#It was genuinely brilliant.

[watatsumiis]

Sorry everyone who followed me for genshin content this is now a puss in boots last wish fanblog exclusively /j

#I JUST WENT TO SEE IT IN THE CINEMA AND I AM FOAMING AT THE MOUTH #I THINK EVERY OTHER MOVIE IS JUST GOING TO BE LIKE MILDLY DISAPPOINTING FROM NOW ON? #It was genuinely brilliant. #Not going to spoil anything but if you're able to you definitely should watch it #Going in nearly blind was so so worth it #YAPS BARKS BARKS YAPS #I'm on the way home on public transport and it's just very hard not to go bonkers silly #General barks #I'm sorry everyone this movie lives in my brain now forever

[nat-20s]

I fucking LOVE that Donna is not immune to being a little starry-eyed over The Doctor in the way that many of us get a little starry-eyed over our best friends but she IS immune to being that way in front of them lmao. Double love that this appears to also be Catherine Tate and David Tennant's dynamic

#catherine in solo interviews: davids a phenomenal actor and genuinely one of the best people ive ever worked with and a dear friend #catherine when shes with david: oh my god. this fucking guy again #donna talking to wilf: hes absolutely brilliant and honestly a little magical and i miss him a lot i think we should be at each other sides #donna the second she sees the doctor: SUP DIPSHIT #doctor who #donna noble #tennant doctor

[beautyinflight]

I finished rereading @zoe-oneesama’s Scarlet Lady AU!!

This panel from episode 51 part 20 was too cute not to draw! Thank you so much for sharing your Scarlet Lady comic with us, it has soothed the frustrated miraculer in my heart. <3

#genuinely such a well roundedd and downright brilliant creator #you revived my love of characters who mean so much to me #thankyou zoeonesama!! #miraculous ladybug fanart #adrienette #mlb #miraculous ladybug #scarlet lady au

[witchinatree]

i know the whole "do you think jon ever used his powers to Know what his parents looked like" thing is far more devastating than this but what if he tried using his powers to remember original sasha? jon and sasha always seemed closer than the rest, he picked her (and tim) to work with him and tolerated a lot more nonsense from her than anyone else (using his password to access his computer [161], debating his pronunciation of calliope [25], etc)

and ofc jon and martin became significantly closer as the podcast went on, but in the beginning he was cruel to martin when he gave a statement but accepting of sasha? idk i think their friendship was a lot deeper than we realized (ESPECIALLY since his first murder in season 5 was because NotThem provoked him about sasha) and i think jon wouldve used his powers to Know the original sasha, not sure if it wouldve worked though

so so sorry to distract from the post but can yall read the tags for me because i suffered immensely for this post

#they make me ill #sasha was so cool i miss her every day #i think we need more sasha content #idk i wish we got more of them specifically #THIS POST. HAS CRASHED. 4. TIMES. #i am trying to write about the magnus archives and its like “hee hee tumbeast ate your post” give it the fuck back? #it saved to my drafts after the 4th tag but this is pissing me off #every time i try to tag it as “tma” it crashes so im not doing that #just pretend i did ok #16 more times total of 20 every time i try to write tags it crashes #it wont let me write the archivists name im genuinely so serious #please help me please help me #im gonna sit here for a second and let it save as draft #6 more times #ur joking #total of 26 crashes over this one post #hate to distract from my incredibly brilliant insight but this is unusable #i think its okay again actually? #gonna try tagging with real tags wish me luck #jonathan sims #jon sims #sasha james #tma #the magnus archives #the archivist #notthem #notsasha #tma theory #tma spoilers #holy shit it worked

[mister13eyond]

dont normally post about drama but this seems relevant:

im seeing a lot of people jump to "james somerton was never good anyways" in retaliation for the hbomb expose, but there's a really fine line to tread there before you get into stepping on the toes of the people he stole from, you know?

some of his videos and analysis did seem genuinely intelligent, thoughtful, insightful, and well-written. yeah, it turns out those are the result of him stealing from other people. but that doesnt mean the original writers WEREN'T intelligent, thoughtful, insightful and good writers. he had plenty of garbage opinions interspersed throughout, but the reason many people (myself included) were suckered in by him is that the queer creators he stole from DID have really important and interesting analysis. the parts of his videos that were good were stolen, but by discounting his essays entirely we're throwing the baby out with the bathwater and insisting those he stole from didn't have anything important to say.

the parts he himself supplied were trash, but he stole the work of some genuinely brilliant and insightful writers and passed it off as his own- and that writing still exists and is still brilliant and insightful; we just know now who was actually responsible for it and who to thank for that work

lets just be careful when we smugly proclaim that we always hated everything he had to say- because a lot of the words we're discounting were never his to begin with, and the last thing those authors need is to have their work trash talked because it ended up in the mouth of someone dishonest

#james somerton #hbomberguy #im just saying like #i liked a lot of points he made in his videos because it turns out he was never the one who made those points #now i can go seek out the original authors and Actually read the work that intrigued me in the first place #they DO deserve credit for their writing! #saying everything he ever made was garbage and nothing he said was worthwhile is such a disservice to those authors #they DID do really brilliant work #and then it was stolen and passed off as his #but their work still stands on its own merits- even more so now that i know #that much of the stuff i Disagreed with was his own opinions or tweaks and that the original work #is not bogged down with his bullshit #and can read it as originally intended #i think admitting that the writers he stole from Are really genuinely good writers and that the opinions he stole from them ARE compelling #is the least we can do to ensure that the authors don't feel like their work is irrevocably taken and tainted

[roominthecastle]

#all creatures great and small #acgas 2020 #acgas spoilers #samuel west #anna madeley #siegfried x audrey #mine #'attempt' -> the casual everyday savagery of this woman i cant #and her look of 'okay what alternate reality have we slipped into??' #the way she has to kinda hold onto that chair for a moment to recover lol #brilliant piece of acting right there #but she's rolling with it bless #i on the other hand screeched to a halt because THIS IS EVERYTHING #THIS MOMENT #how it completely wipes away the tattered remains of that dividing line btw employer and employee #he eagerly shares in the work he pays her to do #granted this hasn't been a professional relationship for quite some time #but THIS HERE #this is what a genuine partnership looks like #oh and that close-up of their H A N D S !!!4! #and to address the shallow end of this pool: #THE SHEER FKING DELICIOUSNESS OF HIM REMOVING HIS JACKET AND YANKING ON THAT GARTER #THANK AND BLESS

[punkitt-is-here]

i need everyone to drop what youre doing now and listen to this absolutely fucking perfect recreation of Ride on Time with the SM64 soundfont. genuinely doesnt get better than this, baby

#the opening of silent screamer is genuinely fucking brilliant oh my GOD #my posts #mario #Youtube

[ohnonotthehorrors]

You know what? You know what?

I have been pretty firmly on team 'let Jimmy die first every season it's fun' since joining the fandom. I didn't really think any 'curse-breaking' would quite feel as satisfying as the sheer wonder that he Keeps Doing It.

That being said.

If Martyn doesn't go out first, Seconds before Jimmy this season, I will be Enraged.

#This is the best possible narrative conclusion for their particular arcs and I Love it so much #If Martyn is doing this on purpose he's both brilliant and insane #He's very likely not. But Still #life series #secret life #secret life spoilers #solidarity gaming #jimmy solidarity #martyn inthelittlewood #the enraged bit is a joke but also completely genuine

[fromtheseventhhell]

One major factor missing from most debates on Arya and Lyanna's beauty is that they're being judged by their society's extremely patriarchal values. In both looks and personality, that context is essential to understanding how others perceive them. George explores the misogyny experienced by non-conforming women, especially with Arya, and it's interesting how he plays with that regarding their physical beauty.

Her mother used to say she could be pretty if she would just wash and brush her hair and take more care with her dress, the way her sister did. (The Blind Girl, ADWD) "You never knew Lyanna as I did, Robert," Ned told him. "You saw her beauty, but not the iron underneath. She would have told you that you have no business in the melee." (Eddard VII, AGOT)

These two quotes offer a nice summation of this idea. With Arya, her supposed lack of beauty is defined by her being a non-conforming wild child. Her hair is messy, her face is dirty, and she's often in "lower class" clothing while engaging in unladylike activities. None of this says anything about her physical beauty but it tells us everything about how she's perceived. Arya could be pretty...If she conforms to society's standards for a highborn Lady. With Lyanna, however, we get the opposite. Where Arya is judged based on her personality, Robert's romanticization of Lyanna is rooted solely in her looks. He doesn't know anything about the person she really was. There is an assumption that, because she looked a certain way, her personality must fit and Robert imagines her much softer and more passive than she actually was.

That Arya isn't pretty or Lyanna wasn't wild are two perceptions that George specifically pushes back against. This is where people miss the brilliance of them being linked as literary mirrors; it is largely about us learning more about Lyanna, but it touches on more than that. The significance of them being written as wild, willful, and with their own beauty is that George isn't writing his female characters around patriarchal expectations. When people debate their beauty, that's often the trapping they fall into. Beauty and non-conformity are treated as mutually exclusive factors when the story itself never makes that point; this is also the logic that leads people to the (incorrect) conclusion that Lyanna and Arya aren't meant to be similar. Arya's self-esteem issues around her looks and being a Lady make this a topic certain to be addressed in the future; George has made it a part of the story. The conclusion shouldn't be that "looks don't matter", but that looks aren't indicative of a character's value, personality, or morality.

#arya stark #lyanna stark #asoiaf #valyrianscrolls #I know we're tired of this topic but I'm going to keep bringing it up until people base their analysis on what's actually in the books #it's not about needing/wanting Arya to be pretty it's about! the story being told #and it's just frustrating that this is such a highly debated topic that lacks all the nuance it's handled with in the source material #among a lot of other reasons people miss this point because they miss the way misogyny is handled in Arya's chapters #they think her being non-conforming mean she has some super special privilege that makes her exempt from it #Arya being pretty is a relatively small part her character but the message behind it contributes to a larger picture #and the biggest shame about this whole debate is that it misses genuinely brilliant writing #it's just absurd to be that /female character being non-conforming and pretty/ is beyond this fandom's comprehension skills #you guys really just want to force them into being flat no-nuance archetypes for easier consumption #Arya and Lyanna...I'm so sorry this fandom can't handle you because they hate women #mind you several people refer to Arya as pretty but apparently every single one of them is lying/unreliable because...reasons #this fandom truly has zero comprehension skills

[badnewswhatsleft]

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

#the cover is so funny. like theyre cute but that is genuinely bug angle. that is bugs under a rock angle. THEYRE ALREADY SHORT KINGS #fall out boy #pete wentz #patrick stump #andy hurley #joe trohman #time capsule #read the charts #ANYWAY GO HERE. GO READ HERE. BECAUSE I SPENT A LONG TIME TRANSCRIBING EVEN THO TRNASNCRIBING SUCKKSSS #i looped the spell soundtrack like 5 times and got jusmpscared by track9 every time. and then i put on smfs<3 #patrick's comments about the mythologising of fob lore is so interesting #listen baby i know ur fed up and it's not ur fault but u have to understand. the story of ur band is on some genuine fanfic ass other level #the way they talk about neal avron is sooo funny #imagine being producer for this young band. and theyre brilliant but theyre also twentysomethings(derogatory) #also the way pete talks abt swift. lol. also why does he answer the q when patrick was the one in the studio lol??? #ALSO also. pete being afraid of british ppl (valid and true) #and patrick pretty much taking to the uk like a duck to water (also valid and tru) is sooo funny #i rlly liked this interview i wiiiiish i got the bundle w the photobook and whatever but i was way too late :(((((((((

[indecisive-dizzy]

Bestie bestie

Regarding your Latter x Eddie ideas, how do you think Eddie would fall for Latter?

This is a toughy, but only bc I don't know how to explain it! Including Frank bc purple and yellow poly <3

Eddie falls in love with Latter the same way he falls in love with Frank, in a way. Of course there's differences, they're different people after all! But what I'm focusing on is: Frank sees Eddie, Latter listens. (not saying Frank doesn't listen to him, trying to be poetic lol)

Latter is genuinely interested in the things Eddie has to say, appreciates and praises how hardworking he is even if he's not there to see it, and encourages his creativity! Even if he's not there in person, Eddie knows Latter cares.

Eddie knows Frank cares through actions. Frank brings him a glass of water, saves him from the beetle, and offers him an umbrella. Frank sees the hard work Latter hears about and acts. While Latter will verbally acknowledge and praise him for it over the phone or in a letter.

Eddie Realizes he's fallen for Latter when he finds himself rereading the suddenly not so subtle love poems and day dreaming. Eddie's not oblivious to love, he knows when he's in love and it hits him like truck! Then like two trucks when he realizes those feelings also apply to Frank!

Latter and Frank fall first, Eddie falls harder twice over <3

Bonus! Pet names Latter calls Eddie <3

My Radiance

Sunshine

My Sweet Summer's Day (very sappy, gets Eddie good)

#i hope this makes sense! #they got me feeling sappy #im so aro but i love Love sm #Them <3 #Eddie falls in love with people who genuinely care about him 🤯 Woah what a surprise! #/j its more than that but it's definitely a big factor of it lol #Latter has Me writing poems agains can you believe that #not saying its Good #but last night i def got some banger lines #what a brilliant and difficult ask <3 tysm #genuinely loved thinking about this #the bonus is bc i forgot to include it yesterday! #neon child #dizztalkstoomuch #welcome home #eddie dear #frank frankly #latter pillar #eddie x latter #eddie x latter x frank #not including the eddie n frank tag bc this is Mostly about him and latter #<333

[practically-an-x-man]

as I reread the Market of Monsters series I need to thank Rebecca Schaeffer again for giving us a set of main characters who openly discuss being on the aroace spectrum and have a QPR without it ever being seen as lesser than a romantic/sexual relationship, and having it be a core part of their relationship as characters without being used as a diversity play.

#there's genuinely so much diversity in these books & it never feels forced. she's brilliant at making characters that feel like real people #rebecca schaeffer #market of monsters #not even bones #only ashes remain #when villains rise #kovit #nita

[schmweed]

#David Tennant #Alec Hardy #Ellie Miller #Broadchurch #my gifs #Ellie just keeps sparing him any direct eye contact outside of serious work-related situations #And he only looks at her when she's looking away #The way Ellie lights up when she realizes what he's saying. #That 'mostly' from him is the kindest most genuine and delightfully playful way of expressing how much she means to him #Love how she lets him know she doesn't believe he lost his phone and therefore her number and yet doesn't give him a hard time abt it #he's too brilliant a detective not to have memorized her number or found a way to say hi #It's just that she probably thinks he didn't care enough #I think Tess gave him an ultimatum -- stop contacting his outstanding Miller if they're going to make this work or Tess won't try #How many times do you think he looked at Ellie's number when he was alone and ached to contact her in any way #Especially given how concerned he was abt her at the end of S2 #But trying to fix the family came first and honestly he's a wonderful human to do that for his daughter's sake #I think he's relieved Ellie would never in her wildest dreams suspect that's why -- but he still wishes he could tell her. #Complicated doesn't begin to cover it. But he decides basking in her presence for their endless hours of work has to be enough. Oh Alec. #Aww. Look at Ellie's beaming face. #I love them so much! <3

[alatariel-galadriel]

finished dead boy detectives! first of all, what a fun watch. I loved the entire ride, and the showrunners did a fantastic job of bringing a rich and intricate world to life.

It’s not perfect—I think it has some minor issues with pacing and a bad habit of over-explaining via dialogue, but the actors did an *incredible* job and brought so much charisma and heart to the show that it was easy to overlook. there’s a brilliant balance of humor and genuine emotion that made it so easy to fall headfirst in love with the world and all the characters in it

I would really recommend giving it a shot if you haven’t already!

#I’m still turning a handful of scenes over and over in my mind (hello murder house ily) #The root of the story is in the characters’ relationships/interactions and BOY does it deliver! #they feel genuine messy and and heartfelt. 10/10 cannot stress enough how brilliant the actors are #If we get a season 2 (fingers crossed!) I hope the script has a little more faith in its audience to piece things together themselves #But man what a fun show #dead boy detectives

[jujutsustraycats]

(excuse the rushed, not very clean polished drawing, I wasn't trying too hard since I know the longer I take, the more my inbox will get filled by Nami.)

You're such a lovely person Ish, one of the nicest people I know on this hellsite. So kind to everyone, chaotic but lovable, and a brilliant human being. I couldn't have asked for a better brother 💖

THAT LOOKS SO CUTE I WASN'T EVEN MAD IN THE FIRST PLACE BUT NOW I'M VERY VERY HAPPY AHHH

Shrhdekjwhdkwjaiswhqkahsoqb *ish.exe has stopped working*

#STOP. THAT GOES TO YOU. #our calm supportive sister who's genuinely someone huggable and a brilliant human being #that's YA. #so shut up and let me hug you now #*hugs* #this was not necessary i can't handle compliments #but that was VERY cute the art #jdjdkshdkwma #asks: lune! #familia nami #mutuals #ish's favorites

[juliette-cai-enthusiast]

Listening to The Good Witch and getting the most insane song envy why didn’t I write this album

#like literally no skips #also she writes genuinely funny lyrics which i love #like i can’t even describe how brilliant every song on this album is #and then cohesively it’s an absolute masterpiece #like the literary references and the themes of taking control of a narrative #ugh she’s perfect #the good witch #maisie peters