilts his head to the side, saying he has missed us very much. And that he has been waiting a long time to see us again. 

Then he continues on saying: “I’ve been pushed asideReplacedMocked.” Now this caught my attention even from the beginning. How has Dark been pushed aside, replaced, and mocked? Who has done this to him? Why? I tried to reflect more on what that meant, but Dark kept talking, catching my attention even more…

Who is “He”? And why does Dark think this… “He” is going on an adventure with us? Why and how was Dark not invited to it? 

Dark continues…

Dark mentions “He” again. Saying this person promised he would let him in. Again. Who promised Dark and what promise was made between them? 

This is where the theory begins. The main idea of this theory is based on a small post I made a while ago. If you have already read it, then you’ll understand where I’m going with this. If not, I suggest you read it really quick HERE

And now… we shall truly begin. 

Dark begins our one-sided conversation with: “I’ve been pushed aside, replaced, mocked.” But what also connects with this statement is what he says later: “ I’ve been waiting patientlyHe promised he would let me in again!” Now, since Dark is basically Mark’s inner demon, I could only assume that the “He” Dark keeps talking about is Mark. But what promise did Mark make with Dark? This is where I start to lean back on my older theory I hope you have read. 

I believe that Dark is in love with us. Or… at least has some sort of feelings for us. Or is at least curious about us. So, I think in the past Dark asked Mark permission to take control over Mark’s body so that he could spend time with us. Get to know the person he has unexplainable feelings for. Mark complied. Promising Dark that one day, Dark would have the opportunity to talk to us. But that day never came. And now Dark feels as if he has been Pushed aside. Replaced. And Mocked. These feelings have been repressed, but now since Mark is on this “adventure”, or “date” with us, Dark’s feelings and anger have come out. Dark feels that he has been pushed aside because he literally has been pushed aside. This date was supposed to be the date Dark was finally allowed to spend time with us. But instead… he got pushed. Pushed into the deepest, darkest, places of Mark’s mind. Mark didn’t want Dark to come out on this date. Because he was planning, later down the road, to propose to us. And he didn’t want Dark to ruin it. So Mark took over Dark, replacing him, even though he promised Dark that he would be allowed to take control. And now, Dark feels angry, hurt, and mocked. Mocked because today was supposed to be his day with us. But now he has to watch us through Mark’s eyes. Unable to do anything. Unable to talk to us and ask the questions he’s always wanted to ask. All he can do is stand back and watch the person he has feelings for go on a date with someone who betrayed him.

“And then he had the gall not to invite me to his little adventure with you.” This connects to what I said above. Mark has pushed Dark aside and didn’t allow him to take over on the date. Quite literally, he wasn’t invited on the date. He was casted away and replaced. But the one word Dark said that caught my attention was: “Adventure”. Why did Dark call it an adventure when he knew it was a date. A proposal, even? I believe the reason to be simple. Dark is angry and jealous right now. He doesn’t even want to call the event we are going on with Mark as a “date”. So, instead, he calls it an adventure. Making it easier on him and his heart. Also hoping in that calling it an adventure, he’ll make Mark look silly and foolish. As if he doesn’t know what a real “date” is. 

This part was very interesting. After saying all he said, spewing out his anger and frustration, Dark fixes his tie and suit, straightening up and saying: “ I’m tired of giving people a choice.” From what we have learned earlier, this sentence can only mean that he is tired of giving Mark the choice on controlling when and where he can allow him to take control.

But then, Dark sighs, saying: “But I suppose I could give you one last option.” Hearing Dark say this was extremely odd to me. Didn’t he just say that he was tired of giving people (Mark) a choice? But yet right after, he turns around to give us options and the ability to choose? I think he does this because no matter how closed off or frustrated he may get, he still wants to give the us the ability to choose. Since he has some sort of feelings for us, he doesn’t want to force us into something we don’t want to do. 

He continues: “Take your pick. Anything of four different choices, more than he could’ve ever given you.” Why did Dark give us so many options. Why did he bitterly say “more than he could have ever given you.”? And why did all options but one actually lead to a place that continues the story? 

I think the bitter remark and the option of more choices go back to Dark’s “adventure” statement. He wants to make Mark look foolish. Make Mark look like he can’t provide for us as much as he can. Even if it’s something simple as being able to go more places. But why, in giving us all these options, did only one actually go somewhere? It’s because, even though Dark does have feelings for us, he still is “dark”. He is still evil, demonic, etc. He purposefully made only one option that actually goes somewhere. He makes us go on a “date” with him (later on) the only way he knows how. Manipulation and Illusion. He gives us the illusion of choice, when really he manipulated it so there is only one right way. And that is to go on a date and spend time with him. 

This makes him sound pretty evil doesn’t it? That he just manipulates and cheats his way through until he gets what he wants. And that may be true, but.. At the same time, it’s actually pretty sad. That is all he knows. To cheat, to steal, and manipulate… Dark was toyed with and replaced. Promised he would be allowed to be with us. But that didn’t happen. And now Dark is forced to make his own path. Struggle to take control over Mark, and find a way to where we will spend time with him. Not Mark.

“So take your pick. Show me what you’ve got. And maybe… We’ll have a good date after all.” Wait what?! Did Dark look down shyly at the ground… Smile… And say “Date”?! This really blew my mind after I watched it a couple times.

After taunting us on by saying: “Show me what you’ve got.” Dark pauses, his face suddenly seems to soften. “And maybe…” He cracks what looks to be a smile and briefly looks down at the ground, “ We’ll have a good date after all.” He looks back up, but his face and body immediately harden and become cold and static once more. What just happened?! Mark randomly says “Maybe we’ll have a good date after all.” And he shows emotion and smiles? Why does he do this? I think I know why. 

Obviously, Dark has been waiting to spend time with us. And now that he has Mark under control and is alone with us, he finally realizes that his dream of being with us is soon to become reality. He smiles and quickly looks down to hide his emotion that he is excited for this long awaited day. And, instead of calling it an “adventure” like he did when he vaguely defined our outing with Mark, he says “date”. Making it official and saying it more for himself than us. But then, after he realizes he slipped: showing emotion and calling our alone time a “date”, his face hardens and he composes himself back into the stone cold Darkiplier once more. But in trying so hard to compose himself, he lets a small, angry frown dance dance across his face before straightening. Showing that he is angry with himself for showing so much ambition.

(Note: Phew! This is a lot of writing! I hope you guys are doing ok and you like this! Stay in your seat, there’s a lot more to yet come!)

*We choose “Freedom”*

“If dinner is what you want then I can provide…” We are now officially on what Dark described as a date. He glitches and we are suddenly sitting at a table with what looks to be a cup and a bottle of wine to the side. As I watched and rewatched this, I found it interesting that Dark chose to place us in a dinner date situation. The same setting we were at when we were with Mark. And say things like: “I can provide…” Why did he place us in a dinner date setting? Why did he say if we wanted dinner, then he could provide it? The answer is interesting. 

Remember, the whole date you were having with Mark, Dark was also seeing and experiencing. So that means, Dark was there even for when Mark misplaced his wallet, making you have to pay for the meal. This obviously annoyed Dark. Enough to the point where he had to physically point out and show us that if we wanted dinner, he could pay. He could provide us with a meal. This is basically a big slap in the face to Mark. Once again, Dark is trying to make Mark look idiotic and that the outing/ date we were on with Mark, wasn’t a date after all. And that he can do a better job on planning a date and providing.   

The date carries on. “And I can take you wherever you’d like to go…” I found this odd when Dark said this. It’s kind of a random thing to say on a date isn’t it? But it all makes more sense when you look at it this way:

Near the beginning and basically throughout our whole date with Mark, he keeps saying that he has our whole day planned out. And that he can’t wait to take us to certain places. I think Dark said this as yet another jab towards Mark. Mark had our whole day planned, swiftly leading us from one location to another. But Dark said: “ I can take you wherever you’d like to go..” almost as a counteroffer to what Mark was doing for us. There is a sense of freedom when Dark says he can take us wherever we would like to go. A sense of freedom and choice. Dark seems to be using this statement to try and make him look more appealing to us than Mark. Possibly even more fun or risky than Mark.  

After Dark states he can take us anywhere, he then dumps this heavy and scary: “I can especially take you to where you don’t want to go..” on us. 

Honestly, I was a little confused on why he would say this. Is it because he’s “dark” and evil and he would actually enjoy to take us places we would hate? Or is he using some weird, vague form of reverse phycology? Is he saying that “the places where we don’t want to go…” is back to Mark? It would kind of make sense. After saying and telling us of all the things he can do for us and provide for us, the last thing he would want is for us to still choose and go back to Mark. But he says that he can take us to where we don’t want to go, meaning that he would take us back to Mark if we chose that. 

Dark continues to talk, but then he begins to glitch and shake. He is then suddenly screaming: “I can give you anything!” And then as fast as it came, it goes, and he continues talk to us normally saying: “I’ve been waiting a long time. To get some personal time between us…” Ok… What just happened here? He was screaming one minute and then normal again the next?

I think Dark glitches and screams “I can give you anything!”, because he momentarily looses his composure. He’s been spending a good portion of this date trying to show us that he can provide for us and comparing himself to Mark. I think he starts to become frustrated in himself and how we aren’t reacting the way he would have hoped. Thus, his inner voice comes out, screaming, frustrated and angry that we can’t understand that he can give and provide everything we want and need.

After his short episode, he continues talking. Saying he’s been waiting a long time to “get some personal time between us…” I think he’s saying this because the only time he has ever been with us, or has “spent time with us”, is when he is being pushed to the back of Mark’s mind and has to watch from the sidelines and listen and hear Mark’s words and thoughts. But now that he has finally taken over Mark, he can truly get the personal alone time he’s always lusted over.      

The date continues, and Dark has one more episode. But what happens next is interesting. Dark says: “So.. Now that we are here together… We should really get to know each other…” And then suddenly, it looks like Dark is split in two. One part of him thrashing around and screaming. Why? Because it’s Mark… Trying to escape Dark’s possession of his body. 

Remember, this whole time we have been with Dark, Mark has been there, watching and listening to what Dark is saying. (Which also explains why at times, Dark twitches his head. Its because Mark is there in the back of his mind try to take control once again.) So Mark has been fighting Dark this whole time, and it seems Dark is slowly running out of time and loosing control, hence the episodes he keeps having. But notice where Mark made a big push to take control when he did. He did it right after Dark said we should “get to know each other…” It seems as if Mark didn’t like the idea of Dark getting to know us, and vise versa. Probably thinking Dark is going to take advantage of us at some point on the date. So, he tries and puts all his strength in trying to take back control before Dark can do anything to us. But once again, as quickly as it starts, Dark glitches and the image of Mark is gone, and Dark is back to normal.  

You just need to let me in… It’s as simple as that…

When I first heard this, I thought that Dark meant that we should allow him into our mind or soul. But as I began to create this theory, I began to think… What if Dark didn’t mean our soul or mind… But our heart? I mean, during this whole date he has been trying and trying to show us how much better he is than Mark, and how he can do all these things for us. Basically saying, how he can care and love us, just in a very “Darkiplier” way. What if he just wants to be loved by us. Accepted by us? And the only way he knows how to say that is something off putting like: “You just need to let me in..” Maybe all he wants is just a chance  with us. A chance to show how much he cares and ask us why he is feeling the way he does about us? 

After asking us to place him in our heart, and give him a chance, Dark then takes us outside. Believing that he has taken full control over Mark and boasting about it by saying: “You’re never, EVER, going to escape me…Not now-” He is confronted by Mark, in physical form. (Now this part can basically just completely eradicate my theory that Dark has taken over Mark, and not that they are two different people with their own bodies. Now that theory, COULD technically work here, but I decided I like the “Mark and Dark are two in one” theory better. Since Dark IS essentially Mark’s inner-demon. So I’m going to say that this part is actually where Mark gains some power within his mind, and now Dark and Mark are fighting for dominance.) 

After they fight for a while, a gun is dropped and you now have to decide to choose whether to shoot the left or right Mark. Later on, we find out the the Right is Dark, and Left is Mark. And this is where I was confused with what they are saying until I put up the captions. And what each of them were saying was interesting. 

Left Mark (the real Mark) starts off by saying: “You don’t have much time he’s going to kill everybody.” 

While Right Mark (Dark) says: “Shoot him. He needs to die.” 

The thing I found interesting was what they both first said to defend themselves. Left Mark (Mark), immediately starts off by saying that: There isn’t much time, and that Right Mark is going to kill everyone. Mark is trying to warn us. While Right Mark (Dark), just simply says off instinct: “Shoot him. He needs to die.”… Now that’s harsh. Mark just wants to warn us that if we don’t shoot Dark, we will all die. So he’s trying to save both us and himself. But Dark just spurts out that Mark NEEDS to die. No note of concern, or worry. No thought of what might happen afterwards. They keep talking, still trying to convince us: 

 Mark says: “He’s got weird eyes. Don’t trust him at all.” 

While Dark says: “He does bad things to good people.” 

Now, the thing I found extremely interesting was this part right here. Mark says that Dark has weird eyes, which is true. He is known for having completely Dark eyes. But how he said the next part is what caught my attention. Mark said: “DON’T trust him at all.”. He didn’t say “I don’t trust him at all.” But simply, “Don’t trust him…” Therefore, Mark was telling US not to trust Dark. It was a command. Because he knows what Dark is able to do. 

What Dark says also caught my attention. Why would Dark say: “He does bad things to good people.”? Isn’t Dark supposed to be the “bad guy” here? Manipulating and weaving around things to get to what he wants? True, that is what he did to get us to date him. But just because he did those things, do you think he even wanted to? We have already proven that in the past, Dark asked for permission to spend time with us. But since that didn’t happen, Dark had to take control. All because Mark betrayed his promise to Dark. So maybe, Dark is saying “He does bad things to good people.” Because he’s hurt and angry that Mark didn’t fill out his promise. That Mark led him on only to be trapped in the back of his mind again, while he got ready to propose to the person Dark had feelings for without even been given a chance. 

After we shoot Left Mark, Right Mark comes over saying: “You made the right call. Come here, it’s okay, it’s okay.” Assuring us and embracing us. We then continue the date by getting ice cream. We sit down while Right Mark continues to talk, saying: “We’ll enjoy some nice, dairy-based treats. And erm, get to know other. Really, personally…” We then begin to eat our ice cream when the screen flickers and glitches. We look back up and are greeted to see Dark sitting across form us. Dark then says: “Oops. Looks like you’ve made the wrong choice. But now we’re going to be together… forever.”

When I first watched this side of the date, I paid no regard to what Right Mark said. But after rewatching the mini date we had with Dark, and going back to this, I noticed something. Dark always seems to talk about getting to know us, or getting close to us. Spending personal time with with. Before, during our private date with Dark, he said: “I’ve been waiting a long time. To get some personal time between us…”  So when right Mark said: “Really, personally…” It became obvious that it was Dark sitting in front of us. After Dark transforms into his true self, he then says: “Oops. Looks like you’ve made the wrong choice.” I believe Dark said this because he knew, that if we knew who the real Mark was back when we had to decide who to shoot, we would have chosen the real Mark hands down. So he kept quiet. Hoping that with luck, he could say the right words and look innocent enough and emulate Mark, that we would shoot the wrong man. Before we are met with “Try Again?”, Dark continues, “But now we’re going to be together..forever.” and smiles. The first time I heard this, it sounded creepy, and some of you might think so as well. But I think Dark said this because he was finally free. Free of Mark’s hold on him. And free to be with the person he is curious about and has unexplained feelings for. He’s finally free to provide and care for us, without Mark battling for control in the back of his mind. Because that part of him is now dead. He can finally get to know us. Get that personal, intimate time he has always yearned for. He’s finally found freedom from being pushed aside. Being replaced and being mocked. He can finally have a true chance with us. A chance… for us to let him into our heart. Because we’ve always been in his.     

Practical Magic: Circle Casting

If you’re brand new to witchcraft, you’re probably seeing this phrase left and right: casting the circle, or circle casting. For some, it seems fairly obvious, because casting circles is often represented in pop culture, from the Devil’s Traps in Supernatural to the circle of brooms in Practical Magic. 

However, what purpose does casting a circle serve? How do you cast a circle? Why does it have to be a circle and not, say, a square? And do I always need to cast a circle when working magick?

Well, we’ll take this in small bits!

Why should I cast a circle?

A circle serves several different purposes in witchcraft. For some, it’s a means of protection. To others, it’s a means of magnifying ritual energy. For still others, it encourages slipping into meditative consciousness. Whatever the reasons for the tradition, it remains a rather good way of getting the spell started.

In terms of protection, the circle acts sort of like a bubble. After all, it’s not just a cylindrical wall. When a witch casts the circle, he or she is envisioning the energy rising up from where it had been cast on the floor and forming a dome over the ritual space, and below the floor to encase the space in a bubble of intent. For many witches, this forms a sort of shield from outside spiritual influences, and to enter the circle after it’s been cast would require cutting a doorway into it.

As you cast your spell or work your rite, the energy you send out interacts with your altar, your tools, yourself, and your ritual space. The circle acts sort of like a can of soda that’s been shaken up. It holds in all of that energy, allowing it to increase in concentration and potency, allowing it to continuously interact with all ritual components, including the witch casting it. When the rite is done and the circle is opened, it sends all of that energy out into the world with extra force and intent, allowing it to more effectively do as the witch desires. This is particularly useful for rites and spells intended for someone else, or for spells intended to cause large changes.

Furthermore, casting a circle is usually the first or second act done in a spell - often a witch will cleanse a ritual space by asperging or smoke cleansing before casting the circle. As a result, casting the circle is an ideal start to a rite because it begins to set you into the state of mind you need for spellwork. By channeling intent and starting up the circle, you get your magical energy moving so that by the time the ritual starts, you’re already warmed up (like an athlete taking a couple of laps around the track so she can be warmed up and ready to go for practice or for the game). 

Why does it need to be a circle instead of another shape?

This largely is rooted in tradition. If you really feel that a different shape is more sacred than a circle, you’re welcome to use that instead in your practice - some cultures believed in triangles being the shape of perfection. However, in most cultures and beliefs, the circle is a rather sacred shape. We see it everywhere, the only shape that can truly be called perfect - no corners, no sharp edges, no beginnings, no endings. It is a symbol of eternity, and reflects the shape of Mother Moon and Father Sun.

The circle also has another impact in witchcraft in that it can be seen as a fertility symbol - representing the full womb. 

When casting a spell and beginning with a circle, you’re creating a sphere of energy - a magical manifestation of the principle of “as above, so below.” In a sense, you’re not casting a circle, but instead casting a sphere. It allows you to encompass your ritual space in a way where the energy can flow smoothly and freely like water. In general, other shapes don’t allow this kind of movement. Just like in Feng Shui, corners collect energy, prohibiting it from moving freely and causing it to grow stale and potentially sour into negative energy. Without the corners, you don’t have to worry about stale energy.

Do I always need to cast a circle in order to work magick?

The simple answer is no. The more accurate answer is that it largely depends upon the tradition you follow and what brand of magick you work. There are witches out there who will absolutely refuse to cast any kind of magic without the protection of the circle. Meanwhile, there are witches out there who only cast the circle for esbats and Sabbats. What feels best for you should be what dictates how frequently you cast your circles.

In my case, I always cast a circle when I am doing a full rite. Since many of my spells are done on the fly (intuition is key for me, so I don’t always write out elaborate spells), I don’t cast a circle for every working I do. Instead, with some spells I make use of circle imagery in order to provide the same effect - the pentacle is basically a mini circle. If you’ve seen the picture I showed of the protection altar I made for a friend of mine, you would notice that I have the pentacle there, but on either side of the pentacle are crystals pointing outward - through the use of imagery, and by using the crystals to project the energy, I’ve managed to cast my circle in the process of casting the spell.

When I’m working in my kitchen, I never cast full ritual circles - the pots and pans provide the shape, and I can cast the circles in the bottoms of those utensils if I need to empower the food.

I do, however, recommend casting circles any time you wish to work with spirits or any time you perform divination or healing spells. This is as much for empowerment as it is for protection.

How do I cast a circle?

Casting a circle can be as elaborate or as easy as you feel it needs to be. It can make use of actually drawing a circle on the floor, or it can be entirely energetic and felt. Ultimately, like any aspect of magick, the circle should be cast in the way that you feel it should be. The guidelines I give here are exactly that: guidelines. Work with them however you feel works best for you!

Step One: Cleanse your space

Cleansing your ritual space is necessary for any magick, depending  upon your craft. When doing a ritual spell, I always cleanse with sage smoke or asperge with holy water. When you feel your ritual space is cleansed of all negativity, you’re ready to begin the casting of the circle.

In my practice, I go around the circle a total of three times. The first time is when cleansing the space. In addition to cleansing the room, I cleanse the circle in a clockwise direction, stopping briefly at each cardinal point to allow the smoke to linger in the space. For me, this helps begin the process of casting, and enhances the visualization.

Step Two: Physical Representation (If Any)

I don’t often draw a circle on the floor. This is largely because most of my magic is intuitive. However, when working with the coven, we sometimes do lay out a circle depending upon the rite we’re working. Especially for new witches who struggle with visualization, laying out a circle can be very nifty and helpful. As such, if you’re new to witchcraft, I do recommend laying out a circle if you feel it helps. If you’re still in the broom closet and want to cast a circle discreetly, you may have to rely upon visualization alone.

Regardless, there are a couple of ways you can lay out your physical circle. The first is to only provide representations at the Corners, or Cardinal Points - North, East, South, and West. If laying out the circle is ritualized for you, it is often recommended to start in the East and move clockwise around the circle. When providing only representations at the Corners, you can either place candles in each direction, or you can provide something that represents the element associated with it (a feather for air at the east, a candle for fire at the south, a glass of water at the west, and a jar of salt for earth at the north, for instance). My coven has considered casting spells at the beach, and we all loved the idea of taking tiki torches and setting one up in each corner, lighting them as we greet each guardian.

The other way of laying a physical circle is to actually draw out the whole circle in some way. If you’re at the beach or in an area where you can draw a circle in the earth, you’re set. But other times, you may be in an area where there’s a bit of foliage, or you’re indoors and don’t have the luxury of scratching a circle into your apartment’s carpet. Depending on what kind of surface you’re using, you can pour salt around the ritual space as a circle, or you can use a protection powder (such as ground eggshells, or ground cinnamon). If laying down something that’s granulated or powdered is a bad idea, because carpets, some witches will use ribbon instead.

One of my favorite moments with my coven was when we had cast a circle on a hill for a Sabbat rite. The hill was rather overgrown, and we were working in a small, grassy clearing. Since the rite was for Imbolc, we had decided that spring flowers would be beautiful. So we took flowers and laid them out in a circle around our ritual space.

Whatever method you use, it is often easier to lay out the physical circle before casting it spiritually.

Step Three: Greeting the Quarters

The second pass around the circle is done as a means of welcoming the Quarters. If your tradition does not have guardians at the cardinal points, you may substitute as needed (welcoming the Faeries, or welcoming deity, for example) or you may omit this step entirely.

Starting at whatever direction is traditional for you (I always start in the north, but many witches prefer to start in the east), greet the guardian, welcoming it to the circle. I do this with an invocation and with the ringing of a bell. Something to the effect of:

I welcome the element of Earth to the North, that it strengthen the circle.

Or

I welcome the Guardian of the North, that it may bear witness to my work. Come in peace and love, so mote it be!

You would move in a clockwise direction around the circle, stopping at each cardinal point and welcoming its guardian or spirit in turn.

Once done, return to the altar.

Step Four: Casting the Circle

My third pass around the circle is the actual casting of it on a spiritual level. Depending upon your tradition, you would do this with a staff, sword, athame, or wand. My personal tradition is flexible - cast it with your hand if you feel that is more effective. I do, however, often cast the circle with a wand - the quartz in my wand helps to empower the circle, and I love encouraging that as much as possible.

With whatever implement you prefer in your casting hand (some traditions emphasize casting hands, others don’t; in general, your casting hand is your dominant hand or whatever hand you use to write with most often; if you’re ambidextrous, this could be either hand), start with the point you began at. Point the implement toward the floor at that point (physical circles help with this - point at the border you’ve created) and begin moving clockwise about the circle, envisioning your energy flowing outward from you, through your implement/fingertips, to the floor and creating a barrier.

Personally, I always tend to see energy as being like slow, fire-like mist that glows blue. I see it coming outward from my heart, traveling down my arm, through the wand (glowing brighter as it passes through each crystal) and then passing onto the ground where it ignites like a little wall of fire. Every witch sees it differently. That’s just how I visualize it.

Some witches will see the circle forming a sphere on its own. Great! If you feel you need to shape the sphere yourself, you can do so. Once you’ve cast the circle, go back to the altar and lift the energy upward from the floor until it closes above your head, creating a dome, and then push it downward in the same manner so that the sphere encloses the space below ground.

Visualization is key.

Congratulations! You’ve cast your circle. Some traditions will mark this in the ritual format: “Here is the border where the circle is cast none but love may enter, none but love may leave” or “The circle is cast in the presence of Goddess and God, so mote it be!”

When doing a simple spell and casting a circle for it, I acknowledge the casting quietly before setting to my work.

In Conclusion…

As you can see, casting a circle is something that can be very elaborate or very simple. It can be required for all workings or it can only be required for some. I feel that the way you cast your circle is often deeply personal. For that reason, in the steps I gave as an example above are only some of the key parts of how I cast the circle without revealing any personal details of what I do for it when not working with the coven.

Every tradition, every path, every witch casts circles differently. If you are starting out as a witch, I greatly encourage you to create your own, personalized method of casting the circle. If you keep a Book of Shadows (as most witches do), the way you cast your circle should be one of the first things that you write down in it.

All that said, may all your circles be unbroken!

Blessed Be! )O(

Of course machines can’t think as people do. A machine is different from a person. Hence, they think differently. The interesting question is, just because something, uh… thinks differently from you, does that mean it’s not thinking? Well, we allow for humans to have such divergences from one another. You like strawberries, I hate ice-skating, you cry at sad films, I am allergic to pollen. What is the point of… different tastes, different… preferences, if not, to say that our brains work differently, that we think differently? And if we can say that about one another, then why can’t we say the same thing for brains… built of copper and wire, steel?
—  The Imitation Game (2014), Dir. Morten Tyldum

Daily reminder that you watching any given show on TV doesn’t matter at all, no one is counting your view unless you have a Nielsen box in your household.

Got one of these bad boys?

No? 

Then your television view DOES NOT MATTER. No one is counting what you watch. You do not affect ratings. 

How do ratings work? 

Basically like several thousand families have these boxes attached to their TVs. These people are a sample group and represent all of the country! Yeah, just several thousand families. These families each represent like… thousands of families “just like them.” Ratings are estimated figures based ONLY ON NIELSEN FAMILIES. 

So. Your view on television doesn’t matter. At all. 

Support a show in different ways but ratings are not it. I’m sure people pay attention to online chatter, trends in social media, views on legitimate videos, etc… So, y’know. Do that stuff. Spend money on the content. Whatev. 

This is mostly for the SU crowd but it applies to literally every show ya’ll like.

The Joker x Reader *Happy Birthday”

Mister J never wants to tell you how old he is but you don’t give up. Nobody is supposed to know nothing personal about the Joker. But damn it, you are not a nobody!!

You’ve been trying to get it out of him since like…forever.

You always try to guess and he would just mislead you:

“Puddin, are you… 37?”

”Close enough, doll,” he grins at you, satisfied to see you so worked up about it.

“40?!”

“Almost got it, Pumpkin.”

“38?!”

“It’s possible.”

“42?!” At this point your voice is high pitch and it amuses him to death. Why does he have to be such a jerk?

“Ahhhh, Kitten, you’re so close,” and he just leaves the bedroom, snickering. Your mouth is open, attempting to breathe in some air; you are so annoyed right now. No matter what number you tell him, J would never admit to it. You feel childish, but you really want to know, what’s the big deal?!

So you came up with a different strategy.

Every day you give him a birthday card, a cute cupcake with a lit up candle (that he refuses to blow) and no matter what he does, you just start singing Happy Birthday.

*Aha, there he is watching TV.*

“Happy Birthday to you…”

He cuts you off (like he usually does):

“NO!!!” he doesn’t look happy but you don’t care.

“If you want this to stop, Puddin, you just have to tell me how old you are,” you fake smile in a way that he would notice.

“Go away, Pumpkin!” he growls at you and you just lift your shoulders, plant the card on his knees, turn around, blow the candle and head towards the kitchen to eat the sweet present.

*Aha, he’s going over paperwork in his office.*

“Happy Birthday to you…”

“Seriously, Y/N ?!!! Shut up and put it to rest. I have 3 boxes full of birthday cards! You need to stop this nonsense,” the Joker points his finger at you, threatening.

You sigh and put the card on his desk but you don’t leave.

“I guess I’m going to eat this cupcake too and get fat,” you complain, taking a bite. You go sit on his lap. You expect him to push you away but he doesn’t.  You turn J’s chin towards you and then use your index finger to trace his cheekbone, staring at his face. His blue eyes avoid looking at yours.

“Hmmm, hardly any wrinkles, you can’t be that old. But you’re not in your 20’s, I know that… Are you pushing 50?” you giggle and immediately get up and run, knowing he’s going to try and slap your butt or something.

“Princess, go away!” You barely avoid the groping and the slapping.

*Aha, he’s taking a bath.*

“Happy birthday to…”

“Shut it down!!”

“OK,” you agree to comply, but you just get in the bathtub with your clothes on, the cupcake with the candle in one hand and the birthday card in the other. ”For you, Mister J,” you sweetly smile, letting go of the card right in front of him. “Here, blow this candle at least!”

“NO!! Stop pestering me, what’s wrong with you?!”

“BLOW…the…flipping…CANDLE!” you scream, splashing him.

“You asked for it!” the Joker is heading towards your side of the bathtub. Oh, shit, time to run.

*Aha, he’s on his laptop.*

“Happy birthday to you…”

“You must be kidding me; I’m seriously getting pissed! I mean it!”

“Well, me too, what the hell?! Tell me how old you are, you know I would die before telling someone else.”

“You don’t get to treat me like this, doll!” Mister J gets off the couch, scoffing. You wish you would have known he’s in a foul mood.

You think he’s joking but the insane look in his eyes lets you know that you probably pushed it too much. You’re instinctively starting to back out, suddenly worried while you watch him stump towards you.

There is so much rage in him when he grabs your wrists that you drop your card and the cupcake and you already know you’ll have bruises.

“What is wrong with you, hmm? Are you really trying to see how much you can push me? You want me to kill you ?”

“Let go, you’re hurting me…” you whimper in pain, feeling your bones will snap soon.

His eyes have darkened.

“Don’t play games with me, OK?” he hisses at you. ”I’m not the playful type, I told you to stop this so many times!”

You start crying, scared and defeated.

“Fine, fine, I’ll stop, just let me go, I can’t feel my hands anymore…please…”

Your sobbing makes him soften his hold and he finally lets you go.

***************

It’s been a week since you’ve been avoiding him at all costs. You get out of the penthouse early and come back late. Sometimes he’s not even there.

***************

It sounds crazy (and he knows crazy), but he misses you bugging him every day with your stupid birthday song, the card and the cupcake.

***************

You’ve been sleeping in the spare bedroom with your door locked, afraid he might hurt you again.

He can’t fall sleep in the big bed all by himself, tossing and turning on pins and needles every single night. You looked so frightened and hurt when he almost broke your wrists. Shit, he can be such a dick sometimes, but he can’t help it. J finally gets up and decides to go to your door, trying to open it. It’s locked, but he has the spare key. You forgot you guys keep it in the office.

He opens the door slowly and snicks in. It’s not too dark in the room because you always have a night light on. The Joker sees you curled up in a ball, eyes closed, holding to your pillow really tight and ohhhh… his chest aches, strangely enough when he sees your wrists all bruised up, marked by his rage.

He takes a deep breath,using his hands to get his green hair out of his face and cuddles in bed by you, watching you sleep until he decides to pull you in his arms. You feel the movement and wake up with your head resting on his tattoos. You’re not sure what to do, is he in one of his moods again?

You lift your eyes to meet his and it surprises you there’s no anger in them. You gulp and hesitantly reach your left hand to caress his face, not knowing what to expect. J starts purring, shoving himself into you even more.

“39,” he mutters, kissing your forehead.

Your face lights up with the brightest smile he saw in a while.

“Happy birthday to you…”

“I wouldn’t push it, Princess,” he grins, but this time there is no animosity in his voice.

“So…January?” you ask as innocently as possible, hoping you’re on steady ground.

“Almost got it,” J softly laughs, kind of surprised you still have the balls.

“June?”

“So close, Kitten.”

“August?”

“It’s possible, Pumpkin.”

Also read - MASTERLIST :

http://diyunho.tumblr.com/post/153664676321/joker-x-reader-masterlist

anonymous asked:

Why do you think Alex doesn't have an Instagram?

He doesn’t really seem to actually know how any of the social media stuff works

Interviewer: Why don’t you follow anybody on Twitter
Alex: What’s that?
(He was so confused until they understood that she meant the band’s twitter)

And when he wanted to know what the AM twitter tweets but didn’t know how to ask and just

Alex: What does the Arctic Monkeys Twitter say, like…?
Interviewer: It follows no one
Alex: Does it say things, though? Does it…
Interviewer: No, I just think it says “We’re a band” and “What’s up?”
Alex: Right…

video

but maybe one day

x

bluebelladon  asked:

So i had an Idea but I can't think of anything past the concept (+ yr writing for this kinda thing is like 200% better than mine) but what if the Lads founded the Fake AH crew and recruited the gents?

Ooh that’s fun – i’ve seen versions where they were two little gangs who combined into the FAHC but the idea of the actual Fake’s starting as the Lads is definitely interesting.

There were a lot of names tossed around at the start; it’s the part of forming a crew no one really talks about, the vaguely embarrassing period of building an image, choosing a name, defining yourselves. Like band names there is a lot of bad before the good. Like band names ‘good’ is wildly subjective, particularly when determined by a pack of teenage boys. The humour behind ‘Fake Crew’ isn’t particularly high brow and not a single soul outside the original four Lads, including and especially their future members, have any idea at all what the AH could possibly stand for. Most think its mysterious, assume something clever or at least meaningful, but the shifty looks the boys shoot each other when pressed tell a different story.

Still, they’ve made something of a name for themselves in Los Santos – the FAHC, who pull off unbelievable stunts, who lack any semblance of respect, dangerous in the way of feral animals, of wildfire. In the foolhardy way of children, who care far more about making sure you hurt than they do about protecting themselves. It’s enough to keep other gangs wary, to buy themselves a little breathing room with reckless gestures and bared teeth, but not exactly the glory they are looking for. Not quite the trembling respect they’ve dreamed of.

For that, it seems, they’re going to have to think bigger, smarter. Be clever not just in the tricks they play and jobs they pull but in the way they twist their image, they way they recruit, build their crew. Just being more won’t do it, added thugs for the sake of numbers; it would take an astonishing amount to really match the size of some of their rivals and the Lads don’t exactly play nice with strangers. No, they have to be strategic, have to select a few choice additions who can help them rise, and after much discussion they settle on three names they’d like to pull in; Ramsey, Patillo and the Vagabond. Lofty goals to be sure, but then, delusions of grandeur or not, the Fake’s have always considered themselves to be rather magnificent.

Everyone who’s anyone knows about the Vagabond; none of them will admit it (Ray will admit it, Ray doesn’t give a fuck) but the Lads all have hearts in their eyes every time the Vagabond slinks around, all follow every rumour, gossip over every job. Something between hero worship and healthy respect, without any of the fear normal self-respecting individuals feel, is the perfect cocktail to have the four of them plotting outlandish ways to pull in the mercenary. Patillo has an incredibly solid reputation for someone with no real ties, invariably thought to be smart, dependable, one of the best drivers in the country and definitely not a woman to be trifled with. That she and Ramsey seem to have some kind of relationship, worked together back in the day and while going their separate ways don’t appear to have had any kind of blow up, will hopefully work in the Lads favour. Last, but certainly not least, there’s Geoff Ramsey; the rouge Rooster who’s been traversing the country, constantly on the move and pulling all kinds of jobs from hilariously wacky to darkly perverse. Maybe the Lads are looking a bit outside their paid grade but with Ramsey reportedly looking to build his own crew they can’t not try, not after realising that their crew is unfortunately in need of a proper leader.

Because none of the Lads are leaders, not really, especially not back then. They aren’t incapable, are clearly wildly talented and loyal enough to one another to defer a certain kind of leadership to whomever has the best idea or the most experience with whatever task they’re facing, but no one individual is capable of being the permanent boss. No one individual actually wants that role, not really, they’re all too young, too impulsive, too eager to abandon necessary goals at the drop of a hat.  

Ray, who has arguably the least interest in being the boss of all, is less leader than lone wolf; when he’s taking point a lot of his orders tend to involve stealth, hanging back while he picks off targets, only charging in when long-distance is no longer an option. Necessary for particular jobs, and it’s certainly not an easy task keeping the other three in line until it’s their turn to burst into action, but it’s not a method that works for every task.

Michael makes a magnificent leader, fierce and fearless and unwaveringly loyal, protective of his crew until the bitter end. He is, unfortunately, utterly devoid of tact, of the patience to put up with any kind of shenanigans from anyone he doesn’t personally like, the ability to create and maintain necessary relations with anyone outside his crew. Michael himself knows he makes a far better Lieutenant, busy with duties he actually cares about, walking the line between following orders with absolute obedience and unapologetically calling out anything he disagrees with, reliable and relentless in equal measure.

Jeremy is meticulous, when he’s in charge he plots and plans and double checks, the very image of the perfect boss except for one flaw; more often than not he’s easily swayed. Will put together the perfect stealth plan only to agree when Michael makes a convincing argument for the importance of rocket launchers, conduct an ideal heist until Gavin begs to go after something shiny or Ray inquires about abandoning the sensible get away car for hilarious motorised scooters.

When Gavin is on his game he is fucking glorious, a flashbang of reckless laughter and terrible ideas none of them can resist, the promise that come hell or hand-grenades they will all be going home with a story. When Gavin plays leader he needs a lot of faith, needs the others to trust in things that don’t seem remotely feasible, but the payoff is always worth it. Except for the days when his words are too sharp, his eyes too cold, when he wants nothing more than to pick a fight with the most dangerous crook in the room, to swagger around the LSPD’s station unmasked, jump from a plane without checking his parachute; dancing with death just to see if he can. If they’re not careful on those days, if they missed the clues, the rest of the Lads would follow him down, unable discern between Gavin’s usual absurd genius and those streaks of genuinely aimless apathy until they’re all careening towards destruction.

So, as grating as it seems, there is an undeniable argument for a permanent leader, someone to keep them all on course, to take the responsibilities they don’t want, someone who can captain their ship without trying to push them all overboard. Still, you can’t just walk up to one of these infamous criminals and hand them an invitation; selling yourself – your dream, your crew, your city – takes time, takes planning, so in the end the FAHC’s first recruitment isn’t even one of those big three.

It’s pure luck when Michael meets Lindsay; finds her twirling a nail-studded bat in the wreckage of a bar, sipping a cocktail like she hadn’t just caved a man’s head in, and really nothing on earth could have stopped Michael from offering her a place in the crew. From talking them up in a way he’d never really bother with normally, because honestly how could he not. It doesn’t take much to get the other three onboard, Lindsay was a perfect fit, a seamless addition, and with her the FAHC is unquestionably more efficient.

Strangely the Vagabond is actually far easier to get on board than any had anticipated. After they start actively seeking his attention Ryan can’t help but watch the Lads. Not because their jobs are impressive (they are, actually, but Ryan’s in high demand, so very many crews out there are impressive enough) but because they are endearing eager; nothing like the pathetic begging of so many others, no attempt to convince Ryan he should be desperate to work with them, just genuine enthusiasm to prove themselves worthy of his time. They’re funny, something akin to a pack of reckless puppies; certainly capable of outrageous damage but equally likely to trip over their own oversized paws in their excitement, and in this business Ryan really shouldn’t find it as charming as he does. They take to leaving him all kinds of gifts; generally intriguing , often amusing and near always utterly gruesome, and after a month or so of hanging around the city toying with them they manage to get a former Rooster onside to run the show and Ryan’s run out of reasons to say no.

Gavin’s the one they sent after Geoff, when the Lads decide they’re ready to try to bring the notoriously creative, fortuitously crew-seeking man into the FAHC. Gavin’s first approach, full of deferential respect playing to Ramsey’s ego, is a complete bust; Geoff thought he was sweet, called him kid, laughed in his face and sent him out the door with a crack about coming back when he was old enough to drive. The second approach involves pulling a full blown job on Ramsey, one that starts with the man unknowingly buying Gavin a supercar and ends with the priceless tailored suit he’s wearing being pinned to the wall with a nail gun, Gavin grinning away like a particularly bloodthirsty shark, and all of a sudden Geoff can’t say he isn’t tempted. Deigns to finally listen to the recruitment spiel, as though he’s got any other choice right now, and despite himself is quickly sold on the whole crew.

Jeremy goes out one day and comes back with a handful of people, some they’d been discussing as a group, some the others hadn’t heard of, but all perfectly capable of holding their own agains the Lad’s disgruntled dissent. Steffie, who takes a look at their set up, rolls her eyes, then pulls out her phone and starts making a list, talking dealers and bases and possible new hires. Trevor who immediately sets to soothing ruffled feathers, sidling up to Gavin and gushing about some ridiculous theft, questioning Michael about his preference in heavy weaponry, ignoring the way Ray is skulking around behind him. Matt they’d all agreed on, welcoming the chance to push off all computering nonsense onto someone else, and Mica assures them all that she’s got no interest in sticking around, will work contracts as requested but isn’t about the stationary crew life. In the end no blood is spilt, no tempers flare too badly, and Jeremy is reasonably sure he isn’t going to wake up with a gun to his temple, so all in all it goes pretty well.

The last missing piece, Jack, is actually tracked down by Ray in the end; he wanders off one day and comes back with a very amused woman in tow, decked out in a hideous Hawaiian shirt and driving an obscenely nice Lamborghini. Apparently after finding her, not particularly difficult considering she wasn’t trying to hide, Ray simply told Jack all about Geoff’s fumbling attempts to simultaneously familiarise himself with the mess that is Los Santos, integrate himself into, and begin to take control of, an already close-knit, functioning crew, and do it all while pretending he’s not at all rattled by the Lad’s unwavering fascination with the horrifically notorious assassin who insists on sticking a straw through his mask to pound down a truly irresponsible number of diet cokes. It took a while for her utterly joyous, completely uncontrollable laughter to die down, but when she finally calmed Jack immediately started packing.

I have so many questions and thoughts I just need to get this out.

Why does Sherlock not recognise his own sister? Was redbeard given to Sherlock when Euros was taken away/disappeared? Why did Culverton keep asking his employees how long they’d worked there? What relevance did that have? Why did we hear from Irene again? Why does John not know Sherlock’s fucking birthday? Why does John not think he’s a good man and why is Mary still being given this fucking redemption arc? Why are we supposed to like her? Why did Euros write MISS ME on the paper…is she somehow connected to Moriarty? Where has she been. Why was she trying to get to John….why was she texting John and having an “affair” with him? I don’t understand what she wants. Why is everything Sherlock is a reflection of his memories of Euros. Are they twins? “It’s never twins” but it is? Why did Euros go to Sherlock and give him the note? What was the point….when Sherlock was doing it because Mary told him to. Do Mary and Euros know each other? Are they connected? WHY IS JOHN IN A WELL? Does Euros put him there. Why is Sherlock giving John a gun….John telling him he’s got to pull himself together. I mean….I guess he’s saying I love you to Euros? Why is Mary STILL controlling John when it comes to his relationship with Sherlock….even if on the surface it seems like a good thing. Why can’t they just talk? Why the fuck did John beat the shit out of Sherlock and now it’s just been forgotten? I honestly HATE that that happened, and that Sherlock is always doing everything he can for John and John NEVER GETS IT. I hate that Sherlock jumping of Barts was bought up again and Sherlock just took it. Didn’t tellJohn that he did it for him, to save his life. I hate that Sherlock takes the blame for everything, tries to get himself killed to save John bloody Watson over and over. When is John going to open his fucking eyes and see that Sherlock loves him? I can’t answer a single one of these but I fucking hope TFP does.

Jumin Savage Han Pt. 2

Zen: I can’t do this shit anymore. Seriously, why does V keep making us work together.

Jumin: Well you don’t to need keep asking such rhetorical and pointless questions.

Zen: And I didn’t ask for your attitude either but here we are.

Jumin: I wouldn’t have an attitude if you knew how to cooperate with other people.

Zen: You’re one to talk about team work when you act like a dictator towards your employees.

Jumin: Who’s the hypocrite when you throw a temper tantrum at your rehearsals because you’re not noticed for 0.8 seconds.

Zen: V! Can’t you see how much he bullies me!?

V: I’m blind.

Jumin: He’s not the only blind one here.

Zen: I heard that!

Jumin: Good. I’m proud of you for understanding basic functions.

Zen: I’ve had it. You think you’re so great-

Jumin: I don’t think, I know I am.

Zen: Well you’re not! You think you’re so amazing because you’re hot and-

Jumin: You think I’m hot?

Zen: Wha- No! Don’t twist my words around!

Jumin: -small smile- You’re not bad looking yourself.

Jaehee: What?

Jumin: I said he’s ugly!

Zen: Well you’re uglier!

Jaehee: I give up.

Y'all. Imagine Bruce going back through the records at Gotham General (or maybe one of the smaller hospitals) on the batcomputer to find newborn photos. Imagine him finding Jason and/or Tim’s baby photos. Imagine him smiling and blinking back a couple tears. Imagine Damian quietly burying a slight stab of pain because he doesn’t have one to be found.

I don’t know who thought picking a fight with these two was a good idea, but seeing as Papyrus was involved, they’re probably locked in a shed right now thinking about what they’ve done

he’s just angry because they broke his battle body

I started drawing this hoping to answer questions like “what does Undyne look like with her hair down” and “how adorably scrawny is Paps really under that armor, being nothing but bones and all”, but I think I created more questions than I answered

how much magic does a monster have to use before they need to be patched up manually instead of healing themselves with magic

why does a skeleton get bruises and why are they orange

how do bruises even work re: magic beings who have no blood

how does Undyne pull off being beautiful and perfect always

where is the fine line between taking artistic liberties with a fictional race that just so happen to look like human skeletons, and just giving biology the finger, and additionally, will local biologists let me live to see another day in case it has been crossed

we just don’t know

“Carl... you DO know what a ballet tutu looks like, right?”

Carl The Animator: “Uh, sure. They’re frilly… sometimes conical, sometimes kinda stiff and straight… usually pink… made of a very ethereal fabric… slope out at the base….”

Ted The Animator: “…then why the heck do you draw them like pink car tires?”

Carl The Animator: “I do not.”

Ted The Animator: “You totally do.”

Carl The Animator: “Do not.”

Ted The Animator: “The pattern on the outside even looks like tire treads.”

Carl The Animator: “Does not.”

Ted The Animator: “I bet they’re good for keeping traction on icy roads.”

Carl The Animator: “Oh, shaddup.”

Ted The Animator: “The tutus raise so many questions. Like, why does Phantasma have a ghost tutu? How does that work? Where exactly does one purchase a spirit-realm tutu?”

Carl The Animator: “Man, you take cartoon tutus way too seriously.”

Ted The Animator: “…way too-too seriously, you mean?”

Carl The Animator: *sigh*

“Amo” the Voices whispered, while he was tortured

Why does this sound like something Sherlock has hidden deep in his mind that is now crawling its way back into his conscious?

“There’s something I want to say and never have”

This could work on a subtextual level or with canon emp. But if you read Ajay as a Sherlock mirror, “Amo” was the word Sherlock concentrated on, while he was tortured. His brain decoded the original words into Latin afterwards. So what Sherlock made himself (subconsciously?) listen to over and over again while being tortured was “I love you”,  “I love you”, “I love you”, “I love you”, “I love you”, “I love you”. The mantra that kept him alive during the two years of undercover work: “I love you” - “There’s something I want to say and never have”.


filmbite said: I don’t know if it’s significant but ‘amo’ on its own only means ‘I love’ so the 'I love you’ in the trailer might not refer to Amo

You’re absolutely right! (I know this, but it somehow slipped my attention… ;-) ).

I didn’t wanted necessarily to imply, that “Amo” will translate later into the “I love you” from the trailer. I just think that (subtextually) “amo” is something Sherlock has burried in his mind. The knowledge that he is able to love and that he loves John. “amo” and “te amo” - “I love” and “I love you” (John implied) for Sherlock is probably all the same.

If you haven't guessed yet I'm pro-curse

Originally posted by bakamermaid


   People please stop trying to police others and their craft. How they do magic is not how you do magic, and that’s okay. You don’t need to recite the 3 fold law to others because you come off as pretentious. What does it matter if someone else curses? What they choose to do is none of your business anyways. one of the best parts about witchcraft is that you can choose how/what you do. Like sure there are guidelines and books that people have written, but sometimes those methods don’t work well for everyone so they venture away from it to do what feels right to them; Hence why its called a guideline. It is not your job to be the Path Police™ 

 Like, hell, I used to believe the threefold law. But then it didn’t feel right to be fearful of the powers of the universe when magic was what was helping me harness it in the first place. There are good/bad aspects to everything in life, just like everyone’s moral compass don’t always line up the same. Everyone is different. Everyone’s path is different. It’s not your job to tell people what is best for them or their path as only THEY can decide that. If you disagree that’s fine, but curse shaming isn’t going to get you anywhere fast and acting like you’re above someone because you choose to not curse just makes you a dick.

 So don’t be a dick, don’t police others or their practice. You do what is best for YOU and they will do what’s best for THEM.