Just Here for the Nonsense

...and the shenanigans. Those as well.

[only-cat-memes]

[mousettte-deactivated20241119]

[pax-romana200]

♡⁠(⁠>⁠ ⁠ਊ⁠ ⁠<⁠)⁠♡

[inthetags]

Reblog and put in the tags how often you “clean” your tumblr account, deleting old posts.

[wenellyb]

[a-tired-nerd]

Why would I “clean” my blog this is a museum of my interests

[the-haiku-bot]

Why would I “clean” my

blog this is a museum

of my interests

Beep boop! I look for accidental haiku posts. Sometimes I mess up.

[beggars-opera]

This is the most adorable non-bot blank blog I’ve ever seen. People, this is all you need to do to let us know you’re a human if you’re confused.

[supreme-leader-stoat]

[the-other-art-blog]

I miss opening credits sequences.

Almost every show I watch barely puts the title for a couple of seconds! Even shows like Bridgerton only show theirs once. Only The Crown has a proper sequence, which is glorious.

[incomingalbatross]

Okay, but consider:

When Amy and Rory get stuck in New York, they try to leave at first. I mean, of course they do, they’re not idiots. If the Doctor can’t come here, why can’t they just get out of the center of the paradox? And even if he still can’t pick them up….well, no reason not to see some of the world by the slow path.

It’s just not that simple. As it turns out, the contortions of time and the way it’s adhered to them trap them physically, not just temporally. When they try to leave NYC, time goes…weird. They find themselves back where they started, or time slows to a crawl, or starts skipping and fracturing for them. They wait for trains that never arrive, or drive all day and get nowhere, or walk and find their strength sapped away. You get the picture. So…they stay. They poke their boundaries every so often, but mostly they just stay.

It’s not so bad. If you had to pick one place to be stuck in for the rest of your lives, New York City from the 1930s onward certainly won’t be boring. And River can visit, occasionally, even if the Doctor can’t. (Sometimes she leaves them gadgets to keep them equipped for any timey-wiminess that may arise, like the thing that looks like an egg timer and detects artron anergy within the city confines. They always wonder if she has a Reason for these things, but they don’t ask.)

They build their lives. Rory stays in medicine, of course, even if being a male nurse is a little more unusual in this period. Amy writes, fantasy stories about little lost girls and brave boys and strange wizards with funny blue houses.

(In her stories, children always find their way home in the end.)

After WWII they adopt a little war-orphan baby named Anthony. He, more than anything, anchors them. Life goes on. They settle, like the foundations of a house.

Until one day in the 60s when Amy (older, but not slowed down yet) bursts into the house, grabs Rory, and says “She’s going to be HERE.”

“What?” says Rory.

“1969. The Moon.” Amy waves a copy of a magazine with headlines about the space program at him. “MELODY.”

“…OH.”

Keep reading

[knifefightscene]

[incomingalbatross]

Emma Woodhouse: gifted kid?

[incomingalbatross]

I'm just saying, I'd read a modern AU where she was just starting college and like half the plot was Emma Woodhouse experiencing gifted kid burnout.

(Although I would also accept an Edwardian girls' college AU with the same plot.)

[fictionadventurer]

Ooh, I like this. Emma definitely still lives at home, and part of her burnout comes from the demands of helping to care for her father. The details of the college situation depend on how the Miss Taylor situation translates to this AU. Like, you could say that her situation is what allows Emma to start college at 21, except that Miss Taylor leaving would make Emma even more important to her father. But if this AU changes it to Miss Taylor coming (say as a home care nurse), then it alters the dynamics of Emma's need for friendship.

Maybe Emma could take an online degree? And while she's doing it she decides she needs a social life to go along with the remote schooling and befriends community college kid Harriet? And steers her away from the nice trade school farm boy? Making it online classes might take away from the whole point of a college AU, though. But the snobbery surrounding college degrees--Emma pushing Harriet to aim for an advanced degree when Harriet really just wants to be a housewife--could be a fun way to translate some of the class issues.

(I also fully support Edwardian Girls' College AU.)

[incomingalbatross]

Yes, all good thoughts!

Right, I was also thinking of Miss Taylor as a home care nurse (it seems a natural translation), but then, as you say, it would be her arrival that sparks Emma's changes and not her departure. And it really struck me on my latest read just how much Emma's initial actions are about loneliness and isolation. So I'd like to keep that catalyst...

I would like Emma to actually go to college, to really drive home the "fish out of water" thing. Ooh, maybe she held out all this time because it wasn't practical to go to one of the elite universities, and she'd rather just stay home than go to a mediocre school? But after her situation changes, in whatever way, her standards drop and she (listening to Mr. Knightley who has been BEGGING for her to obtain some intellectual discipline) enrolls at the local college...

I'm thinking the equivalent of a state university, but I don't know how that translates to England, if they're still English here. :P But something that's perfectly good, and accessible to a lot of people, that Emma would initially be a snob about.

Speaking of which, YES on the degree snobbery! Maybe Harriet says she'd drop out when she married Robert (who, yes, definitely trade school with a good and thoroughly blue-collar job lined up), and Emma is Shocked and Appalled at the idea of Harriet giving up on her academic future for a MAN. Ignoring the very obvious truth that Harriet isn't interested in any of her classes and would be perfectly happy without a degree.

Jane DID go to a top-level university, on scholarship, and traveled abroad with a rich friend she made there...but at the same age as Emma, she's about to graduate with a B.A. in English, a teaching certification, and no more money. She's planning to teach middle school. Everyone knows her health isn't up to this (pick whatever chronic health problem seems fitting), but she couldn't get any grad school funding and she REFUSES to take loans.

And this isn't part of the original plot but I DO want to see flashes of Emma being Actually Mature in that unexpected way she is—in this case, casually dismissing the social scene of college not just because it's not classy, but because she has to get home and make sure her dad's dinner is right, and then she has to send some emails about the household finances, and make sure she has the right dress to wear to that board meeting tomorrow for the local nonprofit she sort of fell into through societal obligation...

Because Emma IS legitimately leading an adult life in some ways, and she's good at it, and that's why her struggles with new situations once the book starts read like gifted kid problems in the first place! And also all those responsibilities can pile up and contribute to her inabilities to navigate college, and that adds to her Stress.

Also I suspect Mr. Knightley is the Woodhouses' lawyer or investor or something along those lines. And an old family friend, and in-law through John and Isabella, of course.

[forthegothicheroine]

Idea: Bertie Wooster, though a series of hilarious misunderstandings, ends up on the murder island during And Then There Were None.

[a-book-of-creatures]

“There may be a murderer on this island, sir”, said Jeeves, “and that murderer can only be one of us”.

“I say, would say the imagination boggles at the thought?”

“I believe so, sir”.

I checked. He was right. It boggled.

[downtroddendeity]

Given that the people on the island in And Then There Were None are all people the killer believes have committed murders that cannot be punished by the legal system, there are four ways I can see this going down:

The series of hilarious misunderstandings that caused Bertie Wooster to be here were as much of a surprise to U.N. Owen as to everyone else. Bertie’s narrative field asserts itself and he Mr. Beans his way through a series of close-call hijinks until Jeeves’ machinations eventually reveal that all the supposed victims were still alive and the whole thing was just an elaborate prank designed as a convoluted way to escape an unwanted engagement.

The series of hilarious misunderstandings has caused U.N. Owen to erroneously believe Bertie Wooster has committed murder. Wooster and Jeeves respectively bumble and buttle their way through foiling several murder attempts and proving that all the other surviving victims are also innocent and U.N. Owen’s belief that they had all gotten away with murder was also based on a different series of hilarious misunderstandings. U.N. Owen is deeply embarrassed and goes home to rethink their life.

Bertie Wooster is haunted by the silent, terrible crimes he committed in the trenches of the Somme.

Jeeves is very good at solving problems. Jeeves has solved a lot of problems.

[emilysidhe]

Barmy Fungy Fips has committed a murder, and Bertie agrees to take his place on the island, pretending to be him, on the belief that this is somehow helping Barmy escape an unwanted engagement

[jackironsides]

(*Barmy Fotheringay Phipps)

[besotted-with-austen]

Mary Crawford: Edmund Bertram ditches me and then I think, "Fine! I will find someone else richer and prettier!" I mean, it is not like there are not pretty rich heirs in London's society!

Mary Crawford: but no, now that does not satisfy me anymore! Now they have to be good people to make me want to keep speaking with them!

Mary Crawford: stupid Edmund Bertram, giving me standards!

[princesssarisa]

I still can't get over that once, I saw someone write that they disliked Elizabeth Bennet because she was an "author avatar Mary Sue."

I understand taking that viewpoint if you only read the first half of Pride and Prejudice, before Darcy's letter. The impression the first half creates is "Most of these people are silly, obnoxious, or both. Witty, sensible, charming Elizabeth, who's usually the smartest person in the room, cleverly judges and mocks them all, while giving warm affection and esteem to the few who really deserve it." This is more or less the way she views herself and the narrative plays along with it. If you stop reading before Darcy's letter, then she might indeed come across as an "author avatar Mary Sue."

But then all of the above is deconstructed by Darcy's letter. Elizabeth realizes – and we realize – that she hasn't been such a good judge of character or the cleverest person in the room after all. Her cynical, witty judgments have been just as faulty as her sister Jane's naïve idealism. She's been full of herself, and she's judged Darcy more negatively than he ever deserved (not that he hasn't been at fault, but still...) because he stung her personal vanity, while letting herself be charmed and misled by Wickham because he flattered her. She's been very much at fault and she learns a lesson, just like we later learn that Darcy did after she rejected him.

A similar arc applies to Mr. Bennet, the person who has clearly influenced Elizabeth the most throughout her life. At first we're set up to like him for his wit, and to view him as the good, sensible Bennet parent in contrast to his silly, obnoxious wife. But then we realize – and Elizabeth is forced to realize – that no, he hasn't been a good parent, he's been irresponsible and mean-spirited toward his wife and younger daughters, and he's just as much to blame as Mrs. Bennet for all their problems.

How anyone can call Elizabeth a Mary Sue after reading the entire book is beyond me. Some people can't seem to let go of their first impression of her, even though the faultiness of first impressions is one of the novel's main themes.

[bethanydelleman]

I could actually see a stronger argument for Jane Bennet being a Mary Sue, but Jane Austen does not write Mary Sue heroines. Her heroines are beautifullly flawed.

[besotted-with-austen]

I I think that people now use the term "Mary Sue" to simply mean "female character that has too many good qualities and/or talents for my liking".

Mary Sues, at least real ones, even if they can be beautiful and charming, do have an important characteristic-they bend the plot and other characters to their needs.

There are rules in the setting? The Mary Sue is too perfect and worthy of glorification to be chained by those. Someone does not like them? It is the other character's fault, for the Mary Sue is above judgement. They do something genuinely terrible? Of course not, they are never wrong.

Jane Bennet could never be classified as a Mary Sue because her best qualities work against her when it really matters; her desire to see the best in everyone? She is incapable of thinking Caroline Bingley mean-spirited until she makes her real opinion of Jane known. Her docility and perfectly proper behaviour? Almost gets her separated from Bingley forever because he cannot argue that she is just that kind and is accepting his affection out of duty towards her family.

And of course she is liked by universally everyone, unlike Elizabeth-she hardly voices any disagreements, unlike Elizabeth.

[catchymemes]

A small squid tries to disguise itself as the color of a hand

[catchymemes]

[catchymemes]

How To Paint a Realistic Dog (Credit)

[catchymemes]

There’s someone for everyone❤️

[terminalthrillness]

best response of all time