People who experience romantic and/or sexual attraction are so funny sometimes

They will ask "who's your crush?" And you will answer "i don't have one" and then it starts

"Why are you liying?", "you can trust me", "don't hide", "i don't belive you", "what?! Everyone has one come on", "hmhu it's [name] isn't it?".

in the extreme cases (mine once) they won't let you even leave the conversation and place it started

And so you lie

And when if "confession" comes from "name" and you reject it every single persson who made you lie will be angry.

Honey. Why the fuck are you angry? You decided a lie is more realistic than reality

Basically, my philosophy around disability fakers is: I would rather a thousand people fake a disability than have one disabled person suffer without care, aids, compassion, or any help.

it's SO funny that when asked what he had to do to prepare for his role in IWTV Sam Reid says he had to learn how to play the piano, learn to speak French, Italian, and English with a French accent. Bailey read IWTV religiously and added her own comments, and kept an actual fucking journal she wrote entirely as Claudia. meanwhile Jacob Anderson, when asked the same question, just responds with “oh nothing, i was already emo”. icons and legends only

Due to recent issue with some people arguing about how ‘AO3 should have algorithm’ and such... I feel like these tweets need to be shared out more. Saw this tweets thread by chance and I had to admit it's a great advice esp on fic writing or fanworks in general.

[Edit] Also since I noticed this post blowing up, if anyone ever tell you that AO3 doesn’t have a function to RECCOMMEND fics you like to others or read other people’s fic recs on the site point them to this post.

[Edit 2] Check source for the original tweet.

[Edit 3] Not OP, but usually when ppl talk about ‘rude or demanding comments’ it usually refers to those that tend to message fanwriters to write according to what they want to be either on the flow of the plot, shipping, etc to the point of harrassment/toxicity. And that would make writing not be fun anymore for some. 

So I noticed something in Harrow the Ninth. In chapter two, when John is trying to console Harrow over having lost Gideon, he puts his hands on her shoulders, and he says "Gideon Nav did not die for nothing."

Harrow feels "a hot whistle of pain run down [her] temporal bone," which is, we know now, Harrow having a stroke as her skull alters her brain so that she hears him say 'Ortus Nigenad' instead. And she replies to him in kind, using Ortus' name. So the interesting bit is John's reaction, look:

He had his hands on her shoulders the whole time. Physical touch negates lyctoral blindness, and she had a stroke while he was touching her. That look on his face. Is he working out an emotionally taxing anagram, or is he taking a good look at her and working out what the hell just happened? Then he says Gideon's name again, like he's running a test, and Harrow has another stroke. That's exactly the same test Mercy performed to figure out what Harrow did to her brain in chapter twenty-nine.

He knows. He's known about the lobotomy since chapter two. He thinks she did it to forget her grief and guilt, and he thinks he understands.

Which means when he 'notices' the lobotomy in this scene:

He's not really noticing it for the first time at all. He's calling attention to it. He's just told Harrow that she didn't open the Tomb, that she's wrong about the events of her own life, and then he deliberately 'discovers' and points out her brain damage to seal the deal.

John Gaius uses: Gaslight! It's super effective.

the way garak looks at bashir as he puts all the clues together at the end of cardassians. the sheer 'look at that little twink go (affectionate, sexual overtones)' energy he manages to convey in the background there as bashir passionately does the presentation of their group project that garak did 80% of the actual work on. immaculate

Something I love about Heartbreak High is how when we first see Amerie's perspective of what happened at the festival everything is good and Harper is happy and jokes around with her but then when we see Harpers perspective you suddenly notice how unsure and uncomfortable she actually is. Like she doesn't smile as much and it's a little more fake and she's being much more serious, for example with the "I think my house is haunted" moment and also when her dad texts her. But Amerie didn't notice. Which is why she didn't realize something was going on with Harper and why she couldn't imagine that anything had happened that day. In her memory everything was great and perfect when it in fact wasn't. And I think that's a really cool way of showing both their perspectives because while overall they both remember the same things, their perception of How it happened is different

Judging ™ aka flirty glancing to confirm he agrees

log 117 : (￣へ￣)(❁´Ɛ`❁)🤳🏼

this is sort of pathetic, but when you were younger, you were sort of puzzled by the cartoon representations of fathers: how a kid would be outside with a mitt, waiting to play catch.

it's not that your father never played catch with you, but you also didn't like when he did. something about a hard ball coming quickly towards your face doesn't seem exciting. not that you'd ever say you don't trust him. you trust him, right?

it's not like he never tried to teach you anything. or never tried to parent. on rare days, a strange person would walk in your father's skin. bright, happy, magnificent. this version of your father was so cheerful and charismatic that you would do anything to keep him. and this is the version of your father that would laugh and gently coax you try again. this is the version of your father that would break down the small elements of a problem and point them out so you have an easier time with them.

as a kid, those days happened more often. but somewhere around 11, you started being too much of a person, and he was often cross about it. when he'd try to sit you down to learn something, you spent the whole time with your shoulders around your ears, nervous, uncertain. terrified because you didn't immediately understand how to navigate something. worried you will run out of his goodwill and then you will have the Other Father back, and you will have ruined a good day for your entire family. something about you being visibly afraid - it just made him angry. he would accuse you of not wanting to learn and storm away.

on tv, it's not like there's a lot of versions of men-who-are-mostly-fathers. they can be good dads, but usually their stories are not told in the household. so it's normal that your father is there, but he's never around. you know he was in the house, somewhere, it's just not that you guys ever... "hung out". he just seemed to get kind of bored of you, annoyed you weren't made in his perfect image. frustrated with how much energy it took to raise a kid. over time, you kind of adopt a bittersweet band around your throat - he knows nothing about me. he says at least i never abandoned my family.

and it's technically - technically - true. he was there for you. sometimes he even made an effort and made it to the big moments; the graduations and the dance recitals. he grins and tells everyone that he taught you. it almost erases the days in between, where he complains because you need a ride to school. the weeks that go by where he doesn't actually ever speak to you. the times you say i am struggling and he says figure it out on your own. i can't help you.

and that's fine! that's all fine. you can call him if you are having a problem with your car. or if you need a ride to the hospital. he loves playing hero, he just doesn't like the actual work that comes with being a father. and you've kind of made your peace with that; because you had to, because you don't want to live your life like he does; the whole world at a managed distance, a little rotating and controlled orb he can witness and take credit for but never truly love.

as an adult, you are rewatching some dumb cartoon - and again, the child standing in the rain, with a mitt, waiting for their father to come play catch. as an adult, there's this strange creeping dread - this little thing? this little thing, and their dad can't even show up for that? oh god, holyshit, it's not about the mitt, is it. oh god, holyshit, your father spent most of your life leaving you hanging.

Pac: I wish I had a really nice background story for my- why I'm here. But you know, Felps just crashed the ship and I'm stuck! Fit: You've got an interesting history though, Pac! I mean, look at you escaping that prison! Like, that was not easy for you to do. [...] You've told me lots of stories about yourself and Mike's adventures. You've got a very interesting backstory. Pac: Thank you Fit, thank you. I'm glad to hear that you think it's cool. Fit: I mean– the cannibalism part, that sucks, but it is– It's cool! It's cool.

People keep wondering when Pac's going to tell Fit how he lost his leg, but during their date last week, Fit implied that their characters already had this discussion! Although this could've been an OOC part of their conversation, they've referenced this specific part of Pac's lore in past streams (this is just the most explicit example we've had so far).

[ Full Subtitle Transcript ↓ ]

–

Pac: I wish I had a really nice- um, background story - background story for my- why I'm here. But you know, Felps just crashed the ship and I'm stuck!

Fit: [Chuckles] Well no- you've got an interesting history though, Pac! I mean, look at you escaping that prison! Like, that was not easy for you to do.

Pac: ...No, yeah, you're right.

Fit: You know, and you've been- you have- you've told me lots of stories about yourself and Mike's adventures, like– You've got a very interesting backstory.

Pac: Thank you Fit, thank you. I'm glad to hear that you think it's cool.

Fit: I mean, I mean– the cannibalism part, I mean, that sucks, yeah, but it is– It's cool! It's cool.

Pac: Yeah, right? Yeah- that's- that's not a good part, right? Yeah, I- ugh, yeah, it's a– [He takes a deep breath] Yeah. It's ok.

Fit: Y-yeah, yeah...

Pac: It's ok.

what I wouldn't pay to see mac punch holes into the walls of the suburbs house as he's tasked with fixing something he doesn't know how to fix and meanwhile the only constant in his mind is how much he misses dennis

Do you guys ever think about what Shockwave did during those 4 million years alone on Cybertron? Because I do.

Oh my god I woke up this morning and my Stardew Valley meta post had almost 150 notes????? Hello?????????? Anyways I started writing this last night because @moon-is-pretty-tonight left nice tags on the original so thank you so much!!

We know from the starting scenes of the game that the farmer's grandfather loved Stardew Valley. So why did he leave? Pelican Town is a good place to grow old; George and Evelyn are just fine. It's a fine place to raise a kid, but maybe he just wanted to raise his child closer to real schools and other children.

Or maybe, just maybe, he understood.

Was there a day when he was in his thirties where he looked at his friends and realized they weren't like him? That he could run faster than them, work longer, explore deeper into the hidden places of the valley?

Was there a day when he went to the wizard to ask him for help, for knowledge if nothing else? Did he learn then that his family was different? Special? Chosen? And how did he react? He couldn't possibly raise a child in the valley if they would be as strange and fey as him. He had to leave. There was no other way.

But years later, on his deathbed, did he regret that choice?

Is that why he gave the farmer the letter?

Is that why they went back home?

When the farmer steps off the bus that first day, the valley is still on the cusp of winter, just barely tipping over into spring. The flowers are starting to bloom, but a chill still hangs in the air. As soon as the farmer's boots touch the soil there's a change. The air gets warmer. The trees get greener. Not by too much, not all at once, but it changes.

The junimos watch the farmer as they do their work. They're new to farming, but take to it with frightening speed; their first batch of crops is perfect. None of the townsfolk tell them that parsnips don't normally grow in less than a week, that cauliflowers don't grow to be ten feet tall, that fairies don't visit when the sun goes down and grow potatoes and beans and tulips overnight. The junimos talk amongst themselves in their strange, wild language, and agree: this is the one. They're back. The valley recognizes its own, even when they've left for a generation. The farmers have come home.

Things change fast in the valley. The community center, empty and decrepit for so many years, is rejuvenated. (Lewis says it was abandoned only a few weeks after the farmer's grandfather left. Strange coincidence, he says, that it both came and went with the farmer's family.) The mines and the quarry, similarly abandoned, are explored for the first time in ages. The town becomes cleaner, brighter, more vibrant, happier.

And it is happier. Not just the environment, but the people. It's the talk of the town for weeks when Haley does her first closet purge. Leah's art show in the town square is a huge success. Shane's smiling for the first time since he moved to the valley. All of them, when asked, say it's all thanks to the farmer.

People love to ask why Lewis didn't fix the community center on his own. Why Willy never repaired the boat to ginger island. Why Abigail or Marlon never went down to fix the elevator in the mines, or why Clint didn't fix the minecarts.

But isn't it so much more interesting to ask how those things were there in the first place? How they got so broken down? If the stories the townspeople tell are true, the valley was once a beautiful place, flourishing and full of life; why did that change? When did it change?

Was it when the farmer's grandfather, the locus of the valley, its chosen representative, left town?

And if so, what happens when the farmer comes back?