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#surprise it's a good book
madebycoffee · 2 years
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me: knowing the plot of pride n prejudice since i can remember since I was subjected to watching the BBC 1995 miniseries about 100 times as a kid.
also me upon listening to the audiobook once these two fools finally are on the same page: 🥺😭❤
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some-siren · 7 months
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Ok ok wait I'm rewatching the very beggining of ep 5 when Aziraphale talks about the 1965 doctor who annual and just
Aziraphale: "The 1965 Annual was indeed never printed, *looks at Crowley*, due to problems at the BBC"
Crowley:
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Crowley, what happened in september 1965 at the BBC..?
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obsob · 1 year
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despite, despite, despite!!
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crowley1990 · 6 months
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It’s December so everyone put in the tags what your favourite book(s) you read this year is (are)
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watchingwisteria · 5 months
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im so sorry i get it now i really do, the gay angels have me shaking screaming crying at all hours of the day and night, they mean everything to me i am literally thinking about them all the time and what it would mean to love someone steadily and silently through eternity, what it would mean to love across the lines of a divine war of supposed good and evil, what it would mean to carve out a space for oneself and ones lover in no man’s land, in the grey and moral ambiguity when you were created to be black and white without blemish. god i love them so much i just
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julielilac · 10 months
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1x02 // 2x06
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fuckmeyer · 9 months
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if smeyer wasn't a coward vamp!Bella would have immediately eaten her daughter Rensesmem whole-hog like Saturn Devouring His Son
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placeofwonder · 2 months
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lately: enjoyed my beautiful town in the sun and reviewed two plays for the student magazine, which is a great outlet for the part of my brain that wishes I was still studying humanities
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aroaceleovaldez · 5 months
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they girlbossed Sally Jackson
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I really don’t think we should be treating morality as a linear thing in ASOIAF because what often happens is that we start to stray from the actual conversations that we need to be having regarding the depths of making a moral choice and even the circumstances involved. To try and blankly paint any one character as the “most morally good” isn’t really taking us anywhere. And it certainly isn’t helpful when people in this fandom want to try and prove that characters are “grey” but not moral (what does that even mean??) because they did one “bad” thing. If ASOIAF stans were to have their way, then:
Jon is not a morally good person because he threatened Gilly
Dany cannot be considered to be compassionate because she sanctioned torture against the wine seller’s daughters
Arya cant be good because she has killed people
and so on, and so on….
But this is such a draining, and oft times frustrating, conversation to have because you see just how shallow the above listed examples are? Readers are listing only singular instances across a narrative that spans thousand and thousands of pages, and there’s absolutely no context involved. Why did Jon threaten Gilly? Why did Dany resort to torture and at one point did she do it? Who did Arya kill and why? And why do those singular instances negate everything else in their arcs?
What usually happens when we have the 12847647282th unnecessary conversation about who is the “most good” character in ASOIAF is that we start getting blanket statements with no elaboration. And the only people ever considered are Ned, Brienne, and Davos, and sometimes the children like Shireen or Tommen. Mind you, Ned and Davos are not perfect or without their own faults either; much has been said about Ned’s abilities as a father and it’s implied that Davos was not entirely faithful to his wife. And based on her current arc, Brienne will surely have to make morally tough choices regarding oaths and knightly honor. Plus theres the irony of including literal children when they have not been put in situations where they actually have to make morally difficult choices and live with the consequences.
ASOIAF shows us that people who are capable of incredible kindness and compassion are also capable of doing unpleasant things.
Jon threatened Gilly….because he was trying to save another child whom he believed to be at risk of human sacrifice(!!) and was stuck between a rock and a hard place. But why does that singular instance negate the fact that his arc has been about him standing up for the “lesser than”? Why does that negate the fact that he stood up for Sam against a superior when there was nothing to gain for him? Why does it negate the fact that he went out of his way to equip Arya in a way that society would have deemed inappropriate? Why does it negate the fact that he dedicated the entirety of his time as Lord Commander to fight an institution that had upheld racism/xenophobia for millennia? Why should we filter out all those moments of kindness, compassion, and deep empathy that Jon has even without him thinking?
Dany sanctioned torture….but she was trying to solve the murder of an innocent victim AND this brought her no joy. But why does that negate the fact that when she gained unimaginable power, she could’ve high tailed to Westeros to use it to her benefit and become queen, but instead chose to stay in Essos where she has no personal responsibility just so she could fight the institutional evil that is slavery? Why does it negate Dany who went to personally treat plague victims at great risk to herself?
Arya has killed some….but it’s in self defense or in defense of others who are disenfranchised. But why does this negate that she is one of the few people in the series how goes out of her way to show kindness and friendship to those who are not as economically or politically advantaged as she is (e.g., Mycah)? Why does it negate that she took fellow slaves under her protection when she herself had little power to fight for her own survival at Harrenhall? Why does it negate that when she saw those caged soldiers whom she was angry with for their actions, instead of leaving them to die instead offered them the only kindness she could at the moment: a drink of water?
Trying to have arguments about morality but stripping everything down to ‘x character did y bad thing (regardless of context) and that’s why they can’t be good’ is, to be blunt, ridiculous. And it isn’t a particularly interesting way to engage with the text. Character journeys, especially well written ones, are rarely ever in a straight line. There’s amazing highs and terrible lows. GRRM gives us so many characters like Jon, Dany, Arya, Sansa, Ned, etc. who even in their lows, have gleams of compassion and exceptional kindness. It doesn’t do anyone any good to filter those moments out to make the books more digestible; and I’m being a little generous here, because so many readers have a very shallow level of engagement with the series and it shows in conversation. And we also shouldn’t pit these characters unfairly against those who have never been in similarly difficult situations that required them to make hard choices. Because when we do, we start to completely miss the point all together.
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stories-in-the-wind · 2 months
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Sharing the sketch for March
welp I didn't finish this before the end of the month but I made some good progress. I draw terraces so quickly when in the sketch stage, then I go into rendering and have to redraw the same terrace 10 times because the perspective looks wrong.
please enjoy my barely sketched in skydancer as well lol
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touchlikethesun · 4 months
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so i completed my first ever fan binding, everything from start to finish - barring writing the fic myself - and i wanted to share the results!!
the fic is the certain things we lack by @deanpendragon on ao3 (it’s an incredible fic, if you haven’t read it already, you really really really should!!)
if anyone wants to bind their own copy using the typeset i made, i’ve put a fully formatted and print-ready pdf along with some instructions for how to go about fan binding (and links to people who can explain the process better than i can) on my google drive!
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bleaksqueak · 3 months
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While i work I've been listening to an LP of the Telltale Walking Dead Games (the ones with clementine, I do not care about the others lmao). Ages ago when I played these I was well aware/amused that part of season 2 takes place in Parker's Crossroads/Parker's Run because I grew up right next to it and the detail stood out to me. But I never caught the line of "We'll head to parker's run. It's just up the road from here" until just right now. So I had a sort of "wait, where the fuck are they supposed to be right now?" (search)
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ARE YOU SHITTING ME LMAO So by process of elimination, since it's the only city with anything even remotely resembling a large home supply store, that would mean they're in my literal hometown. My tiny hometown in the middle of nowhere that's never in anything that barely anyone knows of. How in the fuck lmao
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itsafternoonpast5 · 2 months
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very crazy episode. too bad it was based off of lord of the flies
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immediatebreakfast · 9 months
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The daily format really of today really gave me a good reminder of how dangerous is the Count, and how Lucy (and everyone around her) is still blind to this threat while coming with no explanations.
Even if the trumpets of salvation started playing when Van Helsing arrived, I forgot how so far he only has theories, a certain feeling. Van Helsing needs to rule out any illness, sickness, and disease that he knows either in depth or in surface before even touching a possible supernatural explanation for Lucy.
While Lucy still loses blood.
The writing played perfectly all of the emotions that Jack felt with both the telegram, and the letter. Once again Seward's writing style is the perfect choice to give the reader that anxious feeling of what happened after you read his words. The entry starts with this:
"Terrible change for the worse. Come at once; do not lose an hour. I hold over telegram to Holmwood till have seen you."
No greetings, no indications, no explanations, nor theories. Just a tiny paragraph that says that Lucy is in danger. A change so bad that Jack has to wait for Van Helsing to treat her before he sends any information to Arthur. A few words that only tells us the grim possibility of Jack finding Lucy almost dead in her bed.
Also, despite we the readers knowing that Dracula is the one who is responsible for Lucy's suffering the horror doesn't leave just because we have it. How many days Lucy has left? How her getting better then worse is affecting her organs? What if Dracula doesn't directly kill her, and instead she gets sick and her body can't handle it?
Then, Jack has to write to Arthur. We may breath a sign of relief that Lucy is now a little bit better, but there is something... off about this letter.
"My news to-day is not so good. Lucy this morning had gone back a bit."
These words lack the urgency of the telegram to Van Helsing. It's still not good because Arthur knows that Lucy got worse, but it certainly doesn't translate the same feeling, the possibility of the worst. There is no "Van Helsing had to come quickly."
Instead the focus of the letter is finally having the perfect solution of the societal limbo trapped in the Westenra household. At the hands of Mrs. Westenra no less, who finally decides to get help for her daughter, and now both Jack and Van Helsing can actually play the role of doctors without social restrictions.
Yet that doesn't take away the anxiety of the underlying question of Lucy's state.
"If any need I shall write, so that, if you do not hear from me, take it for granted that I am simply waiting for news. In haste."
At the end Jack, just like the readers, only has one option despite all of the dread that he is feeling... he only can wait.
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giftedpoison · 6 months
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I watched the movie of the Goldfinch tonight. It felt right to watch it right after finishing the book same night. I can't explain it.
It felt less like a movie and more like snapshots of a story told quickly and disjointedly. (Despite it being a 2 and a half hour movie it felt like nothing at all.)
I enjoyed it but I much prefer the book and it's meandering quality.
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