was rereading this paragraph that i wrote like a full week ago, and SUDDENLY REALIZED i pulled an LMM and forgot about shirley, THE SHAME
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because sometimes there are invisible tests and invisible rules and you're just supposed to ... know the rule. someone you thought of as a friend asks you for book recommendations, so you give her a list of like 30 books, each with a brief blurb and why you like it. later, you find out she screenshotted the list and send it out to a group chat with the note: what an absolute freak can you believe this. you saw the responses: emojis where people are rolling over laughing. too much and obsessive and actually kind of creepy in the comments. you thought you'd been doing the right thing. she'd asked, right? an invisible rule: this is what happens when you get too excited.
you aren't supposed to laugh at your own jokes, so you don't, but then you're too serious. you're not supposed to be too loud, but then people say you're too quiet. you aren't supposed to get passionate about things, but then you're shy, boring. you aren't supposed to talk too much, but then people are mad when you're not good at replying.
you fold yourself into a prettier paper crane. since you never know what is "selfish" and what is "charity," you give yourself over, fully. you'd rather be empty and over-generous - you'd rather eat your own boundaries than have even one person believe that you're mean. since you don't know what the thing is that will make them hate you, you simply scrub yourself clean of any form of roughness. if you are perfect and smiling and funny, they can love you. if you are always there for them and never admit what's happening and never mention your past and never make them uncomfortable - you can make up for it. you can earn it.
don't fuck up. they're all testing you, always. they're tolerating you. whatever secret club happened, over a summer somewhere - during some activity you didn't get to attend - everyone else just... figured it out. like they got some kind of award or examination that allowed them to know how-to-be-normal. how to fit. and for the rest of your life, you've been playing catch-up. you've been trying to prove that - haha! you get it! that the joke they're telling, the people they are, the manual they got- yeah, you've totally read it.
if you can just divide yourself in two - the lovable one, and the one that is you - you can do this. you can walk the line. they can laugh and accept you. if you are always-balanced, never burdensome, a delight to have in class, champagne and glittering and never gawky or florescent or god-forbid cringe: you can get away with it.
you stare at your therapist, whom you can make jokes with, and who laughs at your jokes, because you are so fucking good at people-pleasing. you smile at her, and she asks you how you're doing, and you automatically say i'm good, thanks, how are you? while the answer swims somewhere in your little lizard brain:
how long have you been doing this now? mastering the art of your body and mind like you're piloting a puppet. has it worked? what do you mean that all you feel is... just exhausted. pick yourself up, the tightrope has no net. after all, you're cheating, somehow, but nobody seems to know you actually flunked the test. it's working!
aren't you happy yet?
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Waking up in a cold sweat remembering that the torchwood writers gave us Toshiko and Owen’s backstories, which introduce completely new and significant context to their characters and open so many avenues to explore, one episode before Exit Wounds
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it feels like a lot of people have given up on fully connecting ISWM/Engie Mark to the wider lore (aka WKM) since IRL Mark straight up told us he wasn't Actor.
but not only am i a stubborn son of a bitch, but yknow what Mark also said?
"Engineer Mark isn't Actor Mark, but Actor Mark just might be Engineer Mark."
so hear me out, y'all.
preamble; if you saw this in a yt comment section, no you didn't. (that was also me i didnt steal this i prommy-)
i have this entirely insane theory about iswm that Engineer Mark is actually Damien, but only sometimes.
the most obvious places i can spot him is in the abandoned ship with the candles ("captain needs their sleep" and whatnot), as Old Mark (specifically in the empty diner), and most definitely as the "Mark" we see as part of the finale, the one who realizes he was wrong.
Actor is allergic to admitting fault so I Don't Believe That's Him.
this explains the thematic focus on sleep and rest in these scenes, things told to Damien and told to US by DARK several times.
("Don't remember" anyone?)
speaking of Dark, it explains why he isn't there. we DO however see the suspiciously Darkiplier-esqe Ms. Whitacre, which it isn't controversial to say atp is CLEARLY Celine.
that is, until the universe does its final kablooey and Dark as we know him, Damien attributes and all, comes to take the warp-crystal.
and besides, think about it.
given Actor's whole goal in all this, as laid out in the Damien Project, do you REALLY think he would write a story in which all problems arise from HIS OWN NEGLIGENCE? NO!
that would make him a villain, and all he ever wants is to be portrayed as the hero, literally for eternity!
but you know what i think he would do? set up a farce for the most troublesome of his "co-stars".
you, the viewer, want genuine choices? you want to have some real control over the story? some responsibility? FINE.
everyone looks to you, but under your leadership everything goes wrong, no matter what. you don't know why, but you're actively villinized and the harder you try to go back and fix things, achieve an "ending" on your own, the more people HATE you. the more the thought that maybe there IS something wrong with you specifically will stick in your mind as a possibility.
all these options, but none of them "right", creating MORE suffering instead of fixing it just to find that ever elusive end.
damien wants control of the narrative? he wants his old friend, you, the District Attorney to be released from his eternal story and given back to him? FINE.
here's his role back in earnest, given the possibility to engage and choose instead of intrude and twist like usual.
(yes, i do think Damien/Engineer is genuinely going down his own hopeless path while we find our own. in one of the descriptions leading to the final "Hold On/Let Go" confrontation, it says "you're not the only one making choices. you're not alone, you never were".)
he is allowed to fight for the safety of others, side by side with his closest companion, just as they did when they were alive.
BUT, the twist is Damien becomes a genuine villain. in his quest to do the altruistic thing and help at all cost, he is personally responsible for the death of LITERALLY EVERYONE EVER.
this is a personal hell for someone like Damien, as seen from WKM, all he ever seemed to want was help others and guide them towards peace.
for his actions/leadership to fail so unthinkably catastrophically, seems like the exact hell a bitter Actor would want to subject his "old friend" to for meddling. :/
Actor sets the stage for a theatrical punishment game. Mayor and Attorney, together again, taking an impossibly long stay in a personally crafted hell for the horrendous crime of ever even thinking they'd be worthy of ✨️staring roles✨️.
Actor turns you two against each other, and once Damien is brough down to the depths of despair and you have finally learned that true responsibility can lead to catastrophic, painful results, we're brought back to our proper places.
you go to a proper ending, with the Engineer role now being played by Actor once and for all, and Damien once again becomes part of Darkiplier, pocketing the warp-crystal to plant on the box in Heist.
Engineer isn't Actor, it's a role he plays when it suits him and his goals, to make his enemies suffer. he's willing to be Damien's understudy, if only for this purpose.
but at the end of the journey, Actor becomes Engineer to take in the fruits of his labor. ..and maybe invite you to a Heist while he's at it.
BUT HEY, THAT'S JUST A
very long winded """theory""" that is pretty much only insane fanfiction-
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thinking about short hair for 7.0 😳 kinda into it
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The Story Behind The Song: Arctic Monkeys’ early ambitions on ‘A Certain Romance’
Lucy Harbron – Far Out Magazine | January 17, 2024
It was 2006. Mortgages were crashing, and businesses were going bust. Tony Blair was on his last legs in office as the longest-serving prime minister since Margaret Thatcher, and the hangover of ‘Cool Brittania’ was beginning to set in with an unexpected ferocity. Things were bleak when a young Alex Turner sang, “There ain’t no romance around there” through the public’s speakers. Arctic Monkeys were about to write themselves into musical history as the voice of a new generation.
The final song on their debut album, there has always been something special about ‘A Certain Romance’. In 2022, after the release of their seventh album, The Car, Turner seemed to find himself reflecting back on that 2006 track. To the musician, that early cut holds a clue to everything that was to come as he said the piece “showed that we did actually have these ambitions beyond what we once thought we were capable of”.
Coming in at over the five-minute mark, ‘A Certain Romance’ almost feels like the Arctic Monkeys’ version of a rock opera, summarising all the themes, feelings and energy that came before it on their seminal album Whatever People Say I Am, That’s What I’m Not. It has the cheekiness of ‘Fake Tales Of San Francisco’ and the catchy instrumentals of hits like ‘Dancing Shoes’ or ‘I Bet That You Look Good On The Dancefloor’. Utilising the northern charm of ‘Mardy Bum’, it stands as a final, neatly summarising point on the social commentary found in their early tracks like ‘From The Ritz To The Rubble’ or ‘Riot Van’. Really, it could be argued that ‘A Certain Romance’ is the ultimate example of Arctic Monkeys’ original sound, perfectly encapsulating all the things that made the world listen up and pay attention.
It’s like they seemed to know that, too, always allowing the song a special place. In fact, it was really the band’s opening remark. Years before the offer of a debut album came around, the group were a well-oiled machine with their own local hits. They had the northern live music scene in their hands as their homemade demo CD was passed around like everyone’s worst-kept secret. Beneath the Boardwalk features eight out of the 13 songs that would be on Whatever People Say I Am, That’s What I’m Not, albeit in a slightly different, lower-quality version. But the opening number, ‘A Certain Romance’, sounds just the same.
It’s all there, from the rolling opening drums to that final guitar solo. Recorded and produced in a rented studio at only age 17, the existence of ‘A Certain Romance’, one of the band’s most explorative and energetic numbers, in this form this early in their career feels like a diamond sitting in a mine. It proves that they were always onto something special.
They never needed any help. In fact, their producer, Jim Abbiss, noted that they even seemed nervous about the help. “I think they were probably a bit weary, like ‘who’s this guy? And is he gonna make our sound this or that.’”
They didn’t want anything to change too much, as the group already had the songs figured out. Turner certainly did, as the track’s meandering narrative about hometown lads, fights, and local boredom is already there. Talking on a podcast, original member Andy Nicholson revealed the story behind the song. “We had a practice room with a pool table in, and we had a party in there, and we invited another band who were friends of ours, and we all had some drinks,” he said. “Then something happened, someone throws a pool cue, someone throws a pool ball, and everyone ends up fighting,” he added, explaining the lyrics, “there’s boys in bands / And kids who like to scrap with pool cues in their hands.”
But the magic of Arctic Monkeys lies in their nuance. What begins as a snooty analysis of his local landscape is a genuinely affectionate take. “Well, over there, there’s friends of mine / What can I say? I’ve known ’em for a long long time / And, yeah, they might overstep the line / But you just cannot get angry in the same way,” Turner sings, looking around at his bandmates and lifelong friends. ‘A Certain Romance’ is not only a time capsule for the group’s beginnings but is an ode to all the people who were there with them. It’s an ode to the hometown that made them and all its various characters.
But as the last guitar solo roars to life, there is an unspoken statement that they’re going to be bigger than what they came from. “I remember when we were recording ‘A Certain Romance’ and having a conversation with the producer about the final guitar solo,” Turner told NME, recalling the moment these songs were reworked for their debut. But they wouldn’t let anyone mess with ‘A Certain Romance’, knowing exactly what they were doing and trying to say with that one. In the 2003 demo version, all the feeling is already there, and Turner wouldn’t risk it.
“There’s something that happens at the end of that track where we break some rules in a single moment,” he continued. What happens at the end of the piece feels even more special, considering how the album was recorded. “These are the songs we wanna do, and I think this is the order we wanna do them in,” Alex Turner told their producer, recounting the conversation in 2007 to RadioX, “And he goes, ‘alright, we’ll try to record them in that order as well.’” As the final song, that last guitar solo is the last thing recorded for the album, standing as a cathartic outlet and a chance for the band to prove themselves.
“We focused on the [emotional] effect of the instrumentals over the words,” Turner reflected on the track, concluding, “and I feel like we’ve been trying to do that again and again since then.”
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i feel so happy i have the urge to get on my hands and knees and worship something
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I would like to know exactly how luke asking annabeth to run away with him went down.
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Started watching a "problem with greek myth retellings" video and it began with a blurb montage like "Condemned by the misogynist guys of history, this is the true girlboss feminist story of [A WOMAN]" and like. brb writing one of those about crown prince rudolf. It's ok he's like a misunderstood girlboss to me<3
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carl subplot for how certain the journey that was cut for time: carl was planning to propose but the girl he's seeing admits that she never intended to marry him, as his partial blindness would make it hard for him to find work and support her. so he goes west and explores the canadian wilderness to get over her and find himself. publishes some travelogues and guides to the various flora and fauna of canada and becomes a respected nature writer. eventually receives a proposal from a woman who thinks she only has a year left to live and they fall in love for real all while she's unaware that he is secretly her favorite author, john fost-
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Hello :D
I just wanted to say that I just finished up the new chapter and wanted to comment just how AMAZING this story is. I'll be completly honest that this is one of the few fanfics that 1. I have re-read MULTPLE times (honestly in the mood to re-read it again) and 2. Make me actively think about it IRL. It really shaped how I few Sokka and Zuko, and every time I am waiting for a chapter, I eagerly seek out anything remotely close to this sort of story.
It's the kinda fic I would recommend people, if they ever ask me.
Writing is hard, and I saw that you were having a hard time and I just want to say from the bottom of my heart, thank you for writing this. It's an amazing story that your telling and it's even more amazing how dedicated you are to it. As a writer myself, it can be quite a pain so once again thank you. I cannot wait for the next chapter and see where this story goes.
I may be back later to ramble more about the actual chapter, but for now I just wanted to comment this!
-Primal
This is so sweet thank you it makes me feel warm & fuzzy when I think about people rereading my fic lol.
Writing IS HARD, and it’s worse when you put pressure on yourself to meet the stupid expectations you set for yourself. I still love it though, especially now that we are on the last sections because there is so much cool shit coming together & it makes it fun.
Difficult, but fun haha.
I hope you’re having a lot of writing success & just know this ask made me really thankful to have wonderful readers like you so thank you.
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still thinking about grief and recovery and support on this show because oh boy did the shows airing this weekend put me in my dead parent feelings
i said before i was concerned about how porjai is dealing with her own grief, and this episode we saw her easily talking about rung, and even casually yelling to rung that she misses her! maybe this is me projecting, because i can't do that, but this seems like a pretty healthy place to be, especially contrasted with mhok's relative silence, and i'm glad!
and mhok's silence doesn't come from anger or resentment (which are valid ofc, but i did wonder if imprisonment gave him time to work through this to some degree) but out of protectiveness. i fucking loved this, because it felt so realistic and lived-in. i lost a parent to intimate partner violence, and i NEVER open up about it; people sure have Opinions, and it makes me insane
but day finding out about rung offscreen wasn't on my bingo card, tbh. because we've been with mhok through everything he's found out about day
it doesn't bother me, exactly, but it feels slightly unbalanced, and i suppose what i'm thinking is: knowing what happened to someone doesn't actually tell you how they feel about it, or how it affects them, or how you can support them
mhok found out from that lady sharing personal medical info she had no business sharing about day losing his eyesight in the accident, but he put in the work to understand what it actually meant for day. and in most cases, we've seen day telling mhok about what troubles him in his own words (his crush on auggy, why he was avoiding his friends, etc)
bereavement is probably statistically more common, so i suppose it may not need to be spelled out for an audience? but i am wary, because there have been so many shows where characters are visibly — to me! — struggling with grief and everything else matryoshka-ed in it, but audience reaction simply doesn't factor this in
i'm also thinking about how often mhok tells day a story about himself with the intent of making him smile ("i bought two bracelets just because i had money to spend" "i found this rooftop when i needed to sober up" "my sister called this false rice". i'm certain there are more!). because this is what a caretaker does, or because this is what mhok does, or both?
because this always made me wonder what it would take for mhok to talk about something that wouldn't make day smile, or because he wanted to share. in the former case, it'd have to be something pretty bad!
of course, talking isn't the only way to recovery or intimacy. and mhok going from "i'm breaking up with my devoted gf because i don't want to drag her down with me" to "i'm going to ask you to be my bf" is pretty significant!
but as they navigate the journey from being caretaker and client to being boyfies, the balance has to shift around a bit to them supporting each other, consciously choosing to be there for each other
in this episode what we got was: you only want money to buy that car. and i'm not even mad about this, because this kind of comment is very in line with day's character. but wow. day, i know you're feeling big feelings, but throwing one of the few things you know about mhok's life in his face is. not it!
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In my special self-indulgent headcanon version of speech gifts, telepathy is a mind gift, but the equivalently difficult Speech gift is speaking in concepts
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this is gonna sound weird considering all i've posted and the things i've said but i think i'm asexual
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Might be a hot take but a major character’s death is really only as good as the weight and the treatment that the narrative gives it. Sure, any author has the ability to write death as they see fit. But whether the consumer (of any given form of media) is actually able to emotionally connect and resonate with the departure of someone who has occupied a good chunk of narrative space very heavily depends on how it’s treated within the story. If it’s a major character, the narrative needs enough built-in breathing space. As in, the consumer doesn’t have to fill in the blanks as to how the death impacted the plot or the remaining characters. Let the narrative do that for them, and that would actually allow the consumer to better react and relate to that major death (sadness, anger, joy, etc). Allow the rest of the characters (who were impacted by the deceased) to react to their parting. Let them engage with the death in a manner that helps justify the character’s inclusion in the narrative to begin with. Make it clear how the character’s life and (especially) their death relate to the larger themes of the story. Because most consumers aren’t stupid. We don’t want our hands held at every waking moment, but we also don’t want our investment in a story to be insulted just for the sake of a cheap shock. Give us time to breathe and grieve. And respect that we have put in a lot of emotional investment in a story and its characters, and we deserve to have that acknowledged.
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