French photographer Florian Beaudenon's series Instant Life offers a voyeuristic peek into the homes and lives of different men, women, and families, inviting viewers to inspect their belongings and behaviors from a bird’s-eye view.
What do you mean there was never a plot arc where Boyd got some answers, Erica got to tear shit up, and Danny got to use his talents?
#somewhere in another world there’s a whole subplot that never showed up in the show#where Isaac tells Boyd and Erica about losing Cameron#and for the next few weeks they spend their nights curled around him#keeping him safe from dreams and memories alike#and then one night curled there in the darkness Boyd tells him about Alicia#and Erica sits up and a stray scrap of light from outside catches her eyes#and they shine like a predator’s and she says ‘we can find her’#and maybe a few days later Isaac catches Danny after lacrosse practice#and tells him ‘we’ll trade you answers for answers’#and Isaac and Boyd tell Danny about werewolves and everything going on with Jackson and Lydia#and then ask Danny for his help finding Alicia#and he tells them Jackson already explained—but he’ll help them anyway#because no one deserves to never know what’s happening to their loved ones#and then when they find her (because of course they find her) they’re trying to figure out how to get to her#and Danny just scoffs and says ‘what—you think you’re the only ones with packmates?’#and they don’t give him funny looks because by now they know to trust Danny#so they just plan to take a four-day-weekend#Danny clears their absences on Friday and Monday in the school system#and Lydia agrees to run interference with the teachers (and take care of notes and homework assignments)#and then when Erica and Boyd and Isaac are about to leave for the bus station#Jackson pulls up beside them and rolls his window down and then rolls his eyes and tells them to get in#Isaac makes a Mean Girls joke more out of reflex and shock than anything else#and Erica asks about the car—it’s a Porsche Cayenne; it belongs to Jackson’s mom; it’s not up for discussion—#but it does seat five and it’s a lot better than taking the bus#and if a couple hours down the road Boyd meets Jackson’s eyes in the rearview and asks why he’s doing this#Jackson opens his mouth to say something smart but in the end what comes out is a halting#’Danny says pack is supposed to be family-and you’re supposed to be my pack-and this girl is your family-so’#and he shrugs and probably looks a little lost for a second and then just puffs back up and says#’we’re still not talking about the car—and you still can’t drive it’#and all Boyd says is ‘fair enough’ (via ereborne)
but its important
IM SORRY BUT IM DYING THEY LOOK LIKE A BOY BAND
I couldn’t help it. Phrases make the best song titles.
(Also 100% shipping Tulip with Cactus. I don’t even know why, I must.)
He’s sitting in a car with a beautiful boy — that’s how the poem starts. Peter remembers it. He’s sitting in a car with a beautiful boy, and Peter knows that he’s done something terrible. Worse than robbing a liquor store and worse yet still planned, and every second that he waits yawns like an ache under his skin.
He’s sitting in a car with a beautiful boy and it’s not about love. It’s about wanting something as cleverly aggressive as himself, as hollowed out on the inside, and with skin that is smooth and perfect to the touch. Peter isn’t tired and he isn’t waiting for Stiles to touch him. He sits next to that beautiful boy and he slides his palm over the heavy muscle of his thigh. Peter touches him for the sake of touching him — for the feel of all that solid body, for that faint tremble, for the sweet hitch in his breath as Peter’s hand moves higher.
Stiles covers Peter’s hand and holds it tight, keeping it from going further. His heart sounds like thunder, and his blood, like the roar of waves. Peter wants to hear him scream, and Stiles says nothing. His heart speaks for him — (“Pull over,” Peter says.) — pounding with a steady desire that matches Peter’s.