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#does this even make any sense
mcbride · 1 year
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CHRISTINA RICCI as MISTY QUIGLEY YELLOWJACKETS 2.03 Digestif
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hbojoel · 6 months
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richie "my girl is mad at me i hope i die" jerimovich is also richie "i will argue my point even after i know i'm wrong just for the sake of having a hill to die on" jerimovich
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sbblake · 8 months
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i Cannot express how often i think abt the last scenes of 02x08 and how much it must drive the people who haven’t read the comics/novellas just CRAZY bc… like charlie and nick have their heartfelt moment and then say goodbye, and to the viewer everything seems normal— great, between them. but nick closes the door and turns to the camera, and we see just how worried and conflicted he looks after charlie’s gone, as he has time to process what he’d learned about his boyfriend and the things he’s gone through in the past and how charlie still very clearly has to deal with the consequences of those traumas in the present. meanwhile charlie is nearly a perfect juxtaposition; walking home with a smile on his face typing out the words “i love you”, on the verge of sending it to nick. he hesitates, and the episode ends. for people that don’t have an idea of what happens next for nick and charlie, they’re left on a complete cliffhanger of wondering wether or not the conversation they had in nick’s room could negatively affect their future relationship in the next season. charlie seems to be more in love with nick than ever, but nick just seems so troubled.
i just can’t help but wonder what those people that love the show and these characters they’re seeing for the first time might be thinking. it’s easy for people like us because we know nick and charlie will make it through every single hardship thrown at us on screen (we practically eat this type of angst for breakfast)— and we can wait a year or so to see what happens next because we have a general idea of what it’ll be.
but those people who don’t? they have no clue that this won’t be an inevitable end to nick and charlie’s relationship and/or won’t result in some form of destruction. they don’t know that nick and charlie make it through this as well as charlie being hospitalized and both of them graduating school and enduring fights and a (basically) accidental “breakup” and eventually getting married and living together and adopting a dog AND I NEED THEM TO KNOW!!!! I NEED THEM TO KNOW EVERYTHING WILL BE OKAY BETWEEN THEM IN THE END NO MATTER WHAT HAPPENS IN THE SHOW
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whumpwillow · 6 months
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is it just me to differentiate ‘famous whumpee’ from ‘known whumpee’ like its a ‘a square is a rectangle but a rectangle is not a square’ because what i think is that a ‘known whumpee’ is someone (or their whumpening) are well known by the public, but they don’t necessarily need to be traditionally famous like an actor / idol / pop star / etc. because a ‘known whumpee’ could become known through their whumpening going public (through a live stream whump session, whumper releases the footage, the whumpening was just so intense that it becomes sensational news) but i was thinking that a known whumpee could be a regular guy or a famous person that this happens to. so a famous whumpee could also be a known whumpee, but a known whumpee (who was just a regular lil guy before the whumpening) is not also a famous whumpee.
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malistaires · 4 months
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thinking about death wizards as who remains. who is left to grieve, who is left to pick up the pieces, to sew once more after things have been reaped. gentle but callous, resolute.
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absolutelyzoned · 17 days
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mutuals and non mutuals alike,,. you guys are so cool and im jus t some fuckass guy i wanna interact with people but like,,
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royallpetrichor · 1 year
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gaslighting, gatekeeping and girlbossing is for the weak. real badasses manipulate, mansplain and ship zukka
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midnights-dragon · 3 months
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I'm learning about Freud in my psychology class, and while most of it is borderline disturbing and uncomfortable, there was one part that really stuck with me, that I of course then went on to apply to Good Omens: Freudian Slips.
The Google definition of a Freudian Slip is, an unintentional error regarded as revealing unconscious feelings. This basically refers to any slip of the tongue or expression that reveals what you're really feeling; for example, if you were to hear a name in conversation of someone you dislike or have had a history with, your face may momentarily drop before you return to your previous expression. It is an indicator of what you are REALLY feeling.
In Good Omens, Freudian Slips are used, or dare I say weaponized, to demonstrate not only Aziraphale and Crowley's true feelings of one another, but also their feelings about their respective positions as angel and demon. Of course I could go on and on about the number of times Crowley's smiled with an uptick of his mouth while looking at Aziraphale before shuttering his expression, or the number of times Aziraphale has had those puppy dog eyes that he's so quick to blink and replace casting glances in Crowley's direction, but right now, I'm more focused on their separate entities as a whole.
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First of all: Aziraphale. When he is around Crowley, he is, of course, happy, and at least for the most part, he is free. He allows himself to feel to the fullest extent that is allowed by Heaven. However, when he is more of under Heaven's thumb, such as when speaking to Gabriel, or when in Heaven itself, he shutters himself away; hides his true self. We see slips of that true personality in bits and pieces (Freudian Slips), but if we're being honest, we don't see his full personalty until even season two, and even then it seems slightly hidden.
Aziraphale is a bastard. He's kind, and soft, and caring and forgiving, but he is also a bastard. Angels are not supposed to be bastards. They're not supposed to be sarcastic or biting or asking questions, and they're not supposed to be so enthusiastically hedonistic. And so, of course, Aziraphale hides himself away. He allows himself brief comforts; his food, his books, his Crowley; but for the most part, he stays under Heaven's thumb, 'where he belongs.' This also is due in large part to his religious trauma, but that's for another post.
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This relates to the concept of Freudian Slips because (especially when Aziraphale is around Crowley, but just himself as a whole), his entire being is one big Freudian Slip. He is not allowed to be the person who he is around Crowley. He is not supposed to be. If we were speaking in Freudian terms (at least to an extent, don't come at me, it's just a metaphor), Aziraphale's true self is his id, and the part of him, the angel part of him, that he is allowed to show, is his ego; only one is allowed to be shown, save for Freudian Slips that show who he really is, and how he really feels; how he really wants to feel.
When Aziraphale is finally freed from under that thumb (at least for a solid four years) after the failed Armageddon, it takes some time for that mask, of his metaphoric "ego", to fall. We see that in the Lockdown phone call, where he still rejects Crowley's offer to come to the bookshop; but in season 2 itself, he is very clearly so much more happier; so much more able to help people such as Maggie and even Jim when he arrives because even though Aziraphale is a bastard he is also kind, so much more able to allow himself to love.
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The mask was so very ready to fall, that night at his cotillion ball.
We can only hope that he allows it to slip off completely, once he is able to; once he realizes that his love can be enough, because he is just enough of a bastard to be an angel who loves.
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Moving forward to Crowley; he's a bit more self-explanatory, I believe. He is a demon on earth, the Serpent of Eden, and his given mission has always, always, always been to spread misery and pain and disarray among the humans, and yet.
Can you name one single time when he did something of a truly lasting effect to negatively impact someone's life, besides some angsty phone-addicted teenager in 2007?
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That is Crowley's Freudian Slip: that he is not the big, bad, not-so-nice demon he wants everyone to believe that he is. Crowley is good, and he is kind, and he is someone who wants to see humans live and thrive and grow and be happy. Crowley gave us the apple so that we could question. Crowley rescued children through the ages from the Flood to the Land of Uz; Crowley stopped people from committing suicide; Crowley protected people, saved people, blessed people. Crowley did good, because Crowley is good.
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Crowley's subconscious, Crowley's true self, is far, far closer to the surface than Aziraphale's, and yet, the one thing that he never allows higher than the crease of his heart is his love.
Demon's don't love. Demon's can't love.
Crowley is a demon, and Crowley loves.
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And he, too, was ready to allow that mask to fall; that after everything, he and Aziraphale would go out for an extremely alcoholic breakfast at the Ritz, and he would give him that yellow rose, and he would kiss him, and a nightingale would once more sing in Berkeley Square.
And then Aziraphale's mask hardened, and Crowley's became the shattered fragments of his heart, reshaped into I forgive you.
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So, what does all of these gradually-making-less-sense-as-I-go rambles mean about Freudian Slips? Well, in short since all the rest of this has been long and exceedingly spiraling: it means that Aziraphale and Crowley live in the limbo of one big Freudian Slip. Their love is their Freudian Slip. Their passion, their kindness, their being a bastard and being just a little bit a good person -- those are their Freudian Slips. They know it; we know it. They are afraid of it, because it is terrifying. The subconscious is a terrifying thing.
And yet, they were both so ready to lean into it. They were both almost free.
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We live in hope, we wait and see, that perhaps as we see them lean into each other, we can see those masks finally fall -- and perhaps, the only Freudian Slips that will greet their future is Aziraphale's shrouded disgust at Crowley's cooking, and Crowley's hidden groans of exasperation at Aziraphale's sleight-of-hand.
Wait and see, I suppose. Wait and see.
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scham-wcan · 8 months
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Let Me Ramble for a Second
So I have been in a rut with actually writing for the past bit (life, work, school and all of that getting in the way), but I have not gone unplagued by my girls for a while.
I want to think about how Cinder and Winter treat one another when either of them are upset, angry, or in some mood other than their usual emotional stature--and how that applies to the pair of them. Their first real couple's fight especially where it wasn't over some ideology or on the battlefield but instead in their personal lives must have been a menace for the pair of them.
Like Cinder and Winter seem to have two very different kinds of volatile moods. Cinder seems to be more inclined to intense sudden anger which boils over into whatever else she does for a time. While Winter has a long term emotional stance where her anger is contained and builds and builds until something eventually pops that cork as it were. You have Cinder who is immensely emotional and Winter who is rationally oriented with their own triggers for response.
That of course extends to the pair of them having some very dynamic interactions when either of them are upset. Like Cinder going completely AWOL for a time from Winter, finding somewhere where she can 'explode' and get rid of all of that sudden anger. She needs that quick and fervent release instead of letting it sit in her, because it is caustic and she knows by this point it is also not the best thing to pop off on the people around her--especially Winter--even if suddenly demolishing a sparring bag or going to town on whatever combat training is not really the best solution either.
Where as Winter has that military mindset of press concerns down and down because speaking out is the opposite of what a good soldier and Schnee child does. Instead she's going to smash all of that angst quietly away forever until the aforementioned explosion occurs and she just resigns herself away from everything which could prolong that fire. I think the best way of doing that for Winter to her is her idea of throwing herself into her work or training or something where her mind can force itself to focus on something else.
Now when those two concepts come against each other I think would be intriguing. Because you now have the couple who thrives most when they're opposites are together now also being forced apart willingly by the pair of them. Whether the anger or angst is caused by the pair of them on one another, they throw themselves into their respective outlets.
The most interesting idea though is when that angst does come from the pair themselves. Like Cinder being obstinate toward Winter's planning of something, or Winter discounting something Cinder held in regard. Shouting from Cinder as a first measure of her trying to drain herself of this anger just sourcing a reason for Winter to respond like the analytic she is.
The sudden flash of emotion from Cinder about something and her moving to leave and do her venting being interrupted by Winter who is trying her best to deconstruct and understand what happened only giving way to Winter now being angry because Cinder is flashing suddenly at her--the two of them domino essentially before splintering in a rush of emotion off to their own thing.
But the anguish of that anger being the moments after the rage from the moment subsides and turning to a guilt over whatever happened, the two of them having those moments alone where they can see the empty space beside them and it hits them like a truck. Because for all they know their outburst just lost them the on the person who was so much like them and saw the actual them and not the projected image they tried to be.
Throw in a tired Winter with her head in her hands at her desk, trying desperately to focus on a document in the evening light as she strains her tired eyes to just read the words and make her head focus on this. The tired huffs of breath just tasting more and more like bitter anxiety as she just can't make herself not think of Cinder and the cruel way she shouted at her earlier.
Similarly look to Cinder sat on the cold ground of a sparring mat, a few droids or bags burned and thrown around her as she heaves for breath and just cannot find it in herself to put out the fire of regret in her for some reason. Finding something even more to draw emotion from as she goes back at it again and again, making herself more tired and aching her body more and more; but finding more despair in her than rage as she thinks about the things she said in response to Winter over something trivial.
The quiet of their place of rest as the pair of them inch back into it, the creaking of floorboards as they move about it; neither one of them daring to be the first one to broach the subject of their fight hazard they bring forth another one. In which bringing forth another one could entail one of them breaking down imminently from the stress alone. Taking a moment as the pair find themselves in their kitchen or living room, a space where they've spent a ridiculous amount of time with one another, it being painful even more so if this was also the place now soured by their outburst.
An issue of neither of them being the real types to forgive and forget with ease, but them still having such feelings for one another that they sort of force themselves into a scenario where they need to talk and cooperate to get past whatever this problem was. Because at this rate they need one another a whole lot more than they need to be the one on the high ground as they so wanton turn out to desire in most other conversations.
Anyway, silent apologies, bashful regrets, agreeing to be their for one another when they're mad rather than apart, respecting the time alone if they need it, and an agreement to keep filling that vacant space besides the pair of them so they don't have to feel empty again without their partner.
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horizontalsplash · 5 months
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realizing a lot of the time when it feels weird for a show to talk about something or have representation (usually queer) that isn’t something i’m actually opposed to at all but is still startling it’s always just. the language they use. like nothing’s actually wrong my brain’s just setting off alarm bells because someone turned on the Proper Way To Say This™️ and it doesn’t sound like something people should be saying in the show
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aesrot · 11 months
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went out today with no bags bc my coat has enough pockets, feeling so fucking gender
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doorlene · 11 months
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seamus finnigan is like a super watered down version of barty crouch jr idk
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kick3dpuppy2 · 9 months
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forsake me
if god is real he has forsaken me god has left me in the arms of his angels big, lovely, cuddly things with too many eyes, too many heads, too many teeth guardian angels they say i give them gifts, i love them dearly, i give them- i give i give i give i give i think i'm running dry pity, oh how they pity me a quick nod my way always there always there? ha, always there i think they're just doing their jobs they stick around me, clinging like a mother clings to her child only when god is watching though, only when eyes are upon them oh god oh god oh god please forsake me once more if you turn your sight from me long enough they'll admit it there aren't enough hours in the day days in the month months in the year years in the life of an angel not even god has the time for me if i took a tumble off a cliff a few too many pills a long walk off a short pier The water's nice this time of year, did you know? don't blame the angels just a moment they only looked away for a moment it was out of their control, beyond their reach, not in their job description
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mango-fizz · 9 months
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stop putting the octopus in situations
let the squids have their turn
but i love the octopus and the situations i put them in :( putting the squids in those situations would be fun too but it wouldnt be the same, the squids have other situations id like to put them in but theyre infinitely less sexy skfhsfjhsfhs
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Fun fact maybe?
Started learning Swedish because of Young Royals (cliché probably, but I just absolutely loved the sound of the language when I first started watching it). But it is only now that I have come to the realization that I maybe understand Swedish better slightly tipsy, than I do sober. Anyway it is a fascinating language and I am loving learning new words and phrases everyday. But I am also gutted that Young Royals will be ending soon. At least it has given me a new language to learn. And one which makes everyone goes 'what, Swedish?' 'Why Swedish?' when I tell them I am learning Swedish, ( I don't tell them the real reason, I don't think they would get it).
In short, Young Royals made a real positive impact on my life, and that was after I put off watching it for ten days, because I thought it would be another crappy teen programme (I really was proved wrong)
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craftypeaceturtle · 2 years
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A little thought that I’ve had recently:
I really love how we saw Eda discover the hidden doors at Hexside and the first to accidentally start this idea of becoming a rebel to study all tracks of magic. That even long into the future, she was helping kids find their place with people that know they can trust.
And I love the idea that Luz becomes the same at her human high school. The two that approach her to tell her about the haunted hayride seemed to really look up to her and took strength in her weirdness to be weird too.
The idea that both Luz and Eda have that same legacy even if they’re not really aware of it.
Like I imagine Eda was so thoroughly discouraged at school but yet her legacy is a happy one that ensures no one felt like she did, and now Luz is doing the same. Just living her proud weird life and that’s enough.
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