I really really needed this wow
i caNNOT STOP LAUGHING
LOOK AT THOSE POSITIVE ROLE MODELS
SAY NO TO PEER PRESSURE

Product Placement
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occasionally subtle

bliss lane

shark vs the universe

Kiana Khansmith
Interview Vampire Daily

@theartofmadeline
PUT YOUR BEARD IN MY MOUTH
TMBGareOK. The Official They Might Be Giants tumblr
Misplaced Lens Cap

oozey mess
Claire Keane

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Aqua Utopia|海の底で記憶を紡ぐ

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YOU ARE THE REASON

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Discoholic 🪩

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@amundane
I really really needed this wow
i caNNOT STOP LAUGHING
LOOK AT THOSE POSITIVE ROLE MODELS
SAY NO TO PEER PRESSURE
“Just keep your eye on the ball, son.” [video]
Just like old times
cause you weren’t crying enough just yet
“I wasn’t meant to be the last of us,” says Varric. But he is the last, and only silence answers. He laughs in the face of it, soft and wrenched. “You assholes. I spent my life writing your goddamn stories - you’d think at least one of you would’ve stuck around long enough to give me an epilogue. Instead, I’m writing yours. Again. One for the road, huh?” Reaching into his pocket, he pulls out the flask, removes the cork, and pours a generous measure of spirits on both fresh graves. “To the many roads we took,” he murmurs, “and to all the roads not taken.” He drinks the rest, slowly. Lets the sun warm him. Possibly he weeps a bit, but what does it matter? There’s no one left to chaff him for it. All those times we saved the world, I never understood that it was still going to end one day. Not the whole thing, maybe. Just the parts that mattered most. But that’s what they fought for, wasn’t it? The right to die slowly, in time, in peace, with all their battles left behind, until only one old dwarf remained who’d stood with Hawke and the Inquisition, Cassandra and Tiny and Aveline and everyone else he’d somehow outlived, all buried now in graves like these, all great loves loved, all sins compressed to anecdote. All their stories have reached their ends, save his. “Ah, well. But that’s the writer’s curse, isn’t it? Telling the story puts you outside the story, and I just don’t have the hubris to tell my own.” Hawke and Fenris are gone beyond answer, inseparable in death as they were in life. Even so, he fancies he hears their laughter, and waves it away. “Yeah, yeah. I know. I’m being maudlin. Humour me. It’s your fault, anyway; you’re the ones who had to go and die in your sleep together like something out of an Orlesian romance. I write that down and nobody’s going to believe it really happened. You’re nixing my credibility.” As if you ever had any, says the ghost of Garrett Hawke, while beside him, the silhouette of Fenris smiles fondly into his ale. For an instant, Varric is overwhelmed with a scent memory of Kirkwall, shouting and sour wine and sticky shoes in the Hanged Man, and then he’s back on the hillside, watching the sun sink lower over the graves of his last two friends. “Master Tethras?” The voice is unfamiliar, female and slightly breathless, and when Varric turns, he finds himself arrested by the sight of a young dwarf woman clutching a satchel, cheeks pinked from her hasty climb up the hill. “That’s me,” he says. “Can I help you?” “I hope so,” she says, then blushes furiously. “That is, I was told - it was suggested - I mean, they said you might talk to me.” “Talk to you?” he asks - still easily, because he’s met his share of flustered fans over the years, and it never does to spook them. “About anything in particular, or just in general?” “About - about everything,” she says, and before he can think of a properly witty response, she reaches into the satchel and pulls out a letter, shyly handing it over. “Here. They said I should give this to you first, whatever it is. It didn’t seem right to read it.”
Varric unseals the letter, heart stilling as he scans the contents. Maker, he knows that handwriting. The man to whom it belongs is buried barely three feet away, within arm’s reach of the man who taught him to write. Eyes wet, he begins to read.
Dear dwarf,
I came late to the pleasure of reading, but there is nothing quite like losing one’s identity at a formative age to instil in one a bone-deep faith in the power of stories. You were there through my worst as few others were, and when Hawke ran to atone for sins that were never his, it was you who sent him back to me; who told me that he lived at a time when I had begun to fear otherwise. If not for that letter –
Well. We do not live in that world, nor any other monstrous one, and for that we have you to thank, both wholly and in part. As I write this now, I feel an end coming for my love and I, and for once in my life, I feel disinclined to fight it. We are grown happily old together, and the world is at peace. I am at peace. How strange that is to say! I suppose I have always feared that some new terror would rear up and beg a last bloody service of us both, but it has not, and for that, I am more grateful than I can say.
Like you, Hawke has always been a storyteller. Even as I write this, he is telling a wildly exaggerated tale of battling dragons at the Bone Pit to a pair of local children, both so enraptured that I haven’t the heart to interject, as I otherwise might, with a few less flattering details. And yet it has taken me many years to realise that, for all that you share gregariousness with Hawke, you are also, in your own way, just as private as me. There are stories you don’t tell, not because they don’t matter, but because they do: because the truth of them is too big and too difficult to be spoken more than once.
But that doesn’t mean they should go untold forever.
The girl to whom I’m entrusting this letter is called Helva. I won’t tell you here the story of how I made her acquaintance, as she’d doubtless love to tell you herself; sufficed to say that it involves both Isabela and Dagna, and is therefore as beautifully ridiculous as anything from your more fanciful range of paperbacks. The salient point is that Helva, formerly of the Shaperate, has since become a promising biographer; she comes to you on my highest recommendation.
I know you, Varric. Even with only the three of us left, you still won’t commit to writing your own story. But telling it to someone else, and letting them write it? That, you just might do. Call it a parting request from an old friend; or friends, rather. The idea was as much Hawke’s as mine, though for some absurd reason, he asked that I be the one to propose it. (But then, he has always been partly your creation, and so baulks at telling you to become someone else’s, whereas I am my own invention first, and therefore have no such compunctions.)
Hawke’s story ends; I am called to the fire to adjudicate on a matter of dragons. Please, speak to Helva. You have remembered all of us, Varric, and oftentimes better than we deserve. It would not do to deny you the same memoriam.
Yours in friendship,
Fenris
Varric reads the letter twice, and somehow does not weep. The dwarf girl – Helva – is silent throughout, respectful of the contents despite not having read them. When Varric finally speaks, his voice is mercifully clear.
“So. You’re a biographer?”
“Yes, sir.”
“And you want to write about, ah. Me?”
Her eyes gleam with hope. “Oh, very much so. Yes.”
“Well, I’m sorry to disappoint you,” he says, gravely, “but this won’t do at all.” Her face falls, and Varric allows himself a beat of perverse enjoyment before nodding his head towards the village. “We can’t start talking here. It’s far too dark, and I’m all out of spirits. The tavern’s a much better prospect. You can start by buying me a drink.”
Helva lights up like a lyrium vein, and something in Varric warms. He is old and tired and the last of his friends, but thanks to Hawke and Fenris, he has one last chance to live with them again.
“So,” he says, and smiles as he loops his arm through Helva’s, letting her guide him down the hillside. “Tell me. How did you meet Isabela?”
i love this
this is the purest thing I’ve ever seen
Criterion announced it will release the entire Springfield Film Festival (March 5, 1995, “A Star Is Burns”) on Blu-ray early next year. Titles include:
Barney Gumble’s “Pukahontas”
Señor Spielbergo’s “A Burns For All Seasons”
Moe Szyslak’s musical joint, “Moe Better Booze”
Apu Nahasapeemapetilon’s found footage film, “Bright Lights, Beef Jerky”
Bart Simpson’s obesity documentary, “The Eternal Struggle”
Roger Myers, Jr. presents Itchy & Scratchy in “Four Funerals and a Wedding”
Ned Flanders’ biblical film, “The Life of the Moses”
Hans Moleman Productions Presents “Man Getting Hit By Football”
Oscar-winning reboot: George C. Scott’s “Man Getting Hit By Football”
Male Hawke using female animations.
(chortle)
i support u lazy gay snake
Liveblogging Mass Effect: Citadel DLC - Joker as bait
Sacrifice (Serpentine book 2) (2016) by Cindy Pon
“Skybright is plunged into the terrifying Underworld where demons are bred, while Stone, stripped of his immortal status, must find a way to close hell’s breach before more mortals die. Meanwhile, Zhen Ni, Skybright’s former mistress and friend, is now wed to the strange and brutish Master Hou, and she finds herself trapped inside an opulent but empty manor.
When she discovers half-eaten corpses beneath the estate, Zhen Ni worries that Master Hou is not all he seems. As Skybright begins the dangerous work of freeing Zhen Ni with the aid of Kai Sen and Stone, nothing can prepare them for an encounter so dark that it threatens to overtake their very beings.”
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this was recommended for me today and is literally one of the best things i have seen in my entire life. he is so efficient and has so much passion, i love him
Dude’s a beast.
This guy is really fuckin’ good at husking coconuts holy shit
The Hundred Thousand Kingdoms (The Inheritance Trilogy)
“Yeine Darr is an outcast from the barbarian north. But when her mother dies under mysterious circumstances, she is summoned to the majestic city of Sky. There, to her shock, Yeine is named an heiress to the king. But the throne of the Hundred Thousand Kingdoms is not easily won, and Yeine is thrust into a vicious power struggle with cousins she never knew she had. As she fights for her life, she draws ever closer to the secrets of her mother’s death and her family’s bloody history. With the fate of the world hanging in the balance, Yeine will learn how perilous it can be when love and hate - and gods and mortals - are bound inseparably together.”
By N. K. Jemisin
Get it now here
N. K. Jemisin is an American speculative fiction writer and blogger. Her debut novel, The Hundred Thousand Kingdoms, was nominated for the 2010 Nebula Award, the 2011 Hugo Award, and the World Fantasy Award, was short-listed for the James Tiptree Jr. Award, and won the 2011 Sense of Gender Award. Her fiction explores a wide variety of themes, including but not limited to cultural conflict and oppression, via fantasy and science-fictional milieu.
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#otp
Bad TV Romance: Could You Not?
Despite the vast quantities of domestic!AU fanfic that exist to the contrary, there’s still a common misconception in TVlandia that romantic relationships are only really interesting when imminent or imperilled; that any sort of emotional contentment or continuity between the characters will be boring to watch. And yet platonic relationships, in which we’re also meant to invest, are just as frequently treated as rock-solid: inviolable except, potentially, at a few plot-critical junctures. And that’s a big problem for romantic pairings – or rather, for our ability to invest in them, because the plain fact is, you can’t successfully threaten to destroy a thing you’ve never committed to building. Not only will nobody care, but there’s literally nothing to tear down except your own expired eviction notices. When you make it your telegraphed aim, week in, week out, year after year, to perpetuate a will-they, won’t-they dynamic, it becomes increasingly hard to give a shit about the won’t-they episodes, because, just like a child threatening to run away to the circus, it doesn’t matter how loudly you scream And this time, I mean it! – we all know you’re bluffing.
Having gone this route, the writers then wonder why fandom is often far more invested in seeing those platonic (predominantly male/male) relationships become romantic than in their canonical (predominantly male/female) pairings. Which: yes, we want queer representation, and yes, we enjoy our own interpretations of the characters, but at base, the problem - as far as you TV writers are concerned, anyway - is trifold. Firstly, you’re limiting your romantic male/female interactions to fit a preordained narrative, which paradoxically weakens the same relationship they’re meant to promote by shallowing its development. Secondly, because you’re worried portraying a platonic male/female relationship in addition to your romantic one might confuse viewers as to who, in fact, the girl is meant to end up with, you don’t create any extraneous narrative potential between characters of the opposite gender. Which means, third and finally, that your same sex interactions are likely biased towards male-male, as most shows tend to have fewer female characters overall – and when they do appear, as per the first point, you’re usually orienting their participation around a single particular man, instead of letting them talk to each other – which means the most naturally developed, complex relationships portrayed are, overwhelmingly, between men.
Thus: having firmly invested your audience in the importance of a romantic relationship, you then proceed to use all the juiciest romantic foundations – which is to say, shared interests, complex histories, mutual respect, in-jokes, magnetic antagonism, slowly kindled alliances and a dozen other things – in male/male scenes, and then affect gaping surprise when your fanbase not only notices, but expresses a preference for it.
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cool advice from dark souls
Going through old bookmarks, and found this video of REM’s new upbeat anthem, “Losing My Religion”, with all of the minor notes turned major. Enjoy.
via BoingBoing
A Girl Walks Home Alone at Night
The first Iranian Vampire Western ever made, Ana Lily Amirpour’s debut basks in the sheer pleasure of pulp. A joyful mash-up of genre, archetype, and iconography, its prolific influences span spaghetti westerns, graphic novels, horror films, and the Iranian New Wave.