#beth.txt

what's been so automatically good about clark and lois to me i think is genuinely that in his dynamic with her there's a whole new side to him we literally have not seen before with any other character, like he's not fawning over a pretty girl or caught up in his savior complex, lois is the first person to come into his life and genuinely just BE a person. he doesn't need to save her and he doesn't idolize her she seriously just exists and he's allowed to fight with her and have fun with her and be normal with her and none of that has any deeper meaning or underlying motive. i think so many of his relationships with people have been driven by him thinking he can save them or help them (ESPECIALLY with lex and lana) that he really is just hitting on completely new ground with lois because she doesn't need him. and she doesn't need to be saved. and it's sort of similar to the dynamic he's always had with chloe and pete, in the sense that he can just exist with them, but with lois there's no history and it's really just fresh and new and there's no years of expectations on them to be a certain way or have a certain dynamic.... it's just awesome guys real lovers are back on my tv!!!!

i miss sex

hang on hang on hang ON. in the confession cas tells dean that he knows how he sees himself, as “daddy’s blunt instrument.” those exact words. exactly the words dean’s subconscious self used to describe him—“daddy’s blunt little instrument”—in season THREE. long before cas was around. and cas rebuilt dean from nothing, cas has seen every part of dean’s soul, and twelve years later he remembers those exact words pulled from dean’s subconscious. words dean never even said aloud, to cas or anybody. cas isn’t just making an observation about how he knows dean sees himself—he’s telling dean, i know you, i know every part of you, even the things you’d never voice, and i find all of it worth remembering. and now, at the end of my life, the thing i want most is to tell you how wrong you were, that version of you from before we even met. i have seen the exact words rattling around in that head of yours, and i want to stop the rattling. and that’s so much more devastating.

well see the thing is that i didn’t really mind the romance subplot in the first movie because i liked that french interpol agent and her scenes with dylan were his only tolerable scenes. because he is annoying in the first movie. and i liked that they met on that bridge in the end and all that whatever i think they were nice. and then the other romance subplot in the first movie is awful bad but i ignore it because it’s so awful bad it barely even exists. did you writers just want us the audience to fill in those blanks or did you just genuinely not care about danny and henley being a couple or not. but if you didn’t care why’d you give him the lovers tarot card. absolutely ridiculous. anyway i ignore that. and then the romance subplot in the second movie is tolerable because it’s lizzy caplan and her annoying girl swag is soooo funny. however i also hated it because it was BADLY done. horribly done. i’ve seen better from 20 year olds minoring in creative writing at a mediocre state college. its so bad it’s almost laughable. the movie’s very lucky though because much like danny and henley, this one is also very easy to just. ignore. because it’s so nothing. and maybe this is just residual anger from mean girls but why wasn’t her character a lesbian. fucking coward ass writers. not you tina fey you only let us down there because it was 2004 and you’re straight, i believe you would have done things differently in this day and age i believe in you. but the now you see me writers don’t have that excuse and they should kill themselves or something. i don’t mean that. yeah i do. whatever. ok goodnight for real again please ignore the posting. as it is embarrassing. 😐