Drifting along

{ 44 | spoonie | bisexual | sub | married } Combat Boots with Raimbow Laces

[purr-in-ink]

Happy International Cat Day 🐈‍⬛🤍

[blushroomfic]

rite of passage thoughts:

the fact that Cassie develops into a typical moody, defiant teenager says so much about Janet as a mom. like this is a kid who endured severe trauma at such a young age; the fact that she is acting like any other teenager just a few years later is a real testament to how safe and supported she must feel with Janet and her SG1 family. 

cassandra calling janet “dr. fraiser” and refusing to call her mom because she knows she’s undergoing some kind of weird transformation and she’s afraid janet won’t love her anymore so she’s trying to get ahead of it by creating distance. and her testing the waters with sam asking “what do you see when you look at me now?” and sam says “i see you” like stopppp this is THE sam/janet + cassie episode. 

i also love how, even without the alien experimentation aspect, this is such a normal pivotal moment for all kids. “will you still love me even if i’m different?” 

also sam is such a dad with that “respect your mother” ass line, “don’t call her dr. fraiser, she loves you and she deserves better than that”

that’s such an interesting dynamic, too, the co-parenting of it all. Sam is the more distant “parent” so all of their interactions are very meaningful to Cassie, and Cassie gets to form an image of Sam that might be somewhat idealized, especially considering how they met. and nobody can ever really live up to that bc it’s partially fantasy. it’s kind of reminiscent of kids with distant/absent fathers idealizing them and in turn villainizing their mothers only to realize one day that their moms were the ones showing up for them all along.

janet fraiser my beloved <3<3

[allthingswhumpyandangsty]

sometimes I’m reminded that there are still people who don’t know ao3 was literally created by incest shippers — and the site’s sole purpose is to 1. be completely against censorship and 2. host all kinds of dark, taboo fics that are banned on other platforms — and the first ever fic that was posted on ao3 was a fic about an incest ship from supernatural.

you are in the house that was created by freaks. for freaks (affectionate). every disgusting thing you can think of is rightfully allowed and welcomed on ao3, because they are exactly the reasons why ao3 was created in the first place.

ao3 was created because its creators got tired of censorship, they got tired of dark and taboo fics getting banned on pro-censorship platforms, and they wanted a place that was safe for ALL FICS THAT WERE DARK AND TABOO.

ao3’s main principle is being against censorship and being proship / profic.

there are some things in fiction that make me uncomfortable, but instead of shaming people who are just minding their own business and not harming anyone in real life, I choose to curate my own internet experience by blocking/muting what I don’t want to see. ao3 has excellent tagging system, so instead of being a bitch, use their tagging system properly and you won’t see the things you don’t want to see.

it’s your job to curate what you see. it’s not other people’s jobs or responsibilities to censor themselves for your personal comfort. the world does not revolve around you.

also you cannot censor “only the things you personally hate” without expecting everything else, that isn’t of conservative beliefs, to be censored too. because censorship is a slippery slope and a fascist tool. I promise you there are people who think “why do tags for queer love even exist on ao3? they’re grooming children”.

if you allow the things that you hate to be censored — because someone with enough power gets to control what other people can and cannot create/consume, it will not stop at the things that you hate.

*illustration by sillyalexnorris

[fletchingbrilliant]

gonna go ahead and reblog this to make it clear this blog is safe for freaks

i don't fuck with purity culture bs

please recognize that it's just consverativism in a thinly veiled disguise trying to convince you it's actually about protecting you

it isn't

it's about control

filter what you don't wanna see and let the freaks be freaks

[fadingembers]

The tag exists so if you don't want to read it you can filter out those stories for yourself instead of censorship.

[laylainalaska]

I'm rewatching Sanctuary (the 00s Canadian scifi show) and just feeling amazed all over again that this show exists. The main character is a middle-aged woman who is a genius scientific polymath who globetrots around the world wearing a cool leather jacket and rescuing people from monsters (also rescuing monsters from people). She's got a grown-up child, a tragic love interest in her backstory, and a hot villain frenemy who she sometimes has to stop from taking over the world and sometimes she saves him/he saves her. Everyone takes her orders and thinks she's amazing. She does All The Tropes (crash-landed in the middle of nowhere, time travel, drug/disease that's going to kill her in X hours/days, etc.) There's also a whole team-found family thing going on with a group of slightly broken people who all live together in a big house and are up in each other's business all the time.

(I remember not really shipping the semi-reformed villain frenemy situationship when I watched this the first time, but on this go-around, oh my god. There's an episode in which he seals himself in a room with a bunch of monsters and a bomb so she'll have time to get away; there's another one in which they're investigating a crypt together, get trapped inside, and he gets badly hurt from tripping a booby trap and she's losing her mind trying to solve the cryptic riddles carved on the walls and figure out a way to get them both out before he bleeds to death. At one point he loses his supervillain powers and moves into her guest bedroom and hangs around in the background drinking all her wine and monopolizing her lab space and keeping up a snarky running commentary about her and her team of do-gooders. Just inject it directly into my veins, thank u very much.)

[perhapsaperson]

I’ll come back for you

Of that I am certain

SG1 - Sam and Teal’c

[deadagaindaniel]

Sam and Daniel: judging you since 1997

[draconym]

Yesterday I was at my local antique store and I was chatting with the owner, with whom I've been acquainted for nearly a decade because I love buying people's used junk and I'm always in there, and he revealed that he has a husband who loves Victorian furniture.

This didn't surprise me but I also like to think that I obviously read as some flavor of dyke and I immediately wondered why he had never mentioned his husband in conversation before. "Why today, after nine years of stopping by this store on my way home from work?" I thought. Then I got home and took off my wallet chain and noticed the new charm I added to it last week:

Don't underestimate the power of cheesy little rainbow trinkets in building community, I guess

[pantserspen]

How to Fix Underwriting

1. Slow down at emotionally important moments.

Big emotions need space to land. If a scene feels rushed, pause the plot briefly to show how the moment affects the character.

2. Add reactions, not explanations.

Instead of explaining what a character feels, show it through physical responses, hesitation, or small actions that reveal emotion naturally.

3. Ground every scene in the senses.

If a scene feels thin, add one or two sensory details—sound, texture, smell, or temperature—to make the moment feel lived-in.

4. Let thoughts interrupt action.

A line of internal thought can deepen a scene without slowing it too much. Thoughts show stakes, fear, longing, or conflict beneath the action.

5. Expand consequences, not events.

You don’t need more things to happen—you need to show what matters. Focus on how events change relationships, decisions, or self-perception.

6. Strengthen setting where emotion peaks.

The environment should echo or contrast the emotion of the scene. Setting is not decoration—it’s emotional reinforcement.

7. Add specific details instead of general ones.

Underwriting often relies on vague language. Swap “they argued” for one sharp line of dialogue or a specific breaking point.

8. Let dialogue breathe.

Short dialogue exchanges without pauses can feel flat. Add beats—silence, gestures, interruptions—to give the conversation weight.

9. Show transitions between scenes.

If scenes jump too quickly, readers feel disoriented. A brief transition helps establish time, mood, and emotional continuity.

10. Clarify stakes early in the scene.

If readers don’t know what can be lost, scenes feel empty. Make sure the character wants something specific and fears losing it.

11. Use the “what are they feeling right now?” check.

After each major beat, ask what emotion is dominant in that moment. If it’s missing on the page, the scene is likely underwritten.

12. Expand scenes that feel “too clean.”

If a scene resolves too neatly or quickly, it probably needs more tension. Messy emotions and unresolved feelings add depth.

[queenmoriarty]

get in loser we’re gonna admire moss and mushrooms in the forest

[liebelesbe]

june is over... goodbye pride month, hello disability pride month!!

[liebelesbe]

let's all be disabled this month... together 🤝

[liebelesbe]

if you're not disabled yet: no need to worry! i can help. come closer.

[sg1]

SG1'S 1K CELEBRATION ☆ @a-few-words-suffice requested ↳ Sam Carter + pastel colours of the rainbow palette

[ruffboi-mags]

So apparently, over the summer, Quibi (the shortest-lasting streaming service ever lmao) did a quarantine project called “Home Movie: The Princess Bride” where a bunch of celebrities recreated The Princess Bride in tiny chunks at home.

And like there was no permanent cast, all these celebrities seem to have gotten a scene or part of a scene to do (i’m not sure exactly, I did not ever watch Quibi and thus haven’t seen this yet), and then they just… recreated it as best they could. At home. Under quarantine.

So like, you had Jennifer Garner in a blanket cape playing Princess Buttercup AND the Booing Old Woman with a crowd comprised entirely of stuffed animals:

Or Taika Waititi paying Westley off a badly-drawn Inigo on a piece of cardboard held in front of someone’s face:

And it’s all just delightful.

But my absolute favorite part of this thing that I’ve sadly never seen but assume is probably absolutely hilarious and a treasure and I want to find it some day and watch the whole thing… is that Carey Elwes is in it.

As Prince Fucking Humperdink.

[movebackintime]

https://youtu.be/lR8pA_WV9QI

Here ya go

[laziestgirlintown]

In case you need a comfort watch and because Youtube search nowadays sucks rancid putrescence, I remind you of the Princess Bride Home Movie from the lockdown, starring everybody

[space-puppy]

Teal'c & Jonas textposts because I love them

[keplercryptids]

hey, it's okay if the only thing you did for pride was exist. i'm glad & grateful you are in the world. your survival is a celebration.

[nudityandnerdery]

Hey, we’re in line for some absurd temperatures here in the southwest this week. This is very important to know and keep in mind. Be safe, stay hydrated, stay out of the sun as much as you can.

[luna-azzurra]

TIPS FOR WRITING GRIEF (AGAIN)!!!

⟢ ⟢ ⟢ LONG POST!!! ⟢ ⟢ ⟢

⋆˙⟡ Grief is not sad all the time and that will mess your character up more than the sadness does. There are going to be hours where your grieving character forgets. Where they're laughing at something stupid on their phone or annoyed about traffic or genuinely hungry and thinking about what they want for lunch and then it comes back and the forgetting makes it WORSE. The return of it after a moment of normal is its own specific violence. It feels like betrayal. Or it feels like proof that you're not grieving right, that you didn't love them enough to remember every second. Writers keep their grieving characters sad in every scene because it reads as respectful and consistent and it is WRONG. The grief that ambushes you in the cereal aisle is realer than the grief you perform at the funeral.

⋆˙⟡ THE STUFF!!! nobody talks about the stuff. Someone dies and suddenly there is a BODY and there are OBJECTS and both of these things require immediate logistical decisions that do not pause for your feelings. What do you do with their half-finished cup of tea. Their reading glasses on the nightstand. Their voicemails still on your phone. Their shampoo in the shower that you cannot bring yourself to use but also cannot throw away so it just. Sits there. Getting lower somehow. Did someone use it. Did you use it without noticing???? the material reality of someone's absence is brutal and specific and most grief writing floats above it in abstraction like feelings are the main event. The feelings ARE happening inside a body that is standing in a house full of objects and that matters. SO WRITE THE OBJECTS.

⋆˙⟡ Grief makes people act completely out of character and everyone around them handles that badly. Your character might get mean. Might get inappropriately funny. Might make a terrible financial decision or sleep with someone they shouldn't or stop showering or clean the entire house at 3am for the fourth time this week. Drief does not make people into better, softer, wiser versions of themselves on any reliable schedule. Sometimes it makes them into someone they don't recognize and that is terrifying on top of everything else. Snd the people around them (friends, family, whoever) they want the grief to be legible. They want it to look like grief is supposed to look so they know what to do. When it doesn't look right they get uncomfortable and then they get scarce and then your grieving character is also somehow dealing with the secondary loss of people who couldn't handle it. which is its own thing.

⋆˙⟡ Someone died and your character didn't like them very much. Or loved them and also resented them. Or is relieved and then immediately guilty about the relief. Or is grieving someone who hurt them, someone with whom things were unfinished in a way that can never be finished now, someone who they had been estranged from, someone who they were about to reconcile with, someone who they had been slowly losing for years before the actual death so the death was almost anticlimactic except that it closes the door in a way that slow losing doesn't. Grief for a complicated person is complicated. You grieve who you wished they were alongside who they actually were. You grieve the relationship you deserved and didn't get. None of this is clean. None of this resolves. Stop writing grief like the person who died was beloved and simple. MOST PEOPLE ARE NOT SIMPLE.

⋆˙⟡ The body keeps doing its thing and that's horrifying. You know what happens the week someone close to you dies? you get hungry. You get tired. You wake up at the normal time. Your body does not know. It has not been informed. It wants breakfast and it wants to stretch and at some point it is going to want things you feel like you have no right to want right now. The physical continuation of your own life in the immediate aftermath of loss is one of the stranger things a human being has to experience and almost nobody writes it. Your character needs to eat. They need to sleep. Their back hurts. They have a headache that won't quit because they've been crying and dehydrated for four days. They are a body doing body things in the middle of the worst thing that has ever happened to them and those two realities exist at the same time with no resolution.

⋆˙⟡ Anniversaries and dates are only half the ambush. the random Friday is the other half. Everyone knows about the first birthday without them. The first holiday. The one year mark. Those dates are braced for. Your character knows they're coming and steels themselves and sometimes that even works. What nobody warns you about is the random Tuesday in March that isn't any significant date at all except that something small happens: the light is a certain way, a song comes on, they see someone wearing the same jacket, and it is somehow worse than the anniversary was. Grief has terrible aim. it does not respect the calendar you've organized it into. it goes quiet for weeks and then destroys you on an unremarkable Wednesday because you drove past a gas station you used to stop at together. Write the random Tuesday. it's realer than the anniversary scene and it will devastate people who know.

⋆˙⟡ People say insane things to grieving people and the grieving person has to just stand there and take it. They're in a better place. Everything happens for a reason. i know exactly how you feel, when my dog died--and your character cannot say anything because this person means well and grief has a strange etiquette where the bereaved is somehow responsible for managing the comfort of everyone who comes to comfort them. The grieving person ends up performing okayness for the people who came to check on them. Ends up reassuring people. Ends up saying thank you for coming when what they want is for everyone to leave and also for no one to ever leave. This role reversal is so common and so rarely written and it is one of the most exhausting parts of early grief. Your character is drowning and spending energy making sure everyone else feels good about the life jacket they brought.

⋆˙⟡ The person who died keeps getting fixed in time while everyone else moves. This one is strange and i don't see it written enough. Your character ages. Changes. Has experiences. Develops opinions. And the person they lost stays exactly the same age they were, exactly the person they were, forever. Which means the gap between who your character is now and who the person was gets wider as time passes. You become someone they never knew. You have thoughts you can't tell them. You reach an age they never reached. Eventually you outlive them. You are older than they ever got to be. And the version of them in your memory is younger than you now. The relationship you carry continues to evolve even though only one of you is still here to evolve it. That is bizarre and sad and completely human and almost nobody writes it. WHY??? :///

⋆˙⟡ Sometimes grief makes people feel closer to the person they lost than they did when they were alive. This sounds counterintuitive but it is real. You finally understand them. You find the journals, the letters, the things people tell you at the funeral that you never knew. You have time to think about them with a clarity that the busy mess of being in relationship with a living person doesn't allow. You miss them in a way that is also a kind of intimacy. The relationship after death is one-sided and strange and ongoing and real. Some people feel the presence of the dead vividly for years. Some people talk to them. Some people make decisions based on what they think the person would have wanted. it's just the relationship continuing in the only form it still can. And it can be written seriously, without irony, without it being a sign that the character is unwell.

[thegoodlannister]

the year is 2012.

I have two tabs open. one is tumblr. I am 160 posts back on my dashboard - I have made it back to the place I left off the night before.

satisfied, I open the second tab to pull up a post-avengers fanfic. everyone lives together in stark tower - each of them has their own floor. for no explained reason, loki shares thor’s. no one questions that he has not been arrested. the team has friday evening movie nights. at breakfast, thor eats all of tony’s pop tarts.

I am content.

[thegoodlannister]

to all the people saying this was an embarrassing time: I am 34 full years old and reading/writing these fics brought me so much joy and rereading them still does. embarrassment is a construct, cringe culture is dead, and the found family trope saves lives.