Sam Winchester fiends of the world, I NEED to know how would you guys want to see Sam’s character arc to have wrapped up in supernatural (if you weren’t satisfied with the canon ending of the show obvs)
(Regular Sam fiends pls reply but know this is mainly focused towards crazy insane Sam girlies who have him on their tomodachi island to “keep him safe”)
Well, people usually go into two extremes for the ideal future for him, either hunting or apple pie life
But I actually think that he could choose the third door and become a proper Man Of Letters and become the head of the american branch. Thus he can settle and be away from the front lines and the trauma of it but not give up his link to the wonders of the supernatural world.
Under him I imagine the priority would be to find a way to cure all monsters as opposed to the british approach of slaughtering all of them on sight.
Also I would want him to accept his psychic powers as part of himself and stop suppressing them because i'm convinced that it's not demon blood but his natural talent. Let him be a wizard he was always meant to be!!!
Feral biting, scratching, and hissing like a wet cat
Overly elaborate, tragic monologues while holding a sword
Just throws a random chair at the problem
Stands there menacingly while their minion/partner does all the work
Delivers cold and precise death to their enemy
Voting ended onJun 26
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Reginald Barclay: makes pretty competent shots with a phaser / clever hand to hand combat solutions while shivering like a leaf, crying and sobbing from overstimulation
Lore Soong: depends on his mood, anything goes
Jean-Luc Picard: cold and precise death territory
Data Soong: also cold and precise death territory but he feels really bad about it
@rikercard Picard going back to wanting revenge on the Borg in First Contact, when the show already had him realize that was wrong in two episodes (the two Hugh episodes). He even subtly encouraged one of those Borg to be a leader of the others.
legit. why does he turn into bayverse optimus mr. "give me your face" i stopped watching that movie halfway through
ALSO might i mention that if they were able to make peace with the Klingons they could have made peace with the Borg SOMEHOW because its Star Trek and that's a more Star-Trekk-y plot
I submit, therefore, this list of things that have probably happened to or could have happened to Ryland Grace before the sun started dying
Student Teacher, both was one and may have mentored one
He is part of the teacher’s union
He has been the object of a child’s awkward crush
He has told parents to get their kid tested, either for glasses or hearing aids or a learning disability
He is a mandatory reporter for SA
He has made that report at least once
It was probably the stepfather
If CPS leaked his name or the police report made part of the court record included it, there may have been a confrontation afterwards
Even if he WASN’T the reporter, a guilty party who thought he was could have confronted him
If Mr. “Waste of Carbon” hit first or hit back, the attorney fees could easily be why he is riding a bike, if he retained private counsel instead of a public defender. $15k-$50k depending on if he hit first or hit back.
Given his general level of fitness and how easily he dribbles and throws, he probably coaches a sport (my guess is basketball)
drills
running
teaching kids drills and running
Swim is a summer sport so he could do that and one other
Away games
Disciplining a student for harassing the bus driver or wait staff
Swim is coed at that age, so he has probably done the Period Talk if he has coached it
If his school does sex ed as a class in home room instead of health class, he has done it and had to deal with conservative parents’ bullshit about it
homeroom
middle schoolers are transitioning to class schedules vs. one teacher. 8th grade home room teachers have to explain the A/B schedule to prep kids for high school or may be the first year on an A/B schedule if the district uses them.
Science Olympiad. Even if he doesn’t coach a physical sport, he and the other science teachers coach that one.
spending his own damn salary on school supplies
parents still bitch about the supply list they are asked to contribute every year
the parents who make the most bitch the most
no they don’t care he eats ramen every August to pay for what HE bought
Teachers are not paid in the summer, generally. They just budget each month and draw seasonal unemployment. It will be about 60% or so of the school month salary
(spoilers below, i am serious, if you haven't finished firmament's latest chapter don't click)
He's changed too much, and he already knows this. I don't think his body can just fall away from him like a shed skin; I don't even think he truly believes it, himself. Where will he go back to, anyway, when he has already been deemed unworthy? When he's been transformed so far beyond message and messenger; when he has felt so much love and joy and loss and grief that he wasn't meant to feel? When he feels so much regret at having to go through with this at all?
Waking Storm won't earn him his place back, won't take away the things that have changed him.
And it's obvious that he's trying so hard to reject his new humanity, even as he enjoys it. We've gone so many places he'd never been, never could have possibly had the chance to visit, regardless of how much he already knew about them; the thrill was obvious, palpable, and infectious.
I suspect this next chapter might be the last (though I'll always be delighted to be surprised). Our choices have had a way of coming back up, and I hope, very sincerely, that there is an ending that leaves him alive: for all that he's done, he's still stolen my heart. And he can't even successfully pretend, in that final conversation, that he hadn't had his stolen, too. (Even from the time of entering Naples, he felt guilt over what would be done, but also over how he has changed. Too human, too soon.)
I ought to hate him, really. The Duchess was right to shoot him, and I am so very glad to have her back. But I cannot help but love him, and cannot help but hope to be there at the end of this to see him succumb to the reality that he is stuck as he is, and to force him to reckon with a forgiveness that acts like poison to the guilt-ridden. (I forgive you, stupid, if you will only let me take you to ground, and start truly allowing yourself to grow into your new personhood - and begin the painful, aching process of grieving and moving on from everything that was stolen from you.)
But I also know, as the text says, "he is just a corpse on the stone". Gone. Maybe the Neath will call him back to his body, as she does with almost everyone else. After all, if he could have escaped his humanity so easily, I imagine he'd have done it sooner. Either way... I will see you in dreams, Tatterdemalion. Don't run too far.
Genuinely, I've never once let myself get this invested in a fictional character, so I don't really have the backbone built up for it (even though part of me does absolutely delight in FBG's ability to tear my heart to pieces).
To those more experienced: what's a good way to process it? I know how to do it with real people; it can still be extremely difficult, but they're real and I already know what I'm doing with that, and there are usually people in your life to talk to about it.
I'll probably be fine in 2-3 days, but damn if that doesn't feel like an eternity.
(Also, if not having Twice-Born means he didn't get shot, I may lose my minddd - aka email and see if I can change my choice, which probably won't be granted but damn I'd have to try.)
For any other interested lesbians outside the US, here's the Meryl Streep & Anna Wintour Vogue interview. Also the Letter from the Editor discussing it:
Both Meryl and Anna arrive in yellow scarves, like a pair of generals in matching epaulets. We’re in a sprawling suite at the Crosby Street Hotel, and the occasion is a conversation with a timely premise: What happens when you put two Mirandas in a room? The filmmaker Greta Gerwig, who directed Meryl in 2019’s Little Women, is here too. As an avowed fan of the Devil Wears Prada films—DWP2 (as it’s known at Vogue) opens in theaters on May 1—she has kindly offered to act as moderator. My role is something akin to court stenographer.
The suite’s jaunty decor matches Meryl’s gauzy, sunny pashmina. Anna’s is more egg yolk in color and of a thicker, fringed cashmere. They catch up like old friends, discussing theater outings, politics, parenting, and grandparenting. Greta describes the emotional whiplash of returninghome to young children after months away on set filming her forthcoming Narnia film (“They punished me on Face-Time,” she says, and Meryl nods knowingly). The winter temperatures outside are record-breaking; inside it feels almost cozy.
But time is of the essence. This encounter is the result of months of planning and not a small bit of arm-twisting, and it was combined with a remarkable shoot: Annie Leibovitz photographing Anna and Meryl with Grace Coddington acting as stylist (a power quartet if I’ve ever heard of one).
Below is a lightly edited version of the conversation that followed. Meryl and Anna began, naturally enough, by talking about coats, which are something of a motif in the first film. (Who can forget the parade of them flung on the assistant’s desk? Though for the record, I have only seen Anna politely hand hers off.) “I like coats,” Meryl said. “They cover all the sins of whatever else is underneath.”
“And they’re easy to try on,” Anna said.
It proceeded swiftly from there.—Chloe Malle
GRETA GERWIG: The question of how you present yourself is so much what The Devil Wears Prada is about. For men, there’s a clear code: You dress for the job you want. But for women, dressing has always been more nebulous. Anna, how much do you think about that? Do you think about how women are meant to dress to communicate power?
ANNA WINTOUR: I don’t think wearing a power suit to the office is in any way necessary. Think about the women that one admires: Mrs. Obama comes to mind. Whether she’s wearing J.Crew or Duro Olowu or Matthieu Blazy’s Chanel, she always looks like herself. I’m full of admiration for New York City’s new first lady because she looks so cool and wears a lot of vintage—young and modern and also entirely herself. To be fair, Melania Trump also always looks like herself when she dresses.
MERYL STREEP: I have so many thoughts about this. I think the most…powerful message that our current first lady sent was in the coat that said “I Really Don’t Care, Do U?” when she was going to see migrant children who were incarcerated. All dress is about expressing yourself, but we’re also subject to larger historical and political sweeps of expectation. I’m stunned at how women in power have to have bare arms on television while men are covered in shirts and ties or a suit. There’s an apology built into women. They have to show their smallness. It’s compensatory: The advancements of women in the second half of the 20th century and the beginning of this one have been destabilizing. It’s as if women have to say, “I’m little. I can’t walk in these shoes. I can’t run. I’m bare, not threatening.”
GERWIG: Meryl, you and I were talking about women in films, and the great parts women have had—like Bette Davis or Rosalind Russell. Even at a moment in America when there weren’t many women with full careers, the roles for women were terrific. And you said, “Yes, well that’s because there was no actual threat of Rosalind Russell taking Cary Grant’s job.”
STREEP: Or Spencer Tracy’s. So it was fun. It was like cross-dressing.
GERWIG: Women didn’t actually present a threat, so we could be big and outrageous in films—
STREEP: We could be brassy and smoke and be tough.
GERWIG: What I think is interesting here is that the character of Miranda Priestly is the sort of outsize role that Bette Davis would be allowed to have.
STREEP: Absolutely. Unapologetic.
GERWIG: I wondered if that was why you decided, 20 years later, to go back. Was it watching the world turn and thinking, What do we need from Miranda now?
STREEP: I was interested in the business part of it, that thing of carrying the weight of many, many people’s jobs, running a big organization, keeping it going somehow. With this one, I thought, Well, where are they going to go? Now that everything’s disintegrating, now that these institutions are being undermined or exploded in a way that who knows what is happening in the world right now—I wondered what they were going to do. And I do think they’ve located something true about the business now.
WINTOUR: What I liked about the first film is that it showed the world what a huge business fashion is. It’s a true economic force globally, and the first film acknowledged that. So much has changed. But I like to think we’re evolving rather than disintegrating. We are still here. We’re all doing our jobs—in different ways and across multiple platforms instead of just one, but how wonderful is that? We’re reaching far more people.
STREEP: Oh, I didn’t mean disintegrating!
WINTOUR: When I heard rumors that this new film might be happening, I called Meryl to ask if it was true. I knew she would tell me if it was going to be all right. She hadn’t yet read the script, so she said she’d call me back. And that’s what she did. She read the script. She called me back and said, “Anna, I think it’s going to be all right.” She told me very little about what happens in the film, but I trusted her implicitly.
GERWIG: Here’s another thing that’s changed: Fashion used to be thought of as elitist. Why was it seen that way?
WINTOUR: Maybe because many, many decades ago we were living in the world of haute couture and very expensive fashion only being available to a small group of society women. Today fashion is so much more democratic, and its influence is enormous. It’s central to the culture. Look at how interested people are in what the characters are wearing in Wuthering Heights or Euphoria. Look at the big companies hiring great designers—like Zara signing John Galliano as a creative partner. Or Gap bringing on Zac Posen. Coach hiring Stuart Vevers. Uniqlo working with Jonathan Anderson and Clare Waight Keller. It’s happening everywhere. This is a very changed landscape.
GERWIG: I would love for you both to just speak about being 76. I’m in my early 40s and I look at both of you and I think, That is worth going for.
WINTOUR: And we’re being photographed by a 76-year-old woman!
STREEP: My life…I can’t even speak about that. That question is too huge. In terms of Miranda, and coming back to that character 20 years later, I did think honestly about Anna and tried to imagine what it was like to carry her responsibility and to be as interested in the world and curious as she must have to be. That’s the key, I think, to being alive: Always breaking new water. Always breakingthe waves. And we’re not done yet. But the thing that’s fun about this character is that I was using my role models, different people that I know, and most of them are men. So that gave me some freedom too.
WINTOUR: First of all, I’d like to say it’s such an honor to be played by Meryl, however distant Miranda is from myself. Who wouldn’t think that that wasn’t the most extraordinary gift? I like my age. I feel as alive, excited, and aware as ever, and I like to learn from my children and from all my teams around the world. It’s always exciting. And I think with experience, you have a sense of balance and proportion, and you know that life is not perfect and that things will go wrong and you’re just going to give it your best shot. But if it doesn’t work, you have to move on. I feel age is actually an advantage.
STREEP: Yes.
WINTOUR: I think with a life well lived, you can lead more easily.
GERWIG: I can definitely say that from being on set with Meryl, everybody sits up a little straighter when you’re there.
STREEP: That’s ridiculous.
GERWIG: No, it’s true. I watched it happen when we did Little Women together, and you were in costume and you sat in for your own lighting, and that was the fastest they’ve ever lit anything. It was just: Meryl is sitting in for her lighting. I don’t know if fashion and publishing feels this way, but I deeply feel that filmmaking is passed from person to person. Meryl, you’ve experienced that—and some of the people you’ve walked this path with are not here. Mike [Nichols] is not here, and Robert [Redford].
STREEP: Mike’s here. [Touches her chest.] Mike is so here. That’s the great consolation of getting older. It’s unbearable when every week somebody’s dying that I love, but you realize, Okay, you’ve got to swallow her. You’ve got to swallow him. You’ve got to have all of them. They are in here, you’re going to use them, and they’re going to live. The indelible people don’t go. We don’t lose people. We keep them and they keep working.
GERWIG: Anna, do you feel that same thing of something being passed on, or a connection to different designers or people who are gone?
WINTOUR: Well, of course, Vogue is built on the values and the traditions of its history. I had the great good fortune to work for both Alexander Liberman and Si Newhouse, and they were extraordinary men with fantastic instincts. I do think you should stay grounded in your past. When you understand your history, that’s when you can move forward.
STREEP: Do you see that anyone will have a career like Karl Lagerfeld’s—
WINTOUR: Yes!
STREEP: That same longevity and influence?
WINTOUR: I do, I really do. I feel Matthieu has found the job of his dreams. The owners of Chanel—Alain and Gérard Wertheimer—are very patient. And they’ve always found that balance between tradition and an openness to change. That was the magic of Karl, who knew history so completely but also had curiosity and restlessness and was an extraordinary multitasker. I think Matthieu has the same vitality and cultural awareness and could be—who knows?—there as long as Karl.
GERWIG: There’s always the question, especially with women, of children and work and how that goes together. And I got very excited thinking of interviewing you because nobody asks about being a grandmother. So, I mean, Meryl, I know you are incredibly involved—
STREEP: Some say over-involved.
GERWIG: How does being a grandmother balance with work?
STREEP: It’s just grabbing seconds, just grabbing everything you can of them, with the knowledge of how completely fleeting it all is and how rapidly time goes. This is what my mother said to me, and I said, “Yeah, yeah.” It’s the longest, shortest time. And you can’t get anything back. So take as much as you can…. I find it divine. I have six grandchildren, six under six. They’re six, five, four, three, two, and one. I hope we’re not done, but we’ll see. I can’t even talk about how much it means to me that my kids give me as much time as they do with their kids. The only thing is that they’re on two coasts, so I’m in the airplane a lot.
GERWIG: And you, Anna, also have grandchildren.
WINTOUR: I don’t have as many as Meryl. I only have four, and I have four step-grandchildren that grew up all around us. Being a mother when you have the jobs that we have—you have to make the time. I was relentless about going to the games and turning up at the parent-teacher meetings, being there when it was important. I felt like Vogue could always wait and that it’s okay to be a busy mother. You make it work. We have a family compound on Long Island, and I try to make it a center for all of us, who are spread all over the world. We love to celebrate birthdays and weddings; traditions are important—we’re English, so we constantly play games and stage countless tennis tournaments—and we try to take care of each other through thick and thin. I try to instill in my children and my grandchildren that it’s family that counts and family who will give you love and support. If you have that, everything else will be fine.
GERWIG: Meryl, you said something to me that has rattled around in my head. You said, “Life begins when you make a commitment,” and I thought that that was such a wise thing to say. Obviously when you have a family that’s the biggest commitment, but I think for both of you in your work, you’ve made a commitment to your respective fields.
STREEP: Tom Stoppard said, “You’ve got to shif t your weight.” You’re always, always on unstable ground. It’s so uncertain being an actor. You’re chronically unemployed. And then there’s no sort of climb, because fame is something you have in a second. But to make a body of work and have faith in yourself? That takes time, and you can’t do it at home by yourself—it’s not like writing or composing. I don’t think: I love this job. I’m going to have this job for a long time. I think: This is the world. The unstable world. Everything changes and it’s about learning to sort of be prepared for that.
WINTOUR: But I also think challenges are really what makes what one does interesting. During COVID we had to totally change how we worked, how we communicated—everything. I thought all the time of my son, Charlie, who was a resident at Cornell. He was working in the COVID wards and because his field is mental health, a part of what he had to do was to break tragic news to families when they had lost someone. We were all holed up out in the country, and he would come home every weekend and had to descrub and then he would reach for his children and just hold onto them. That for me was context—an important reminder of what was happening in the world even as I was trying to lead these global teams through uncharted waters. What do you do? You find a way.
GERWIG: If you had her job, and you had her job, what is the thing that would be most exciting and what would be the thing that you would think, I can’t do that.
WINTOUR: There’s no way. I have no gifts. I have absolutely no gifts at all. I can’t sing, I can’t dance, I can’t act, I’m useless with my hands, I can’t cook, I certainly can’t sew.
STREEP: You run a multinational corporation, that’s all…. I would dread the shoes. Every day, wow, to pull it together. But working with a lot of young people would be thrilling, and to keep all the ideas flowing—I love that kind of engagement—and also just to be creating something that makes people happy. To find beauty. Look for it, nurture it. Support it. That’s a good thing.
GERWIG: And now I’ll just ask one sort of fandom Miranda question. Has her style changed?
STREEP: Well, everybody was afraid of Anna on the first one, so we couldn’t find any clothes. Nobody would give us any clothes. This time we pared her down. We made her simpler and just more essentially her. And we do have less hair with me—so that was not as floppy and floopy. She loves an accessory, but there’s a fearless thing with her. Less worried about what anybody thinks.
GERWIG: Did you want to say which is your favorite costume?
WINTOUR: Oh, the red dress, the Jezebel dress. Pierpaolo!
STREEP: Pierpaolo. That he would make that.
WINTOUR: It’s a great dress. You look amazing in it. What’s the film in which your costumes have been your favorite? I know mine is Out of Africa.
STREEP: I don’t know. There were so many great people I’ve worked with. I liked Florence Foster Jenkins because I love a big bosom and they knew how to dress a big bosom at a certain time. Costume is character. When I was at Vassar, that was my degree, in costume design, because I’m a good sewer and I really love drawing. For my thesis I designed 60 costumes for Camino Real—you know, the Tennessee Williams play. And all those characters are so vivid. They’re so idiosyncratic and weird. All my life I’ve thought I’ve been such a pain in the ass for whomever is the costume designer. Because I have such little nitpicky ideas.
GERWIG: Meryl, you said this thing about the first movie and how you loved being with everyone on set—with Anne and Emily and Stanley—but that you felt as if you couldn’t quite hang out with them the way that they could hang out with each other.
STREEP: Oh, they all had a fabulous time. And I felt like I had to have some distance. I do like a hang, I mean, that’s almost how you pick the things, like, How good is the hang going to be? But I really consciously pulled back, and I was sitting in my trailer just miserable the whole time.
WINTOUR: What did you read when you were in the trailer?
STREEP: I didn’t read. I knitted. I’m still knitting. But I can’t read anything when I’m working because it splits my focus. Especially with this character who has a sort of relentless energy.
GERWIG: When we had a wrap party for Narnia, I realized nobody wanted me there. I was like, Nobody can have any fun as long as I’m there.
WINTOUR: I know that feeling.
GERWIG: So when I embraced the last crying child, who was sad that the movie was over, I was like, “I’m going to take myself home.” And I almost felt like, as I walked out the door, everyone was like, “Yay.”
WINTOUR: The art of the drop-by is also good. You go for five minutes and head for the hills.
GERWIG: You want to tell us the plot of the movie?
STREEP: That’s, like, the last thing I ever remember about a movie. I am the best audience for my own movies because I never remember what happened.
WINTOUR: Let ’s hope it ’s a happy ending.
STREEP: Yes, it’s a happy ending. Or not happy, exactly. But it’s real and it’s triumphant.
WINTOUR: Can’t wait.
...
Letter From the Editor
I REMEMBER ATTENDING the premiere of The Devil Wears Prada with my mother (I wore my prom dress) and we sat behind Anna (in…Prada) and her daughter, Bee. Bee and I were both in college and discussed summer plans. When I started working at Vogue some years later, friends’ parents, suburban businessmen, my mom’s doormen would all ask, “Is it like that?” “What’s the most Devil Wears Prada thing that’s happened?” “What’s it like working for Miranda Priestly?” They knew her name!
These were people outside of fashion—men especially. As it happens, Meryl Streep, who shares our cover this month with Anna Wintour (a portrait captured by Annie Leibovitz and styled by Grace Coddington), mentioned that Miranda is a role that men most ask her about and see themselves in.
This was just one of the unexpected tidbits from the Meryl-Anna interview accompanying Annie’s shoot—a three-way conversation conducted by Greta Gerwig (Meryl’s very good idea!). Topic A was The Devil Wears Prada 2. What made Meryl want to do the sequel? What did Anna do when she heard it was happening? (Answer: She called Meryl.) Meryl revealed she would never actually want Anna’s job (“I would dread the shoes”). Nor could Anna imagine doing Meryl’s (“There’s no way”).
I was there to keep things on track but really I just enjoyed myself. They talked about longevity among designers, dressing for work, how clothes express who we are (who can forget Miranda’s cerulean sweater monologue?). This made me think about “Costume Art,” the upcoming Costume Institute exhibition at The Metropolitan Museum. This month, Ethan James Green has photographed fashion and fine art for us inside The Met’s new Condé M. Nast Galleries. Annie assembled members of the Gala host committee for portraits. Five visual artists considered the range of body types in the exhibition, and we staged a pajama party at The Mark Hotel to honor the tradition of seeing the sun rise after a very late night in ball gowns.
Amid it all, I had the thought: Why not make our second Vogue Book Club pick The Devil Wears Prada? I’d never actually read Lauren Weisberger’s novel, and it is a wild ride: five-inch stilettos every day, bottomless Big Apple Car accounts, and New York coffee that, apparently, cost $1 a cup in 2003. That's all!
What's everyone's favourite flowers that aren't like. The normal ones. Like everyone's a fan of roses and sunflowers what's a more niche one. One you don't get in gift sets. Mine's sweet peas
I haven’t watched Star Trek: The next generation yet, but from the clips I’ve seen online I’ve come to the conclusion that data is the biggest sweetheart ever and everyone is mean to him for some reason??
okay i’m gonna say it: fandoms are kinda dying on tumblr, and they’re starving because nobody reblogs anymore.
like… i don’t wanna be that person but be for real?? likes are cute and all but they do nothing for creators. ZERO. NADA. a reblog is literally the oxygen mask keeping this blue hellsite alive. you say you “love” a fic, an edit, a gifset? then BABES… reblog it. boost it. let it breathe.
half the time creators are out here pouring their entire soul, spine, AND three vertebrae into something just for it to get 200 likes and 3 reblogs, two of which are their own. that’s why people stop posting. that’s why fandoms feel empty. content doesn’t magically fall from the sky — it comes from people who feel seen.
and i promise you: reblogging is free. it costs you like 0.2 seconds and suddenly you’re personally responsible for keeping a whole fandom alive. congrats!! so yeah. if you like something? reblog it. scream in the tags. yell. keyboard smash. put sparkles. do whatever. just don’t let creators feel like they’re shouting into a void.
reblogs feed creators. reblogs keep fandoms thriving. reblogs literally save lives (okay maybe not literally but u get it).
support the creators you love !!!!!! or else we’re all gonna be sitting in empty tags like clowns.
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