They are both literally me.
I always thought that everybody thought this anyway. Just to different degrees though.
These are called intrusive thoughts and they’re pretty common.
I used to panic so much over this sort of stuff. Call the thoughts “evil” and try to banish them from my mind by repeating that word. I thought it was a schizophrenia thing but it turned out to be normal!
"I’m not going to do the ice bucket challenge, I’m very sorry. It’s not going to make a difference if I do it or not. Everyone knows about the ice bucket challenge by this point. So instead I wanted to do what, it seems like a lot of people who do the ice bucket challenge don’t do, which is: talk about ALS, explain what ALS is."
#she fucking realizes hes not gonna catch her#look at her fucking face#she realizes that he cant get to her in time#that peter parker or spiderman whatever you want to call him because under that mask hes still just a boy who only just graduated high schoo#he cant save them all#he cant save her#and it breaks my fucking heart that he thought he did#that he actually thought he got to her in time and hes so confused when he reaches her#he doesnt understand why her eyes are closed#and you just know that he sat there with her for a while#he didnt move her or himself he just held her undtil her body grew cold and he carried her out ( reformedxserialxkiller )
How do Time Lords even get married or deal with marital problems like
"It’s like I don’t even know who you are anymore! You… You’ve changed, Harold"
"WELL NO BLODDY FUCKING SHIT I GOT HIT BY A BUS SHARON!"
And what if you and your spouse both regenerated while you weren’t around each other?
"Who the fuck are you? This isn’t your house?"
"I fucking live here."
Also I love how sharon and harold are just obviosuly gallifreyan names.
“Jarvis’s holographic keyboard designs were replete with exotic symbols and undefined characters. Meinerding adapted keyboard characters from sources as diverse as mythology and electrical engineering figures…The net result of such subtleties reinforces that the mind of Tony Stark is so advanced that he and Jarvis are essentially speaking to each other in a language uniquely their own.” - The Art of Iron Man
“No one person ever invented an alphabet,” wrote Type-maven Tommy Thompson. Script typefaces were no exception. During the letterpress era they were in such great demand that many people “invented” them, and many others copied them. In some commercial printing shops, composing cases filled with scripts were stacked floor to ceiling to the exclusion of other type. Printers routinely amassed multiple styles of the heavy metal type fonts, each possessing a distinct twist, flourish or quirk, used to inject the hint of personality or dash of character to quotidian printed pieces. Fonts had names like Wedding Plate Script, Cursive Script, Engravers Script, Bank Script, Master Script, French Script, Stationers Semiscript and Myrtle Script — Myrtle? — there were countless others. They surfaced in Europe and America. And the exact same types in France, for example, could be found in Italian foundries with different names.
Scripts signaled propriety, suggested authority yet also exuded status and a bourgeois aesthetic. The wealthy classes couldn’t get enough fashionable scripts in their diet. Likewise, the nouveau riche embraced them too — maybe it helped them to appear even more wealthy.
Seen in everything from wedding invitations and birth announcements to IOUs, menus, and diplomas, script typefaces impart elegance and sophistication to a broad variety of texts. Scripts never go out of style, and the hundreds of inventive examples here are sure to inspire today’s designers. Derived from handwriting, these are typefaces that are stylized to suggest, imply, or symbolize certain traits linked to writing. Their fundamental characteristic is that all the letters, more or less, touch those before and after. Drawn from the Golden Age of scripts, from the nineteenth to the mid-twentieth century, this is the first compilation of popular, rare, and forgotten scripts from the United States, Germany, France, England, and Italy. Featuring examples from a vast spectrum of sources—advertisements, street signs, type-specimen books, and personal letters—this book is a delightful and invaluable trove of longoverlooked material. 275 illustrations, 254 in color