This is a potentially controversial statement, but I feel like cutting the prologue is the first thing you should do when directing Romeo and Juliet for a modern audience.  Like, right off the bat. It’s not necessary. What does it tell us that we don’t collectively know?  It’s not interesting on stage unless you have Jerome Robbins handy to choreograph a dance scene with snapping gangsters.

I just feel like you should watch Romeo and Juliet and not expect the ending. It’s just so much more emotionally satisfying if you sit there thinking: “THERE IS STILL A WAY OUT OF THIS SITUATION.”  And then, when everything explodes, you feel that desperate, tragic sadness, too.  All I know is that, when you act, you don’t play the ending. You play moment to moment because that’s how we live our lives.  I think Romeo and Juliet is a much less interesting, lower stakes play if Romeo and Juliet are aware of their fates from the beginning and don’t react moment to moment. Sure, they both have premonitions, but they both shrug them off and keep on fighting because they believe their lives and love is worth it.  I feel like the prologue subverts all of that. Why keep it just because people expect it?

i’m confused. why would romeo and juliet hear the prologue? is there a production somewhere where they do hear it? that’s not normal.

I’m a bit confused by the phrasing as well but perhaps the OP is suggesting that it should be cut so that the audience isn’t reminded of the ending? Although I can’t imagine that many people don’t already know what happens. (Though I did once sit next to someone during a Macbeth performance who was genuinely shocked at each new twist, which was fab!)

I do take issue with the idea that not knowing what happens next and being on tenterhooks to see if things will turn out alright is somehow ‘better’ tragedy. It’s more dramatic but I don’t think it makes it any sadder. (The French often categorised Shakespeare’s tragedies as ‘dramas’ because dramatic tension is a key feature in them.) A lot of their tragic plays are about facing the inevitable or the clash of two good people/ideologies rather than people vs their circumstances. I guess that what someone finds more ‘tragic’ largely stems from personal preference.

I have to say that R&J irritates me as a play (I enjoy it on stage, but have issues with the story) because their actual deaths are caused by so many petty plot devices (dodgy messengers, ill priests etc.). I always feel that cheapens the story - sure, the Montague-Capulet feud is a factor, but not the direct cause of the kids’ deaths.


This is going to be vague, so I apologise in advance

Can anyone remember a McShep AU where Rodney moves into a new house and John is the person he hires to fix it up/do some maintenence work on it?

If it rings a bell, could you point me in its direction please?

Bit of a long shot, but might it be A Whole World of Trouble?

The repair work is very low-key, background stuff, though, rather than centre stage.


Oh no! I dont know if my ask went through (an error message popped up after I hit send). If it did, I'm the anon who asked about your fic recs for Phil/Clint and Bruce/Tony (because I cant find any that I really like so far; you've pushed my expectations/standards too high ;D any rec is a good rec)


Here’s the thing: I am really, really bad at remembering what I’ve read. I don’t keep links to fics for very long. That said, I’ve tried to find some of my favorites for you, so let’s see:

Pine Lake Oasis by infiniteeight (Phil/Clint)

Five Times Tony Tried to Set Phil up on a Date and One Time He Really, Really Didn’t Have To by infiniteeight (Phil/Clint)

Let Them Call It Mischief by infiniteeight (Phil/Clint)

I Fix Your Shit by eligh (Phil/Clint, Tony/Bruce)

A Marriage of Convenience by enigmaticblue (Tony/Bruce)

Stark, A.E., and Banner, R. Bruce. (2013). “Biodosimetric Tools for Measuring Induced Isomeric Transition in Inverted Paired States.” International Journal of Radiation Biology 89.9, 43-85. by thingswithwings (Tony/Bruce)

Nonetheless, We Have the Will by hugealienpie (Phil/Clint)

But I Will Hold on Hope (And I Won’t Let You Choke) by perpetfic (Phil/Clint)

These Are Our Friends, These Are Our Foes (You’re the One I Love the Most) by perpetfic (Phil/Clint)

Launch Your Assault by foxxcub (Phi/Clint)

Winner Takes It All, Or: Five People Who Wondered and One Who Didn’t Have to by lavvyan (Phil/Clint)

There are more that I can’t remember the name of—an excellent one where Clint breaks his hands and Phil comes and takes care of him (fusing MCU with 616), a couple different ones where Clint or Phil has a kid—and I left out universes like the Nadiaverse where Clint and Phil are together but aren’t the main focus of the world. And I left out some PWP because, uhm, well. Reasons.

If anyone else has any good ideas, let the anon know! I am bad at this.

ETA: And I left out threesomes and crossovers, as well. And when people like perpetfic and infiniteeight and foxxcub had like a thousand fics with a given pairing, I just shared my favorite, because I figured you could find the rest of their words if you liked what I linked. 

These are all fab! FYI, the MCU/616 fusion fic is Relief by infiniteeight here:

It’s a personal favourite :)


I just saw your Avengers bad fic bingo game and omfg you've read fics with Clint living in the vents of Avengers tower?! I've never come across that but it sounds hilarious!


oh my god that trope it’s the single most RIDICULOUS trope and i’m not sure where it even originated? because it makes ZERO sense for his character. <.< why the hell would an archer be in the vents all the time? ?? (i’ve probably even written it myself once)

but yes. i’ve seen it more in phil/clint fics and tony/steve fics where phil/clint might be background, than in any other fics, but i don’t know man. i’ve also got no sense for how prevalent it is today, as we made the bingo card about 1½ year ago, and i’ve stopped reading tony/steve since then, and i haven’t read much clint/phil either, i guess maybe a handful? so i don’t know. i’m in no way up to date on the current tropes in the mcu fandom…







CLINT IN THE VENTS!  Started as a legitimate character quirk in a fic that I read very shortly after Avengers came out that I can no longer remember.  The logic, in the fic, is that that’s where he goes when he’s super stressed or upset or freaked out, because (taking from the backstory in comics) he had an abusive home life, and then a pretty-borderline-abusive/neglectful life in foster care/group homes, and he would hide as a kid in small spaces to feel safe, and he learned from a young age that people don’t often look UP when they’re searching for a kid, and so hiding in the air vents was the perfect mix of those two coping mechanisms, and he still fell back on them sometimes.  It wasn’t his NORMAL mode of behavior, and it actually indicated that he was REALLY NOT DOING WELL in some way, and it made sense.

But then OTHER fics started using “Clint in the vents” without giving it as much context, and then they started using it as a casual thing, and then it became this huge fandom trope entirely divorced from the original “kind of shitty bad-mental-place coping mechanism from his abusive childhood” context that was the only reason it had made sense AT ALL.

And that is where the “Clint in the vents” trope came from.

That’s so interesting! I mean I could understand it from a crack fic perspective but as a realistic action for his character it didn’t make sense until you explained it, Mat. If you ever find it again, please send me the link! I’d be really interested in reading it.

Yeah, it’s pretty cool!  And I doubt I will ever come across it again, but if I do I will be sure to link you! ^_^

I am about 95% certain that what you’re thinking of is snack_size’s Adaptations series, which according to the notes was written for a kink meme prompt. Also noteworthy, though written some months later, is BobbiMorsed’s do the math, expect the trouble series, which has Clint doing the same thing when just recruited for SHIELD. Both are well worth your time, and both have Clint doing it because he’s fucked-up in some way, grief, hyper-vigilance, history of abuse, etc.

Shadow is amazing with the fic linkage, and Adaptations is indeed the fic I was thinking of! No idea if it’s as good as I remember it, but the context at least makes SENSE, which is all I ask for a ductwork fic at this point.

I hope that it’s as good as you remember! I knew it pretty much immediately, because though it’s been a while since I read it (and though it does have echoes of former Phil/Clint) it’s essentially a Clint/Bruce story, and there is so very little Bruce, let alone with Clint. The other, I haven’t read in AGES, but from memory it’s got a solid big cast and Clint is deftly drawn.

I’m gonna fess up now and confess that I have written Clint-in-the-vents into a story, but he wasn’t living there, he was hiding there so he could snipe new recruits with Nerf darts because he was bored.

FWIW, the backstory of Clint’s canon childhood and how it plays into his affinity for high, hidden places where adults don’t look is encapsulated very neatly in one of scifigrl47’s head canons on ao3 here:

Speak your own language day!
















How do you say Goodmorning in your own language?


Dobroye utro

בוקר טוב


صباح الخير

Добро утро




Bom dia !!!!

Dzień dobry! Albo jak ja to mówię Dżem dobry (literally Good jam)

Maayong aga!


God Morgon!




Oh, so, one of the things that happened during my Mass Effect 2 adventures last night was running into Kaidan on Horizon.

Wow, does that guy know how to push my buttons. And not in the fun, sexy way.

Read More

Yeah, that always pissed me off too. Replaying it now (years after my first few runs), I think a big part of my own frustration with that scene is the game’s set up. As a player (especially one who did ME1), odds are pretty high you TOTALLY AGREE, but at no point does the game let you do anything but work with Cerberus. Sure, you can mouth off to the Illusive Man, but that’s… kind of it. (And for the first few hours the only evidence you have that the Alliance won’t help is from the Illusive Man himself. Which you have no option but to swallow.)

You can even get reinstated as a Spectre but with no convincing explanation for why you can’t just tell the Illusive Man to eff off, rejoin the Alliance and work with Anderson (undercover if necessary) to discover what the Collectors are up to.

Seriously, when my first Shep met Kadan she was just… wtf? I don’t want to be here either, dude! Take me with you (forget all this ‘come with me’ crap)! →



Okay, so I have some serious re-watching of MAoS to do in my future, but riddle me this:

- we know S.H.I.E.L.D. evolved from the Strategic Scientific Reserve, right?

- we know they have the Academy and the three campuses that recruit talent from all over the (?) U.S.?  The world?

- we know S.H.I.E.L.D. is at least a semi-secret organization, since they drive around in marked cars and have I.D. that police-officers and people respect (ep 9 “Repairs”), but Skye refers to them as the “men in black” in Episode 1 during her internet radio speech

So can we assume that there’s a lot of security around the various Academy campuses?  Security we maybe didn’t see in the episode?  Maybe they are hidden, or tucked away, or disguised as regular universities?

Can S.H.I.E.L.D. actively recruit people, or do they have to do it undercover?  Jane hadn’t heard about S.H.I.E.L.D. before in “Thor”, but Selvig had, because “he knew a guy” who got disappeared.  

So… maybe S.H.I.E.L.D. pretends to be a normal University?  Maybe they pretend to be the F.B.I.?  Maybe you don’t even get in the door until you sign a bunch of confidentiality and non-disclosure agreement on top of your PhD?

Maybe you have to agree to only publish under a pseudonym?  Maybe that’s why - if they ever approached Jane - she said no?

I’m trying to develop some headcanon about this world.  Help me out here, guys!

Oh this is FUN! :D

I’d say they definitely recruit from anywhere in the English-speaking world (at least - probably elsewhere too but I don’t think that’s backed up by anything) since FitzSimmons’ accents and youth mean they probably didn’t grow up in the US. (And Peggy’s role mean they probably kept feelers in the UK.)

I always assumed that SHIELD was totally covert (and ID wouldn’t be recognized by regular police etc.) until the Battle of NY. I think (?) Skye’s voiceover in the pilot hints that they came out of the shadows after that. I’m guessing their name was all over the clean-up, explanations, the whole media circus etc. That would allow for the wider recognition we see later plus the Rising Tide’s scepticism about a new, shiny agency.

I assume they’d recruit young scientists through word of mouth - respected leaders in the field who tell them about this super-secret project that will let them really stretch their abilities, not like those Oxbridge-Ivy League stick-in-the-mud schools… And instead of publishing and dealing with all those pesky redactions, you get to jump straight into real-world applications?

As for field agents like Ward… perhaps siphoned off from the CIA or military intelligence? I’m guessing they’d want people with a more international bent than the FBI since a lot of the missions we see take place abroad.

I’m not sure how they manage the identity of the universities - if they have a huge ‘wall of valor’ in every building that kind of limits your covertness! Maybe it was dragged out of a basement after the Battle of NY? Or perhaps they’re set inside the much larger grounds of a military installation with no major towns for miles around?

So many sparkly shiny possibilities!