I don’t understand why Kishimoto never added Kakashi having thoughts about Gai when he died in the pain assault. It’s like he doesn’t want his relationship with Gai to have depth but then adds all these interactions and feelings that show how much he means to Kakashi.
He thinks of his dead friends and family, he thinks of Konoha 11, but he doesn’t think about his longest and biggest support? Not even a passing thought?
Might Gai is Kakashi’s best friend and rival, he isn’t a nuisance to him and he doesn’t think he’s less than him. Their relationship has substance and evidence to show how much they care about one another, im sick of Kishimoto and his constant need to diminish it then prop it up and then diminish it again. How can he be so inconsistent with relationships and character writing??
isn't it interesting how the episode we know went through extensive rewrites was not the episode with the most violence but the one that was supposed to have high sexual tension between the leads (two middle-aged gay men), a gay wedding, and outright confirmation of the polycule
Poe: *in tears because Dazai called Karl a trash panda*
Ranpo: Apologize. Now.
Dazai: Or what?
Ranpo: Ed I need you to write me a book about a wine shop that never closes. I think our rental Executive could use another vacation. One he'll never want to leave.
Finally had time to make fanart for 'That Makes Two of Us Then' by @queruloustea !! I've been enjoying the story so far and can't wait to see more of the sillies in future chapters :DD
Have a doodle of my favorite vessel going through it during first meeting shenanigans (and also plush tiktik during later silly times)
Something that's been bothering me about the Watcher thing, is the accusation that "we expect them to create content for free."
No we don't. We never did. They've never done that-- they've always gotten paid for their work.
Ads, tours, patreon, merch, and other avenues were available that they chose not to take.
They were always getting compensated for their work, the issue is that they decided that they wanted to make money exclusively off us. They didn't just want to get compensated, they needed it to be our money.
And frankly the biggest issue here is how insulting & condescending their approach to this was.
AND AND AND now that we've moved past the initial "are you fucking serious" phase, we've now started delving into things we don't want our money going to anyway. It's not just about gold ice cream, it's about homophobia. It's not about hiring too many employees, its about being dismissed and insulted by the staff/their friends/their family because we have the audacity to simultaneously be poor and have opinions.
This isn't just about the streaming service being an absolutely clown shoes decision, it's about how deeply they've dehumanized their entire fanbase (including those who can afford it and don't mind)
Jeanette Winterson, Written on the Body
Richard Siken, 'Portrait of Fryderyk in Shifting Light'
Victor Tkachenko, Emerald (2019)
Audre Lorde, 'On a Night of the Full Moon'
Mitski, 'Heaven'
The Shape of Water (2017), dir. Guillermo del Toro
Vanessa Taylor & del Toro, The Shape of Water script
Mitski, 'Strawberry Blond'
dan and phil and the queer joy that is radiating from this new era on the gaming channel is my roman empire. the older i get the more i realize how important it is to see older queer people that are happy
house is all id, impulse and reckless behavior and selfishness, and wilson is all superego, overthinking and moral judgement and selflessness, and together they act as the other's ego. house wants to biopsy a patient to stop his own pain, wilson tells him he's going to cross a line if he does. wilson wants to tell the world how he's justified the taboo of euthanasia, house steps in to tell him he'll ruin his life if he does. ultimately, this is why they fall apart when separated from each other, why wilson is miserable when he tries to cope with amber's death without house.
wilson will always try to be more selfish, to care less, wish that he was more like house, and house will always wish the inverse, that he is capable of caring as deeply as wilson does, that his own empathy ran as deep as wilson's. but in the end, they are both incapable of embodying those traits they admire in the other on their own. they can only truly function together.
this is the point in the show, for me, where it becomes clear that house and wilson have been set up as star-crossed lovers. it's only here, in 8 x 21, that they both accept fully who they are to each other. they have both accepted that they will only be able to be happy together, that only through acknowledging how they complete each other will either of them be able to be fulfilled in life. the tragedy is that they have only been able to find life at death. the price for their happiness together is the looming inevitability of wilson's death
anyways. rest in peace sigmund freud you would’ve loved analyzing house md yaoi
brooklyn baby, lana del rey / untitled (you construct intricate rituals), barbara kruger / fabrizio moretti and julian casablancas of the strokes / julian casablancas and albert hammond jr. of the strokes / mr schwartz, arctic monkeys / boygenius: the film, directed by kristen stewart / catapult, arctic monkeys / alex turner and miles kane of the last shadow puppets for everything you've come to expect / driving, not washing, richard siken / the hours and times, directed by christopher munch / sue zhao / the dream synopsis, the last shadow puppets / the last shadow puppets live at the catalyst, 2016 / august, taylor swift / the predatory wasp of the palisades is out to get us!, sufjan stevens / the strokes at the troubadour, 2001 / velvet goldmine, directed by todd haynes / because dreaming costs money my dear, mitski / boygenius for rolling stone magazine / the last shadow puppets live at alexandra palace, london, 2016 / untitled / the dogs i have kissed, trista mateer / strangers, ethel cain / untitled (cont.)
Spirk is so adorable until you realize that the time that Kirk and Spock spent together is so disproportional from each other.
And I did the math to show y'all:
Assuming the Memory Alpha Wiki is correct; James T. Kirk was born in 2233 [in March apparently!] and S'chn T'gai Spock was born 3 years before in 2230 [in January, which is kinda cool].
Still assuming all wiki data is correct than they first meet in 2259, when Kirk is 26 and Spock is 29. Let's assume they assumed a friendly association with each other until Kirk took control of the Enterprise in 2265.
That means [and assuming the pair remained together until Kirk's death] the two of them shared a total of 34 years together. Kirk died at the age of 60, Spock died at the age of 161.
BUT! What's important is also the percentage of their life that had the other in it.
For Kirk it would be [if everything is correct and hypothetically K/S did start forming a friendship/relationship in 2259] approx. 57% of his life. THAT'S OVER HALF. No wonder he was so sad when Spock had died. By that point in his life he'd lived half his life with the Vulcan.
Spock, by scary contrast, spent a whopping 21% of his life with Kirk. Now, using the average human lifespan [69 years for men] that roughly equates to knowing someone for 14 years.
So basically: Kirk spent half his life with his T'hy'la whilst Spock didn't even spend the human equivalent of a decade and a half with his T'hy'la.