MCR5 BEETLEJUICE SOUNDTRACK?!?!!??!????!

the thing about art is that it was always supposed to be about us, about the human-ness of us, the impossible and beautiful reality that we (for centuries) have stood still, transfixed by music. that we can close our eyes and cry about the same book passage; the events of which aren't real and never happened. theatre in shakespeare's time was as real as it is now; we all laugh at the same cue (pursued by bear), separated hundreds of years apart.

three years ago my housemates were jamming outdoors, just messing around with their instruments, mostly just making noise. our neighbors - shy, cautious, a little sheepish - sat down and started playing. i don't really know how it happened; i was somehow in charge of dancing, barefoot and laughing - but i looked up, and our yard was full of people. kids stacked on the shoulders of parents. old couples holding hands. someone had brought sidewalk chalk; our front walk became a riot of color. someone ran in with a flute and played the most astounding solo i've ever heard in my life, upright and wiggling, skipping as she did so. she only paused because the violin player was kicking his heels up and she was laughing too hard to continue.

two weeks ago my friend and i met in the basement of her apartment complex so she could work out a piece of choreography. we have a language barrier - i'm not as good at ASL as i'd like to be (i'm still learning!) so we communicate mostly through the notes app and this strange secret language of dancers - we have the same movement vocabulary. the two of us cracking jokes at each other, giggling. there were kids in the basement too, who had been playing soccer until we took up the far corner of the room. one by one they made their slow way over like feral cats - they laid down, belly-flat against the floor, just watching. my friend and i were not in tutus - we were in slouchy shirts and leggings and socks. nothing fancy. but when i asked the kids would you like to dance too? they were immediately on their feet and spinning. i love when people dance with abandon, the wild and leggy fervor of childhood. i think it is gorgeous.

their adults showed up eventually, and a few of them said hey, let's not bother the nice ladies. but they weren't bothering us, they were just having fun - so. a few of the adults started dancing awkwardly along, and then most of the adults. someone brought down a better sound system. someone opened a watermelon and started handing out slices. it was 8 PM on a tuesday and nothing about that day was particularly special; we might as well party.

one time i hosted a free "paint along party" and about 20 adults worked quietly while i taught them how to paint nessie. one time i taught community dance classes and so many people showed up we had to move the whole thing outside. we used chairs and coatracks to balance. one time i showed up to a random band playing in a random location, and the whole thing got packed so quickly we had to open every door and window in the place.

i don't think i can tell you how much people want to be making art and engaging with art. they want to, desperately. so many people would be stunning artists, but they are lied to and told from a very young age that art only matters if it is planned, purposeful, beautiful. that if you have an idea, you need to be able to express it perfectly. this is not true. you don't get only 1 chance to communicate. you can spend a lifetime trying to display exactly 1 thing you can never quite language. you can just express the "!!??!!!"-ing-ness of being alive; that is something none of us really have a full grasp on creating. and even when we can't make what we want - god, it feels fucking good to try. and even just enjoying other artists - art inherently rewards the act of participating.

i wasn't raised wealthy. whenever i make a post about art, someone inevitably says something along the lines of well some of us aren't that lucky. i am not lucky; i am dedicated. i have a chronic condition, my hands are constantly in pain. i am not neurotypical, nor was i raised safe. i worked 5-7 jobs while some of these memories happened. i chose art because it mattered to me more than anything on this fucking planet - i would work 80 hours a week just so i could afford to write in 3 of them.

and i am still telling you - if you are called to make art, you are called to the part of you that is human. you do not have to be good at it. you do not have to have enormous amounts of privilege. you can just... give yourself permission. you can just say i'm going to make something now and then - go out and make it. raquel it won't be good though that is okay, i don't make good things every time either. besides. who decides what good even is?

you weren't called to make something because you wanted it to be good, you were called to make something because it is a basic instinct. you were taught to judge its worth and over-value perfection. you are doing something impossible. a god's ability: from nothing springs creation.

a few months ago i found a piece of sidewalk chalk and started drawing. within an hour i had somehow collected a small classroom of young children. their adults often brought their own chalk. i looked up and about fifteen families had joined me from around the block. we drew scrangly unicorns and messed up flowers and one girl asked me to draw charizard. i am not good at drawing. i basically drew an orb with wings. you would have thought i drew her the mona lisa. she dragged her mother over and pointed and said look! look what she drew for me and, in the moment, i admit i flinched (sorry, i don't -). but the mother just grinned at me. he's beautiful. and then she sat down and started drawing.

someone took a picture of it. it was in the local newspaper. the summary underneath said joyful and spontaneous artwork from local artists springs up in public gallery. in the picture, a little girl covered in chalk dust has her head thrown back, delighted. laughing.

turn left is literally the most insane episode ever written. yeah the main character would kill himself if he didn't meet his best friend and the UK government is like 2 bad days away from putting all non-english people into labour camps. also all your favourite characters died trying to do what little they could. wouldn't that be crazy? anyway time for the daleks again

Okay but Donna. DONNA. She gets to live her life with both her husband AND her platonic life partner. She'd wanted to be with him forever and now she CAN. She gets both a permanent romantic and permanent platonic partner. Who like each other. Who don't resent the other's existence. Do you understand how MONUMENTAL that is???

The Girl Who Died // Hell Bent

Had a thought about the Reluctant War and made myself a bit sad and I have no idea if it'll make it into the story proper so I'm going to inflict it upon all you guys:

Dick Grayson on the streets of Gotham trying to do everything he can to help as everyone join the ghosts in fighting the GIW, suddenly has a version of the GAV barreling down towards him and for some reason he can't get out of the way in time.

He thinks he's about to join the army of the dead in a whole new way, when the tank fo a vehicle is suddenly sent flying as something massive charged it from the side. He hears a familiar bellowing and then realizes that it's Zitka, a ghost after passing away peacefully a few years before.

She wasn't apart of the army of the ghosts, wasn't brought in to fight. She's just been following her tiny human child around all these years and now that there's enough ecto in the air to do so, she's going to protect him with all her might.

Dick is emotional, so thankful to have his old friend back, but the city is still in a state of chaos. He gets onto Zitka's back and they get to work, running - flying - around helping to grab the injured and whisk them away to safety or take out other GAVs and the like.

It's absurd and freeing and wonderful all at once to be literally flying through the skies of Gotham on the ghost of his elephant best friend, and if Dick wasn't already on the side of King Phantom he is *now* and -

He gets shot off Zitka's back.

A GIW agent was aiming for the Ghost elephant but somehow *missed* and hit Dick instead. Not enough to injure him too badly, but enough to send him flying off Zitka's back and plummeting to the ground. His grapple is broken, and Zitka is diving for him but she's being shot at and she's not going to make it in time and -

A hand, reaching out to him in midair, familiar with its callouses and strong grip as he reaches out and grasps it, body suddenly swinging in a different direction and muscles acting on memory as he falls into the old, achingly familiar routine of his childhood. His mother, ethereal and bright as she smiles down at him, hanging upside down from a bar suspended from nothing but open sky as they swing and he is let go, flipping on instinct and caught by the steady strong hands of his father.

The Flying Graysons reunited in the skies above Gotham, Dick's ghostly parents determined to ensure their little bird never falls the way they did.

y’all ever think about how small ten looks without his jacket on that roof with donna? like.

idk i guess what sticks with me is that it’s the ONLY time (so far in nuwho) that we see the doctor take off his suit jacket. like yeah he goes places without his coat, but we NEVER see him without his suit jacket. its basically his armor.

and then, for this woman he barely knows, who yelled at him and insulted him and slapped him, because she’s shivering on the edge of a roof and disappointed about missing her wedding, he just. gives her his jacket. doesn’t even stop to think about it, he’s unbuttoning it before donna even sits down fully.

AND THEN. AND THEN. he didn’t even take the sonic out of it first. and like the doctor is the doctor no matter what tool he uses, but the sonic is one of his BEST tools, one he never goes anywhere without. and he just. gives up his jacket with the sonic in it again to this woman he hardly knows.

and like yeah, it’s RIGHT there. he can just reach over and grab it, but idk that says a lot to me about ten, especially when he JUST lost rose and has been thrust into saving donna.

idk i’m probably reading way too much into it, but i’m mentally ill and i can’t stop thinking about him looking so small and vulnerable on that roof next to donna. he gave up his armor, his tool, for a some essential stranger who needed his help.

which is gayer being lgbt or whatever the fuck these two have going on

do you think fourteen has a breakdown one day about just how much time with donna he lost. it was that easy, the whole time, for the metacrisis issue to be resolved, and instead of him ever figuring that out, he lost years and years of a life he could have had with her. he stood on the outskirts of her wedding. he wasn’t there when she was pregnant with rose and wasn’t there when she had her. he wasn’t there for a thousand little moments where he could have made her laugh. every time she looked for him without remembering who she was looking for could have been a time he was standing next to her. and he’s never going to get that back. time machine at his fingertips and yet somehow the one thing he never has enough of is time.

"Who cares about me?"

"I do."

"Why? I'm just... no one."

"No, you are not."

—

Here's to The Doctor and the most important woman in his whole wide universe.

in recent years, there's been a push in therapeutic circles to shift the language from "attention-seeking" to "connection-seeking" behavior.

i was an attention-seeker. i was the textbook example of an attention-seeker. i was a troublemaker. i would self-harm. i destroyed my own relationships. i was uncontrolled, dramatic, sensitive. i took everything personally. i had "nothing" to be depressed "about," but made a big show of how sad i was nonetheless. i was really unsafe about myself in a lot of ways.

the strange thing about that is: it meant others could ignore me. the prevailing wisdom behind knowing something is "attention seeking" is to say: well, since you want it that bad, you're not getting any. it meant i was lower-on-the-list of concern. it meant an eye-roll.

the belief was that: since i was obviously doing these things on purpose, it would be bad behavioral training if i was "rewarded" for it. it would "teach me" that i simply had to make enough fuss, and i'd finally get all that missing attention and love. no, it was better to ignore that stuff.

i was suffering. and it felt like - oh, it doesn't matter how loudly i am in pain, nobody gives a shit about if i'm living or dying.

awhile ago, i went through my journals from that time. a lot of them read the same thing. in them, i am convinced i am invisible. that nobody wants to hear me, to see me. that i could die or vanish and nobody would even notice. i didn't even want attention - not really - because it was always dismissive, mocking. nothing i ever did would be good enough to get someone to actually-worry about me.

that's a terrifying thing for me to read as an adult. that is a child who fully has no problem committing. that is a child who has no concept of feeling loved. the most basic human instinct is missing from her life.

i needed help. i didn't know how to ask for it. i was a kid. i was a kid in a bad home, and whenever i thought things couldn't get worse there - they almost always did.

and the ways i showed that - the ways i tried to deal with that - they made others dismiss me. i wasn't suffering prettily. after all, if i was really in trouble, why wouldn't i just march into the first counselor's office and ask someone to help me? i had the opportunities, right? what did i think would happen, exactly? that someone would finally stand up and do something? who even wants that kind of responsibility?

i heard connection-seeking for the first time about three months ago. my therapist mentioned it when we were talking about my history. it rang some kind of horrible bell, deep inside me. i don't know what she said in the rest of her sentence. i just started... crying.

"oh no", i said to her. "i think i just realized: i have no idea how to forgive them for minimizing the ways i was hurting."

how many other kids, though. how many other kids were out there drowning, snatching around for a lifevest, some kind of rope - how many were straight-up ignored.

how many of those kids aren't gonna get old.

i am BEGGING for someone to compile like a list of thoschei content so it's easier to get the Lore TM without having to wade through thousands of hours of content with minimal organization. what I wouldn't give for just a list era by era of what episodes to watch and where to find them

things I would love to read: EMT!Ian and ER nurse!Mickey who meet at the hospital when Ian is on a call bringing a patient to the hospital—maybe they get along at first, maybe they don't, but after they run into each other a few times Ian starts looking forward to when they end up at Mickey's hospital (no he's not been obsessively trying to figure out Mickey's shift rotation, why do you ask)

and one day he and his partner have dropped off a patient and it's lunch and they're starving, so they decide to eat at the hospital since they're already there, and Ian sees Mickey at a table outside, and there's nowhere else to sit because the weather is nice and the employees are taking advantage of the sunshine

so Ian is all "mind if I sit here?" and Mickey is like "I ain't stoppin' ya, red" and it's awkward at first but then they somehow manage to break the ice—this may lead to Mickey showing Ian where on the smoke-free hospital campus is a sneaky place for them to light up and share a cigarette 😉

anyway the boys end up bonding and chatting and Ian finds an excuse to get Mickey's number and it'd just be cute as hell <3

@gallavichprompts any takers?

Hey, uhm, hope I'm not bothering you today. I'll just drop this here. It's the continuation of what I wrote form the Mob Au. Hope you like it.

https://archiveofourown.org/works/47292106/chapters/119165542

That's all. Goodbye. Have a nice day.

oH SHID ITS THE FIC HELL Y E A H-

thing about rose, for me, is that she wasn't there first -- this in a "she was first in nu!who in the sense that this was the first person to travel with nine, and the first person since the timewar, and the last person that nine was with, to the point that ten was born out of that experience/modelled on her."

and in that framing, I am a big fan of her haunting of the narrative, because it start outs with her placing herself inside the doctor's ribcage and rebooting their ability to want to feel things, but unfortunately rose is still a human, like every human the doctor travelled with before, it's just that the doctor forgot how to steel themself against that inevitability because of the circumstances around meeting rose

this is The thing that I find tragic about martha, because I think she could have been that person, if she'd been the first person post-timewar to travel with the doctor, but because she's coming in during bleeding-heart times, she's got to deal with triage instead. and yes, there are wonders, and yes, there are good times, but for a lot of it, it's shrapnel, and I think if it hadn't been, she would have had a very different attitude towards *waves hands* space and time travel and aliens and the universe (one where she wouldn't be the person trusted with something like the osterhagen key)

and donna had a sense of that Space the doctor was in post-rose (she canonically stopped the doctor from dying in runaway bride) and stepped away from it, and didn't get back to the doctor until some of that hole-in-chest had been bandaged up, which martha did a great job of, but didn't get to really benefit from, and I think that's the sad thing about martha jones, is that she absolutely got a taste of the beauty and the splendor, but never without all the violence and heave weight that was put onto her

which, again, she seems to have been very aware of, considering she joined UNIT and Torchwood. her eyes were barely ever rose tinted (no pun here) during her whole journey in the story. martha really is in my opinion the most tragic companion (that I've met so far, I know Adric straight up dies, but maybe he had some fun times before that?), because yes, donna loses her memories and rose is in a parallel universe, but that's more tragic for the doctor -- they've both built lives

in donna's case there's probably a lot of imperfection in that life, but clearly a lot of joy as well, with her and her husband and her kid and her mum, and I'm sure she'd have preferred to be the donna who saw the universe and was splendid, but martha never gets to forget, and has to continue her life one step out of sync of everything she could have been

which, maybe her life is pretty flipping fantastic, but we really don't know, which is the biggest thing I side-eye about the first nu!who era. that whole weird ending with the sontaran and mickey is like... anti-character work, it answers nothing and it makes very little sense

all I know about her at the end is that she more than anyone saw the doctor's life and became a soldier (still a doctor as well, but...) because that was the work she saw needed doing, and she's the kind of person who does what needs doing. but is she... okay? youknow?

but going back to the original point, is that framing martha through the lens of rose is all well and good in the sense that rose is the reason the doctor is at that emotional point when he meets martha -- although donna absolutely had a very big hand in that as well -- but once we've established that, martha's arc is martha's arc, and it's dull to me to frame it as the "rebound" arc or even particularly about alloromanticism (including -- and this is why i get why people do it in fandom -- some shit said by rtd, which is just less interesting than what I get out of it, so shhhh)

she's got so much going on, and her relationship with the doctor changes the trajectory of her life, and it's in many ways a more interesting and far less straightforward trajectory of bad-to-better that many companions get -- it's a wonderfully complicated narrative that (and again, I get that some of this comes from within deliberate framings of the text, even though I think it's more than open enough to do more with, death of the author and all that -- but certainly not all of this is text either, some of it is ignoring what is actually there) is done a disservice by not going through the real messed up fascinating extraordinary shit that's going on during her era + arc in s4

but also... is she ok? I want to know. it's one of my top three burning questions, since we're getting a bit of best-ofs of the noughties DW era, some of your crimes can be righted by a simple bit of martha mr davies

doctor who s1 Wip because Christopher eccleston is my favorite ever and the end of s1 made me scream so. yahoo.