I like when people like a character so way too much that it transcends even self shipping or kinning and becomes more of a patron saint that you pray to type of deal

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we're not kids anymore.
let's talk about Bridgerton tea, my ask is open
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@theviscountconsett
I like when people like a character so way too much that it transcends even self shipping or kinning and becomes more of a patron saint that you pray to type of deal

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very important for elf characters to freak the fuck out about the aging difference thing and pre-grieve like crazy and scream themself hoarse with denial when they can’t stop death itself and they still look the same as when they met the frail aged body that’s going cold beneath their touch and eventually settle into a numbness that they’ll call acceptance but they never really let anyone get as close as they did in the first century of their life unless they know they’re going to stick around as long as they will
“why are elves so snobby and exclusive and cut-off from everyone else” befriending you means they’ll end up burying you and your children and your grandchildren and they’ll still be young. exactly how many times do you think you could choose to do that. if you live through enough centuries, eventually you run out of days in the year to visit each grave.
one time in college i was in a creative writing class and this guy was holding up the critique with what i can only describe as like cinemasins dinging another student's writing. and at some point the professor said "the plot is the fork and the prose is the meal. you are critiquing the taste of the fork"
Okay, we got a new one, boys.
Close enough welcome back Chekov's gun.
Prev you can’t bury this in your own tags
ID: A screenshot of tags left on the tumblr post. They read "#it's actually kind of a reverse Chekhov's Gun #Chekhov's Gun says "If there is setup there must be payoff" #Asimov's Tail says "if there is payoff there must be setup" #and I think the tail is also important #a tail is not something you'd expect to see on a character unless explicitly pointed out #someone stepping on the tail not only reveals its existence but also tells us things about it #eg it's floor length sensitive and the character either can't or won't keep it out of the way of foot traffic #the upshot seems to be "acclimatise your audience to things they don't understand before you use them" #you don't need to explain how a gun on the mantelpiece works in the same way you need to explain how your protagonist's tail does" End ID.

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The parking attendant paused by the double-length bay. Intended for mobile homes and cars with trailers, it was currently occupied by a sleeping dragon.
No parts of it extended beyond the lines, and the paper ticket was clearly displayed, impaled on a horn.
The parking attendant moved on.
I was going to just queue it for later but then it stuck in my brain, and I decided to make it everyone's problem
Fascinating thing in black sails re The Narrative is how frequently characters are making references that they have no way to possibly know are references. Quoting media they don't know the other person is Also Quoting. Sentences that mirror sentences said by a characters they've never met from six episodes ago and they Know the Audience will get it even though they have no way to know it'll hit The Characters. From a doylist perspective this is just good and intentional writing from a watsonian perspective it's completely insane like some kind of gift of prophecy or perhaps curse
my favorite phenomenon on tiktok is when all the comments will line up and start doing the same bit
Many lgbt teenagers and young adults growing up on the internet today have socially conservative beliefs that they voice at all times that they got from their conservative parents which they’ve never challenged because they think the life experience of being gay or trans makes them politically progressive
This is why I hate it when people say something homophobic and then go “so you’re really accusing me, a whole ass lesbian, of being homophobic 🙄” like yeah
not to be insensitive but some of the salem witch trials were so funny bitches like “i saw her at the devils sacrament!!!” girl... what were YOU doing at the devils sacrament 👀
happy birthday devils sacrament. i wish you were never born

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Is there any properly substantive argument about how the Bennets are 'made to look poor' in the 2005 adaptation, or is it all just outrage at THE PIG
one thing I love about pride and prejudice is that wickham marrying lydia is never portrayed as a "well they deserve each other" situation. even while lydia is loud-mouthed and arrogant and conceited the book still makes clear that she's young and naive about wickham's intent and her running off to marry him is consistently portrayed from elizabeth's point of view as an awful thing. the "joy" and relief surrounding the confirmation of their marriage comes from the fact that it was the only way the situation could have ended in a way perceived as "respectable" and not because it was actually a good thing. for all of her flaws and negative character traits lydia is still a teenage girl being manipulated and groomed by a horrible worthless man and the book doesn't shy away from that. thank you miss austen
There’s a bit more to it- none of which undermines this point! I want that to be clear. Wickham is never treated as “punishment” for Lydia and the fact that many people are taken in by him is important- including another similarly aged character who nearly did what Lydia did, but we are only supposed to see her with sympathy.
But that isn’t the point I want to make. The point is that, in my opinion, there was another good outcome- and that was what Mr Darcy attempted, and that it was doomed before he even could try tells us more about the failure of the Bennet parents.
We are told explicitly- albeit briefly- in Mrs Gardiner’s letter that Mr Darcy tried to get Lydia to leave Wickham and go back to her family. Now, he would of course know that the outcome of that would be massive damage to the family- if, IF her running away with Wickham was public knowledge. But in such a situation the intelligent thing to do would be to avoid rumour spreading. Much harder if she’s left home- but she didn’t, nobody in Meryton would have questioned her absence, nor would it have been weird if she’d come back from seeing family in London. Hiding it would have been very possible- and in the eyes of Mr Darcy, a far better alternative than a young woman being stuck with Wickham.
What Mr Darcy doesn’t know- at the point that Lydia was refusing to go home- was that hiding it would be impossible by then. The Bennets have done as they always do- not handle parenting remotely well. It explicitly says that Mrs Bennet didn’t have the prudence to hold her tongue in front of the servants. I’m of the opinion that the natural expectation from readers of the time would be that the family tries to hide it and that it’s another failure on the part of Mr and Mrs Bennet that that was completely impossible.
Wickham’s behaviour was… you know. He was a 30-ish year old preying on 15/16 year olds. I’m not trying to diminish his actions- rather to paint the scale of how badly failed by her parents Lydia was, and this was just another example of that.
My medieval servant boy has gone missing. I’ll just use Google to see if I can find him.
Oh bother.
im deleting this fucking website
It took me a minute
Gotdamn I haven’t seen this post in almost a decade
it does get better. & then it gets worse. & then it gets better. & then it gets worse. & then it gets better. & then it gets worse. & then it gets better. & then it gets worse. & then it gets better. & then it gets worse. & then it gets better. & then it gets worse. & then it gets better. & then it gets worse. & then it's fine. & then we go get hoagies.

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Opera plot: Local Noble realizes that his affections for Pretty Village Girl have a rival in the form of Honest Laborer. Having read enough romances to know that a girl asked to choose between a rich man and a poor man will always pick the poor man, whereas in a love triangle between two rich men it's anyone's game, he decides that his chief object must be to elevate his rival's wealth and status as quickly as possible. What the Compte de Genre-Savie over here forgot to account for, however, was the overwhelming power of the Pygmalion Effect, and now he has to deal with watching two people he's in love with develop ever-stronger feelings for each other. Eventually all of this resolves via...I don't know.
#first of all: ''comte de genre-savie'' is PERFECT. just great. absolutely no notes.#I would love an opera with this exact plot. bonus points if the comte is genuinely genre savvy#he keeps bringing up opera tropes only for the other characters to look at him like he's insane.#the score is diagetic to him; when he points out reoccurring themes or transitions to minor keys#the other characters ask him what the hell he's talking about. the whole chorus gets together to sing about how#comte de genre-savie is going mad. the comte tries to sneak away and keeps getting pulled back in.#I wonder if you could even push it further - have it so that only the comte can speak or 'hear' spoken words;#all other characters communicate in recitativo secco or formally composed songs#then you can have scenes where the comte is speaking but the other character in the scene can't hear him.#this can be played for laughs (the comte tries to order something from a shopkeeper; the shopkeeper walks away as he's talking)#and for dramatic effect (the Honest Laborer is singing a heartfelt duet with the Pretty Village Girl#and neither of them can hear the comte saying 'I love you' in between their lines)#........I am into this actually. I had to convince myself that this wasn't just cyrano de bergerac but no. it isn't. I'm into it.#upon the stage (via @notbecauseofvictories)
Bonus points if the Comte can also see the stage manager and stagehands. At one point he's like "No listen I'll prove I'm not crazy" and he darts behind a curtain and drags out a woman wearing all black and a headset, with her hair in a messy bun and a clipboard in her hands. He's like, "Tell them I'm not mad." The other characters are like, "🎶HE'S SPEAKING TO GHOSTS 🎶" Stage manager runs off. Comte shades his eyes and peers into the back of the theater where the lighting tech is working. He's like, "Can you bring the house lights up so they can see the audience???" Lighting tech ignores him. The comte is like "FINE!!! It's nearly time for my quickchange, anyway. [to the other characters] WATCH THIS, here's proof, WATCH." And then he stands there stubbornly while the backstage assistants peek in and hiss and gesticulate for him to come get his new costume, and eventually they're forced to scramble out and undress/redress him right there on stage. The other characters are like "GASP!!!!!!! 🎶HE'S A WARLOCK, LOOK HOW HIS CLOTHES FLY FROM HIS BODY BY THE WILL OF HIS UNSEEN DEMON SERVANTS🎶"
Pretty Village Girl and Honest Laborer run off together. Comte falls in love with the stage manager.
shane: i'm gay (i tried so hard, mom, i tried so hard to not be this way, i tried to like rose in the way i should but i can't and i'm not the golden boy everyone wants me to be)
ilya: hm. what makes you think that? (my brother in christ we have been having gay sex for close to a decade now. wtf are u on about)
shane: fuck you! you aren't gay! (you have the choice. you can be with a woman and it won't be a lie to yourself. you wouldn't be in agony every second of your life. you can live the way the world wants you to and it won't be a lie)
ilya: no, not completely (yeah, i'm attracted to men and women both, but what does it fucking matter? whether i am completely gay or not, the fact that i like men is enough to alienate me from the place that birthed me)
shane: well i think i am! completely. (i'm not perfect anymore. i've realised that i cannot be with a woman. i lie in bed with a woman and it feels like a punishment. i have to think of you to feel even the slightest pleasure despite having a girlfriend men would kill for.)
ilya: why are you telling me this? (why does your being gay or not gay matter? a label means nothing when it doesn't change the secrecy, the wrongness, the inevitability of this, of us both.)
shane: who else am i going to tell? (this is an important moment for me. i have to come out to someone. you're the only safe option. you already know this, you have the same secret. let me have this moment with someone who isn't literally the one telling me i'm gay.)