There’s so much going on in this video and every time I watch it I notice something new, so here’s a list of my observations so far:

☆ Pete chucks his bass over Patrick into Andy’s drum set (neither Patrick or Andy are phased by this at all)

☆ Joe holds his guitar above his head as he sees Pete chuck his bass and then proceeds to throw his guitar with full fucking force behind him and just walks away cause yk whatever

☆ Andy is in a long sleeve, white, button up shirt

☆ Andy picks up his glasses and puts them on and this leads me to wonder did the lens get scratched by the flying bass????? Also he keeps his glasses by his feet??? Andy honey what if you accidentally step on them!!!

☆ Patrick sets his guitar bare ass strings down right in front of Pete’s abandoned bass of flying death (he just wanted to be apart of the fun but didn’t want to hurt his beloved guitar too bad)

☆ Then they all then just fuck off the stage like nothing happened

Having just finished Supernova, I forgot just how balls-to-the-wall that book is? And I mean this in the best way possible. But like, Nova gets arrested, Nova gets out, Ruby and Simon lose their powers and a third of the council gets killed, Callum dies after living up to his alias in the most spectacular way possible, we find our Adrian made Phobia, Ace dies, every single person on the planet loses their powers and the regains them in the span of 5 pages.

And then there’s the fact that in the epilogue we find out Magpie is Evie??? Ms. Meyer, I love you, but what???? Why did you tell us that in the epilogue of the last book????

just finished season 4 of lmk. wow 👀 👌

I can't do anything for a little bit today

my little brother is coming up on the end of Thriller Bark and I need to be there for it ♥

Do you watch The Emperor’s New Groove and recite every line of dialogue with the characters for 78 minutes or are you normal

pros: gabriel appears in the 2015 run

cons: he looks like a slim jim

i love love love love when people take days to read untitled (valid it's 320k words) and they document it in the comments

Chapter five should hopefully be done soon!! Currently writing it and hoping I can make at least one reader cry hehe

in my dream i said something along the lines of ‘i respect lesbian decisions’ (it made sense at the time!!) and betty white overheard me and told me to stop respecting lesbian decisions and start making lesbian decisions ????

/ MAN- there is so much weight on the thirteen seals, it's not just a matter of -who- Arthur is facing and how these should (mostly) apply to whoever he is fighting against, but it's also such a heavy task for arthur himself; like, till how long can he hold onto his values before they backfire on his emotional well being? How much can he keep accepting? How much of his humanity can he keep? Because sure, he's grown to learn to sacrifice almost all of himself but at the end of the day, he hasn't reached a perfectly mechanical nature as Arthur's heart is still human at the end of the day (and heck we get to see this in his legends) so in conclusion, it's like, till how long would he be able to hold onto his ideals of goodness and evil, and till how long could he keep himself detached from his own (not his Knight's) emotions and follow the values of the seals and his knights?

I am going to earn the “Author wrote this instead of sleeping” tag or die trying

*excited dancing around as I keep adding more and more layers of lore to this fic* 

last night i had a dream that i was playing minecraft and i noticed i had 77 blocks of cobblestone in one slot instead of it being capped at 64 and it was so jarring to me that it literally booted me out of the dream. like sure you can fly now and your childhood home is a pharmacy but 77 pieces of cobblestone? unthinkable. wake the fuck up.

please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!

gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.

SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:

diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.

non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.

the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.

now, on to how I apply this to bdsm in fiction.

if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.

if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.

this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.

it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.

but yeah, spontaneous writer plug aside, that's what I mean.