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#just some thoughts
dotster001 · 2 days
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I...I have been saving for month's for this bastard, skipping interesting pulls just so I could be prepared for if I needed to do the whole 200 because even tho I am so normal about this card I was going to get that card.
Tell me why he comes home after only two ten pulls
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overseer-picard · 9 hours
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I know we beat the "seasons are only 10 episodes now and it sucks" dead horse on the daily but another thing we lost when we stopped making the 24 episode 1 hour drama was the freedom to be narratively risky.
Star Trek, The X Files, and Doctor Who are great examples of this since they had the sandbox of Sci-Fi to play with. There are so many amazing, mind bending, soul stretching episodes that were teetering on the edge of flop or flying and through bold writing they didn't just fly but catapulted into the stratosphere of iconic. These episodes changed expectations and genre boundaries of what Sci-Fi could be for years to come.
We don't get episodes like this anymore because these new shows cannot afford the risk of a flop. The weekly episodic story structure that was once the foundation of television has been abandoned by Hollywood. The beautiful thing about this "simplistic" structure is that it provides a narrative safety net. You can take a risk and afford the miss because you can have a clean slate next week. You can't do that with continual narrative structures where only one story is being told over ten episodes (note to add: both structures are valuable, but total abandonment of one in favor of the other is detrimental).
These production companies gleefully hold the metaphorical gun of cancellation to the writer's heads and this actively ensures that stories are as safe as possible. This is creatively devastating, and ironically, guarantees catastrophic failure of shows. Safety is a bland cage.
Of course, the production think-tanks can't possibly take responsibility for their suffocating creative control so they blame the audiences for *checks notes* being on their phones too much, not subscribing enough, paying too little for ads, being too vocal online, not being vocal enough, being too demanding, being too liberal, being too conservative, whatever it takes to say "these failures are not our fault, you're just bad audiences".
Now, there are the episodes that did flop, but they flopped so spectacularly that we have entire days celebrating them decades later. These episodes took massive risks and instead of trying to back away from that creative intensity, these writers-of-old stepped up to bat, acknowledged they probably didn't have the screen-time to truly flesh out these concepts but by God they were going to try, and then hit so hard they shattered the bat. Sure they lost the game, but wow, what a thing to witness.
When I invariably get asked what my least favorite episodes of Star Trek are, I can't even remember because a "bad" episode to me is one that's simply forgettable.
There is no greater crime in the realm of artistic creation than being aesthetically beige and mind numbingly forgettable and yet for the past 15 years 8 out of 10 productions seem to be repeat offenders of exactly this.
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twilight-zoned-out · 10 months
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Some things about Allan:
He’s the only one who reacts to the narrator
He’s the only doll (besides the Weird House) who isn’t swayed in some way by Ken’s takeover
He also declares himself as “Ken's buddy" (making canon his official box description) which makes his inability to be swayed more interesting
He has bendable legs (probably the only reason he tries to jump the fence instead of going around like everyone else)
He easily decked a half-dozen construction Kens and could probably singlehandedly win the Ken fight
He seems to know more about the real world than most Barbies
He knows what NSYNC is 
He knows about other Allan copies living in the real world (I’m trying to figure out if he made this up to convince the humans he can live in the real world, but even if he did, how does he know what NSYNC is???)
There are no other Allan models
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the-witchhunter · 2 months
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DP x DC worlds greatest detectives ramble
You ever just get a bit tired of the batfamily being dumb?
Sure I appreciate a good “Danny is weird and the Bats try to figure out his deal and draw wrong conclusions based on incomplete evidence” fic as much as the next guy, and I’m definitely not saying not to write them
But the thing is, they’re all really smart. It’s their whole thing, they’re a family of detectives that dress up in colorful costumes and fight crime, but detectives nonetheless
And I get it’s for humorous effect to have otherwise intelligent people be incredibly dumb about one thing, but it’d just be nice to see them be smart sometimes. Even in a fic where they’re drawing the wrong conclusions, it’d be nice to see them use their detective skills
Like build a case so solid Danny questions whether they’re actually right about him and if he’s just confused
Or just apply it to more conventional situations/crimes
Because frankly it’s funnier if you show they’re smart before having them do something really stupid
If you build them up a bit, then it’s funnier when they fall down.
“Where did he go? It’s like he vanished into thin air!?”
“Don’t be silly, see these scuff marks? Someone recently went down this way. The gravel here has been disturbed indicating this manhole cover has been moved recently. Now if we just prop this up…”
“…huh, is that…?”
“Killer Croc and not the twink we were just tracking?”
“Yeah, that”
“Yeah, that’s killer croc… hi Waylon”
*large scaly hand darts out and drags Bat in question down in the sewers while Danny watches invisibly*
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alexxuun · 5 months
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Vash’s scars exploration, both stampede ver and manga ver.
I found it quite interesting that Stampede Vash have more technological cover up and his “burned” skin seems to reveal his muscular layer, which is actually just bark. On the other hand, Maximum scars is more human, surgical scars, stiches, burn and wound scars. There is something to be said about choosing to make Stampede more Plant/ less human than Maximum…
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thedevilundercover · 18 days
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The ultimate comedy/angst idea. Tim has issues with authority without even knowing what authority is.
Like he's the pinnacle of latchkey kid. His parents weren't there to tell him no or anything and he has a shit ton of money. In the comics he very clearly goes "lol no" to every rule and has the "ask for forgiveness rather than permission" mindset.
Imagine when Bruce gets his shit together and like wants to start actually parenting Tim rather that Tim parenting him and like it fails miserably.
Bruce, using the BatDad Voice™️: Tim, I forbid you from doing that
Timothy "Rules? I have no clue what that even means" Drake thinking that this was a joke: lmfao that's cute
And maybe Bruce has a little learning arc like wow this kid is fucked up, wow I fucked up. Whoa I got parented by a baby and now that baby has a fucked up sense of self and has matured way too fast and lost it's childhood because I'm an emotional wreck who had to rely on a whole ass baby for emotional and mental support.
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pmpknsoup · 26 days
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sometimes i feel like im the wrong Kind of aromantic. like, i see posts on tumblr all the time about other aro people talking about how all aro people hate romance in media, or hate shipping, or the like. and yeah, functionally i know that this isnt a general statement, and obviously they don't mean Every Aro Person Ever but. you know. its easy to feel like youre doing something wrong, even when youre just being a person
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ren-144p · 8 months
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something about the first few episodes of the terror having so many numbers. the men, the provisions, the inventory; but also the tension of counting. the scene where goodsir takes a picture of john franklin and his men and he's counting down the seconds. the lashes being counted down during hickey's punishment. and something about how in later episodes, numbers get lost. dates get forgotten. counting just stops. all of it becomes insignificant. like it was a countdown at first but now the time is just running out instead
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raynetheinsane · 3 months
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Dami is Dicks Robin.
Dick is Jasons Robin.
Dick and Jason are Tims Robins.
Jason is Stephs Robin.
Tim is Dukes Robin.
Dick and Jason are Damis Robins.
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luvrxbunny · 5 months
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i want him to come home from a hard day of working
maybe he’s feeling a little vulnerable but all he can do it come do bed, wrap me in his arms along with his cock in my walls
for comfort
imagine him all soft and whimpering as he ruts into you slowly
telling you how lucky he feels to be able to come home to u everyday
how you’re so perfect for him
you always make you feel better
your pussy is his favorite place to be
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ortegavi · 3 months
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CAIRO SWEET craves someone who gives her validation. her parents are permanently absent lawyers with a talent in a+ neglectful parenting, causing her to focus on academics and academics only, subconsciously doing it in hopes that academic achievements will get her parents’ attention and this hardwired focus makes her detached from her peers. cairo needs someone that doesn’t just keep up with her but continually praises her, giving her the validation she desperately needs.
TARA CARPENTER craves someone loyal. after ghostface, it’s not and never will be the same for her; constant looking over her shoulder, never being able to let her guard down, and always having a weapon nearby in fear of another masked killer jumping out at her or her family & friends. change is the scariest part of her life because change is what caused her to lose almost all that she had—her (girl)friend, her sister, her parents... tara needs someone who’s going to stay through thick and thin, 24/7/365, always holding onto her as a silent promise that they won’t leave like others did.
WEDNESDAY ADDAMS craves someone who understands her. despite being a writer, she’s never been good or comfortable with words expressing her emotions. she needs someone who understands her quirks and morbid expressions, understands the softness in her eyes as silent affection, links pinkies at exactly the right moment while waiting for wednesday to grow comfortable to initiate it on her own.
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knightofmarte · 29 days
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So will we talk about Fig and Ankarna? Like how Fig's domain is rebellion and Ankarna's is justice. How we rebel because we see something unfair or unjust and how connected they are. For me it's very possible that Fig is going to be the one to bring Ankarna back the way Kristen brought the Nightmare King back. Fig who has always been welcome in barbarian classes because she understands rage, but still is so kind and understanding. Fig who just brought back one of the symbols of this Goddess, Fig who has claimed her fallen domain or her domain in hell. Fig who gifts her friends and who isn't sure of who she is, Fig who always protects and always fights against things that are wrong. All of this is to say I think Fig is Ankarna's One, even if it's not Ankarna who chooses Fig but Fig who relates and brings back Ankarna. Fig is the Archdevil of redemption, she might as well be Ankarna's Paladin and Chosen.
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frownyalfred · 2 years
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my advice for writing dialogue:
be brave
if you can’t say it in one breath out loud, you should probably add some punctuation
for casual dialogue: can you imagine two people saying this at a local coffee shop?
people talk over each other and cut each other off in real life all the time. your characters should too
modern, conversational dialogue isn’t one person lobbing one fully formed, multiple-sentence thought at another person, and then waiting to receive one back
dialogue is filled with placeholder sounds — ehs, ums, uhs — and these differ by region, language, and culture
people ask for clarification and sometimes things are just, by nature, unclear. sometimes you have to let the characters figure out the disconnect even if you, the author, know what it is already
find clips and videos online of the people/region and listen to them! how do they talk? is it fast, or drawling? how can you convey this to a reader who may have never heard them?
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thedenofravenpuff · 5 months
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Sun is truly just a diva, deeply bitter about being taken away from his limelight on stage to attend a daycare instead.
And Moon's just a giggly git creeping on you everywhere cuz he just wanna be included in the fun but too socially awkward to know how to approach you like a normal person.
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starbylers · 8 months
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It’s so telling that when Mike and El reunite in the airport, someone literally walks past the frame obscuring the view right when they kiss? And then the entire time they're talking, people are blocking them from view. In every single shot someone new walks in front of the camera—a whole seven extras in quick succession and wow I didn’t realise how distracting it actually is:
It's 100% deliberate to create a lack of intimacy in their interaction, it was like white noise to my eyes before but now I can't unsee it. They really said this is NOT supposed to feel romantic.
​It only stops when we are shown Will in the background behind El (in Mike’s eyeline) and as he runs up to Mike. Almost as if to imply Mike was hyper-aware of Will’s presence:
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Then extras cross the frame again when they “hug”—
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—cutting through the tense nervousness radiating off of Mike, and shifting the moment to a very awkward/detached tone.
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Living weapon, alone, no orders, unsure what to do.
What does it do? Nothing at all for a few days? Wander in straight line? Care for basic functions only? Try to find its owner?
First time that it can remember being without orders. Supposedly free, unsure of what to do except follow the last instruction from its not-owner. "RUN"
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