apropos of not very much —

i will never be the person to tell you that internet friendships are not real and valuable and even sometimes life-saving.

but internet friendships, like offline friendships — and the hybrid of both — are not a substitute for mental health care. putting all your mental and emotional eggs into one friendship basket will not help you figure out how to best live with yourself. it’s reprehensible to put that weight onto someone else without their knowledge and/or consent.

myers-briggs personality types

↳ ISTP (The Crafter)

ISTPs are curious about the mechanics of the world around them and typically have a unique ability to manipulate the tools in their environments. They tend to study how things work and often achieve mastery in the use and operation of machines, instruments, and equipment. They seek understanding, but in a practical sense: they like to be able to put their technical knowledge to immediate use and are quickly bored by theory.

ISTPs tend to be detached and prefer the logic of mechanical things to the complexity of human emotions. Independent and reserved, ISTPs treasure their personal space, and want to be free to be spontaneous and follow their own lead. ISTPs are selective about their relationships, and appreciate others who allow them plenty of freedom to do their own thing.


  • commonly found in populations of male college scholarship athletes
  • lowest ranked of all types to use social coping resources
  • one of four types least satisfied with their marriage or intimate relationship
  • among types least likely to finish college
  • commonly found in skilled trades, technical fields, agriculture, law enforcement, and military occupations
  • famous istps: clint eastwood, amelia earhart, miles davis, and katherine hepburn

@stephbeatz: In the make up trailer, Andre reads his scripts aloud before he gets made up. It’s very soothing. He reads all the roles. #bts #rosasecretsbrooklyn99 #brooklyn99 (x)

The only thing that could make this better would be Tim Gunn showing up. “Andre, let’s go to Red Lobster.”


@stephbeatz: In the make up trailer, Andre reads his scripts aloud before he gets made up. It’s very soothing. He reads all the roles. #bts #rosasecretsbrooklyn99 #brooklyn99 (x)

The only thing that could make this better would be Tim Gunn showing up. “Andre, let’s go to Red Lobster.”

“In 1979, when the minimum wage was $2.90, a hard-working student with a minimum-wage job could earn enough in one day (8.44 hours) to pay for one academic credit hour. If a standard course load for one semester consisted of maybe 12 credit hours, the semester’s tuition could be covered by just over two weeks of full-time minimum wage work—or a month of part-time work. A summer spent scooping ice cream or flipping burgers could pay for an MSU education. The cost of an MSU credit hour has multiplied since 1979. So has the federal minimum wage. But today, it takes 60 hours of minimum-wage work to pay off a single credit hour, which was priced at $428.75 for the fall semester.”




In the TVLine interview after Holland said something similar, Jeff was harping on about how she’s not a minor for that much longer. I mean, I still think she’d probably know if it was happening, since they finished the season, but just sayin’.

One of Marvel’s Avengers Turns to Sign Language. The story strives to connect readers with what he is experiencing: when he can’t hear, the word balloons on the page are blank. The comic also makes extensive use of sign language, but provides no key to interpreting them. “If nothing else, it’s an opportunity for hearing people to get a taste of what it might be like to be deaf,” Mr. Fraction said.

(via adisusedshed)


Anonymous asked:

"I think we can all agree that quality-wise the show really took a nosedive in S3 (and I have many thoughts on why)" - I'm really interested in that, would you mind talking a bit more about it?





I have a lot of theories. They’re all wild conjecture. :D But if you look at the writing credits for the various seasons, I think you can see where some of the problems may be happening.

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Aaron Sorkin is an american writer/showrunner who is known for micromanaging, not listening to anyone else, and has his name on this many or more scripts. His shows suffer from the same lack of quality IMO.

I had an anon drop into my inbox to point out Aaron Sorkin also (I hope you don’t mind if I just answer you here anon :D); I hadn’t realized he also did this, but again I think there are cases where people can get away with doing things this way because they’re straight-up brilliant. Or, as you say, you can see the fault lines in the finished work where they probably should have done something different (but still managed it anyway because they know what they’re doing with a story).

The thing with Aaron Sorkin is, his writing is very distinctive. He’s another of those writers you recognize right off just by the way his characters talk and the rapid-fire pace he sets. (Joss Whedon’s dialogue is similarly very distinctive and I think for a lot of us even shaped in some ways our own language development, but the difference there is Joss found writers who could do that, too, to the style he set. Delegating!) Maybe he does a lot of his own writing because he’s not confident that anybody else can emulate that style, or maybe he’s just a control freak, whatever, but he can pull it off because he’s actually good. I’ve seen a few seasons of the West Wing, which I thought was great, and I was a HUGE Sports Night fan, and the fact that he did so much of it himself tells you that the guy’s talented. Like pretty much any show ever, problems crop up as the show goes on, and sometimes they’re big and sometimes they’re small… I thought Sports Night season 2 suffered when they started getting too much into the romance drama right away, but I will still slowly sink into the sea clutching that show to my bosom. As far as I can tell Sports Night was his first time writing episodic television (he has written by credit on 32 episodes out of 45) AND his first time as an executive producer (or producer of any kind). So you look at something like Sports Night, which is a comedy that still delivered on dramatic moments that if you bring them up right now, YEARS later, I will cry like a tiny child. The dialogue was snappy, the relationships were complex, there were terrific female characters… god there was that speech where Isaac absolutely fucking DISMANTLED Dan for comparing himself to Rosa Parks. Jesus that show was so fucking great. And THAT is why Aaron Sorkin can get away with it.

Several people have also mentioned J. Michael Straczynski, who produced Babylon 5 and as far as I can tell has writer credit about 100 episodes just of B5 and Crusade, not to mention B5 movies, and other movies, and all sorts of stuff. But as those folks have also mentioned, JMS was obsessive about pre-planning for things like actor exits, he had a very comprehensive show bible, he’d mapped out the storyline for like five years in advance… there are still places that you can see he was scrambling to meet the daily challenges of producing television and had to change direction in a hurry, but he also went in prepared to be flexible, and while we’re talking experience, the guy had already been working in television for a long time; he’d worked on some seriously popular projects like the 1980s Twilight Zone, Jake and the Fatman, Murder She Wrote, He-Man, She-Ra… shit, the guy literally wrote the book on screenwriting. :D

Like, I’m not expecting Jeff Davis to be producing something like Sports Night. I’m not trying to hold him to a crazy high standard. Teen Wolf is the type of show that I’d call a guilty pleasure if I ever felt guilty about my pleasures (totally don’t), and I’m not expecting the next great thing here. (I just came out for a good time and honestly I’m feeling so attacked by these plot holes right now.) But the guy’s not even trying. At all. And worse, it seems to stem from his belief that the audience doesn’t notice and doesn’t give a shit about things like Derek mysteriously having a sister who survived (ugh his whole thing is that THEY’RE ALL DEAD) and there’s never even a moment on screen where we even get to see him ask her, like, “how did you survive the fire?” Nevermind that she’s literally just a placeholder for another character who’s gone, which is bad enough, they don’t take the time to offer us an explanation. I’d even have taken a stupid, outlandish explanation.

I guess what it comes down to for me, and why I get so worked up and irritated about it, is that Jeff seems to be constantly saying, “Eh, the viewers aren’t paying attention, we can get away with it,” instead of saying, “The viewers aren’t paying attention… what are we doing wrong?”


Anonymous asked:

i was talking to my friend, a tw fan who is not actually on tumblr or any type of social media for that matter and he sighed and was like 'wow i haaaate derek, i haaate all the actors too' and i was like 'wait you hate tyler hoechlin???' and he looked at me like i was insane and yelled 'hon its hoechlin like i am a straight man but jesus lord i would suck his dick and make him smile any day he is too good okay exclude him from everything i say onwards' anyway yeah



and on the ninth day god said “let there be tyler hoechlin” and he saw everything he had made, and it was good


manicpixiedreamalien asked:

Derek losing his powers is terrible but consider this: can he now, for the first time in his life, get drunk? And what would that look like?



Derek getting shitfaced drunk for the first time in his life

Derek getting like 17 year old at his first house party drunk

Derek getting puke in the bushes and the potted plants drunk

Derek getting i’m gonna tell you all my dirty most terribly depraved fantasies and secrets drunk

why seb stan is problematic


  • he hugged people at a con when he wasn’t supposed to
  • he forgot to wash his hair for comic con 2013
  • he said wiotch one time like that is a problem in and of itself
  • sometimes he doesnt button his shirts up all the way
  • v necks
  • also transparent shirts
  • skinny jeans like who do you think you are some kind of hip teen
  • does he dress in the dark or something what a dweeb
  • doesnt know how to dress for tennis
  • he lives in starbucks
  • binge watched friends
  • he went to prom THREE TIMES
  • seems to regret everything he says
  • always wasting perfectly good alcohol by pouring it on himself
  • cant answer interview questions without saying “um” or “you know”
  • his tongue is out of control
  • slammin thighs and bedroom eyes
  • feel free to add anything you can think of

(via queervengers)


"It’s my first time here. I wanted to come to - you know you don’t go to Comic Con without going down on the floor and seeing it all, and so the way I came up with doing that was Spider-Man." - Daniel Radcliffe at the 2014 SDCC

(via swingsetindecember)


71malkins asked:

Just to add to the stuff about writing credits- it is incredibly bizarre that Jeff writes so much of the show. I'm getting my masters in TV writing and all the showrunners I've met have described the writers room as a very collaborative experience, planning out the season and breaking episodes together. It seems like Jeff has WAY more creative control there than he should. What interests me more, though, is that he takes the bulk of the writing credits. (1/2)




If you get the credit for writing an episode you will also get paid more for being the writer of that episode, staff writers being the exception. Still, staff writers might elsewhere expect to get one episode credit in a long season, and higher up the chain — i.e. story editor, CO-EP — they’d expect more, maybe two, which they’d get script fees for. Those people you called minstrels? I think they’re the people in his writers’ room, with a nominal say in his season. It’s all very odd to me. (2)

Yeah I really…. don’t understand any part of it tbh. I can’t really find any angle on it that looks like the full picture. Like for all those writing credits, is he actually writing all of those scripts solo, or is he taking writing credit when he’s doing really heavy rewrites? It seems like some of the writers people have talked to like at the BiteCon panel are a part of the process of developing stories and all of that throughout the entire season, so I guess I’m not entirely sure what their actual roles entail and how much they’re actually involved when they seem to only very rarely get an actual writing credit. It seems like a very top-down approach to writing and I’ve certainly heard of some showrunners who are very set on their own (sometimes terrible) storylines, but I’ve never heard of one not even willing to give up the day to day to their staff. That’s what they’re there for, after all.

I’m also really used to shows not just having what I think you’d technically call staff writers (like the ones who write one or two eps in a season) but also writer-producers like you mentioned who are much more involved in all the other stuff that’s not writing. Like I know Morgan & Wong were very involved in that stuff on The X-Files (and they ended up taking over on Millennium as showrunners at one point). Joss Whedon had several writer-producers on Buffy, I don’t know who all but definitely Marti Noxon and Jane Espenson. Like having lieutenants basically so the showrunner not only isn’t writing every episode personally, they’re not even necessarily doing all the story edits and stuff on the other writers’ episodes either.

If anybody’s interested in this stuff, there’s actually a really good article on Writer’s Digest about how much television writers are paid, and it goes into pretty good detail about staff writers vs writer-producers and what exactly they’re getting paid to do. It’s several years old so the WGA rates have probably changed, and I’m not sure how the pay scale would differ for a showrunner necessarily, but if Jeff’s getting paid his base salary stuff plus script fees for like 7-8 episodes per season, that’s… I can’t math, math frightens me, but that seems like it’s probably a seriously incredible amount of money. You’d think he could at least bring his A game.

Just to add: The producer thing is also confusing in tv- like the title of co-executive producer? Those people often aren’t actually producers in a  traditional sense, they’re actually just writers at a higher pay grade. Just like story editors are writers with more experience. Here is another/ more detailed explanation of pay structure from the WGA for anyone interested.

Jeff as showrunner should assign the writing of individual scripts once the room has broken out the scenes in detail. A lot of showrunners then do some rewrites, or bigger ones if they’re unhappy, but the writing credit should go to the person assigned that episode, I think. It indicates to me that Jeff is hoarding the writing from the very beginning. (See p24 on that WGA link where it talks about ‘credit grabbing’.)

The only showrunner I know comparable to Jeff is the guy from True Detective, which word is has no writers room AT ALL because the showrunner is an eccentric genius type who can get away with writing everything himself. A showrunner I know says that’s a very unique situation, though, and that he only gets away with it because a) he’s good, b) he’s a dude and c) he doesn’t work great in a collaborative room- or didn’t when she worked with him. Jeff is not Nic Pizzolatto. He is not a genius.

In a way it makes sense that Jeff has an iron fist over his room and his scripts, because there’s no way a strong room could produce the plot-holey drivel that’s been season 3 on. The consensus among writers I’ve spoken to is that Jeff is fine at setting up a pilot and first season, fine with episodic stuff where continuity isn’t a problem, but is struggling at the long game. He really should hire a strong writing staff and use them to steer the show back onto the right track- though I personally think it’s far too late.