hfjone doodles from the last couple days!

Don't forget it 💝

Thinking about how ouat had characters (even the most cynical and cruel) constantly saying "well, you know, true love can break any curse" like it was a formal prescription like it was scientific fact and I cry a little for the state of the world that I was so surprised by this earnestness and straightforwardness but I also cry because this show believed it so much!!! And it was right!!!!!!

To My Star (2021) 1x9

Lucky Girl - Relationship Analysis

Evie & The Kilbride Family

Evie’s family (excluding Marian who we’ve already covered) don’t show up often, but when they do it’s with a particular intention. These people represent something crucial in the story; Evie’s potential future. 

Each one of them has a specific role to play. Starting with her grandmother, a strong, hardworking housewife who dedicated her life to looking after her husband and children. Granny Kilbride - as she’s known in the story - is a traditional woman who does things the way they’ve always been done, and that’s that! She’s definitely the type of woman who is stuck in her ways and resistant to change, and this is most evident in the Christmas chapter in part 2. The men will sit around and watch TV, and all the women, even those unrelated to her will help in the kitchen and let there be no argument. 

While washing thyme in the sink in granny’s kitchen, Fabiana confesses to Evie that she doesn't know what she’s doing exactly, and that she’s uncomfortable about asking for help as her future mother-in-law is ‘tense’. Granny Kilbride expects things to be done quickly and right, and there should be no room for mistakes, because while men can be allowed to loll about, women must exude perfection. Though in this unconventional family, all expectations of this should have been put aside long ago, still, we must cling to what we know and what is comfortable. 

Granny Kilbride is the archetype of the traditional Irish mother and represents what Marian will become, and maybe even Evie one day if she fails to walk her own path. 

Decky and Conor further the traditional theme. These are two men in their twenties already falling into step with tradition with such ease and comfort, never even considering helping or speaking up to protect Evie against her mother’s insulting trade at the dinner table. They’re weak, they shrug and move on because emotional conversations are not for them and they refuse to stand up against the system that benefits them. Decky in particular shifts in Evie’s viewpoint here, and she realises that the fun and games of their childhood are a distant memory, and those children have gone and been replaced by two people too different to ever see eye to eye again. 

Catriona represents another path for Evie, but none any better than the first. The single, working woman. Catriona has dedicated too much time to her career, and now trudges from one failed relationship to the next, slowly ageing out of all that men consider to be valuable about her. It’s Evie’s father’s comment to her about her ex boyfriend that sets the tone for the whole dinner. Perhaps Catriona should have fallen in line with Granny Kilbride’s idea of what a woman should be, then maybe none of this would have happened. 

The Fabiana/Evie relationship is my favourite. Fabiana is a total outsider who has landed in the middle of this family, and now here she is, isolated from her own family and traditions, miles from home and eight months pregnant. Evie is drawn to Fabiana because of her outsider status - this is how Evie feels too, like she doesn’t belong to this family. When they chat in the pantry on Christmas day, Fabiana expresses jealousy over Evie’s Dublin party lifestyle, and Evie considers all that Fabiana left behind for her uncle Sean. 

Fabiana tries to live vicariously through Evie, feeding her wine, asking for details about the clubs and bars, and it’s clear that Fabiana wasn’t ready to give up her party girl lifestyle in Venezuela - this is just what has happened to her, and for better or for worse, she is here now. 

She represents a third path: What may happen to Evie if she gives up her dreams for a man, and this is significant when this exact choice is presented to Evie at the end. Is this what she wants? When she looks at Fabiana in the Christening chapter, miserable and overwhelmed by her circumstances, is this what Evie sees for herself. Does Fabiana resent her husband? Does she resent her children? Her life? What if she had made different choices for herself and chosen her own independence? 

I think that Evie is aware of this by the time we get to that chapter (3.26), and yet still she is in denial. This is why she feels insecure when her cousin’s girlfriend starts asking too many questions about Jude’s plans. If they think about it too much then they will realise that things are going to fall to pieces and perhaps, if they make the easier choice then they will fall into the same traps as Sean and Fabiana.

PATRICK MAHOMES POST GAME INTERVIEW DIVISIONAL ROUND JAX @ KC

*gasp* An actual update!!!

Elyan works on a script with the Arthur Pendragon.

-A collection of one-shots based in the universe of The Most Important.

...everything has you in it♡ @hy-ck

Today again I'm wishing all the best for you! I'm so happy that we get to celebrate another birthday together because I will never get tired of letting you know and reminding you of just how important and special you are♡.

I'm so grateful to have you in my life, you truly make every day fun and exciting and better!! I love how we can really just talk about anything and everything, that we can share new interests, little things that happened in out days, support each other, and get through difficulties together. I really really can't imagine a world without you in it. I want to keep having fun together, and I want to learn more about you, and I want to be here for you too. You became my favorite ever since the first day we met, you're so charming, so smart, so sweet and kind, and everything about you is beautiful!!

Thank you for making me so happy everyday!! for believing in me and for helping me believe in myself, for giving me strength to not give up, for making me dream again♡, and of course for being you!!! You're absolutely wonderful. I love you so much Bronwyn, with my entire heart♡

I'm sending a big big hug your way that I hope I can give you soon!

My sunshine, my absolute favorite, my person, my soulmate. Happy birthday Bronwyn♡

changes and trends in horror-genre films are linked to the anxieties of the culture in its time and place. Vampires are the manifestation of grappling with sexuality; aliens, of foreign influence. Horror from the Cold War is about apathy and annihilation; classic Japanese horror is characterised by “nature’s revenge”; psychological horror plays with anxieties that absorbed its audience, like pregnancy/abortion, mental illness, femininity. Some horror presses on the bruise of being trapped in a situation with upsetting tasks to complete, especially ones that compromise you as a person - reflecting the horrors and anxieties of capitalism etc etc etc. Cosmic horror is slightly out of fashion because our culture is more comfortable with, even wistful for, “the unknown.” Monster horror now has to be aware of itself, as a contingent of people now live in the freedom and comfort of saying “I would willingly, gladly, even preferentially fuck that monster.” But I don’t know much about films or genres: that ground has been covered by cleverer people.

I don’t actually like horror or movies. What interests me at the moment is how horror of the 2020s has an element of perception and paying attention.

Multiple movies in one year discussed monsters that killed you if you perceived them. There are monsters you can’t look at; monsters that kill you instantly if you get their attention. Monsters where you have to be silent, look down, hold still: pray that they pass over you. M Zombies have changed from a hand-waved virus that covers extras in splashy gore, to insidious spores. A disaster film is called Don’t Look Up, a horror film is called Nope. Even trashy nun horror sets up strange premises of keeping your eyes fixed on something as the devil GETS you.

No idea if this is anything. (I haven’t seen any of these things because, unfortunately, I hate them.) Someone who understands better than me could say something clever here, and I hope they do.

But the thing I’m thinking about is what this will look like to the future, as the Victorian sex vampires and Cold War anxieties look to us. I think they’ll have a little sympathy, but they probably won’t. You poor little prey animals, the kids will say, you were awfully afraid of facing up to things, weren’t you?

to me, the funniest thing about “that’s rough buddy” isn’t the fact that sokka says something patently insane with zero context seemingly out of nowhere, or the fact that zuko clearly doesn’t know how to respond. it’s the completely incorrect use of the word “buddy.” zuko would obviously like to be friends with sokka, but sokka is not, in fact, his friend. this is the most time they’ve ever spent together, and it’s because zuko invited himself to tag along on sokka’s suicide mission. at this point in the episode, sokka still hates this guy, perhaps less than he did a week ago, but he still hates him enough that he didn’t bother forcing zuko to stay home, which means he still didn’t really care whether or not zuko lives or dies. which, considering that he had tried to kill zuko multiple times in the past, is not all that surprising. this entire episode is essentially just zuko forcing his friendship onto sokka while sokka is legitimately too depressed to care. so when zuko calls sokka “buddy,” there’s a spirit of dogged optimism characterizing that epithet, because in no possible realm would sokka consider zuko his buddy at this point in the episode. and that’s something we miss when noting the iconicness of this exchange, simply because, by the end of this episode, they are buddies, so in our minds looking back on these lines, the implication of friendship doesn’t feel out of place at all. and really, it isn’t out of place, but only because zuko’s tenacity and determination (in this instance, his determination to befriend sokka) has always hugely outweighed his ability to read the room.

I want to post this here too because I’ve seen it happen a few times

Please understand that there are cultural differences and language differences, if you see this happening let the person clarify what they meant, that person might just not be familiar with words the western side of the internet use

alright look, i just wanna know who is the writer that came up with the dumbass idea of replacing the line “Ever since I lost my son, I think of you as my own” with “Lu Ten would have been proud to have you as his father” in this scene for the Netflix live action series???

I love you garbage truck workers I love you janitors I love you waste water treatment workers I love you sanitation workers I love you

Gregory asks Michael an important FNAF lore question..

25 and the poem one (is it 40) for the writer asks

25. What is a weird, hyper-specific detail you know about one of your characters that is completely irrelevant to the story?

Oooh ok for those of you who are The Most Important fans the reason why Merlin hates Mordred is that when Mordred was an intern he was always fucking up. The thing is Mordred was actually a very good intern with everyone but Merlin 😆 but when Merlin was around he got very flustered and would mess up since he fancied Merlin 😆

40. Please share a poem with me, I need it.

She is all there. She was melted carefully down for you and cast up from your childhood, cast up from your one hundred favorite aggies. She has always been there, my darling. She is, in fact, exquisite. Fireworks in the dull middle of February and as real as a cast-iron pot. Let's face it, I have been momentary. A luxury. A bright red sloop in the harbor. My hair rising like smoke from the car window. Littleneck clams out of season. She is more than that. She is your have to have, has grown you your practical your tropical growth. This is not an experiment. She is all harmony. She sees to oars and oarlocks for the dinghy, has placed wild flowers at the window at breakfast, sat by the potter's wheel at midday, set forth three children under the moon, three cherubs drawn by Michelangelo, done this with her legs spread out in the terrible months in the chapel. If you glance up, the children are there like delicate balloons resting on the ceiling. She has also carried each one down the hall after supper, their heads privately bent, two legs protesting, person to person, her face flushed with a song and their little sleep. I give you back your heart. I give you permission - for the fuse inside her, throbbing angrily in the dirt, for the bitch in her and the burying of her wound - for the burying of her small red wound alive - for the pale flickering flare under her ribs, for the drunken sailor who waits in her left pulse, for the mother's knee, for the stocking, for the garter belt, for the call - the curious call when you will burrow in arms and breasts and tug at the orange ribbon in her hair and answer the call, the curious call. She is so naked and singular She is the sum of yourself and your dream. Climb her like a monument, step after step. She is solid. As for me, I am a watercolor. I wash off.

For My Lover, Returning To His Wife by Anne Sexton

I italicized my favorite part. The last two lines always kill me.

Weird Questions for Writers