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#idek if that or any of this makes sense
benetnvsch · 8 months
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MAKING OUT with KUNIKIDA-KUN in the BACKROOMS at 3 AM‼️ REAL NOT CLICKBAIT‼️GONE WRONG (MONSTER SUMMONED⁉️ I DIED⁉️⁉️⁉️)
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sam-loves-seb · 1 year
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look. I know there are probably a million and a half takes on this, but I had this thought, and it wouldn’t leave my brain, so now you have to deal with it too.
ian is not the sun.
ian is the moon, and mickey is the sun.
mickey is the sun, at least in ian’s eyes he is, because ian’s whole world starts ends and revolves around his husband. the pull mickey has on him feels like a gravitational orbit, stronger than any crush or infatuation ever has been, and no matter how much distance (physical and metaphorical) ian puts between them, he always—always—comes back to mickey. and mickey, well he burns hotter and brighter than just about anyone else they know, all barely checked temper and hot seething rage, and hell hath no fury like a mickey scorned because he will burn you faster than any fire ever could. and god, his eyes—do not get ian started on mickey’s eyes—they’re as blue as a cloudless sky on a summer’s day, all warm and wide and vast as the horizon, and ian could stare at them for hours the way he’d stare up at the sky in the backyard as a kid. and yeah, maybe sometimes you can’t look directly at mickey, like maybe you’ll get hurt if you stare for too long, but ian’s best friends are a pair of sunglasses and a bottle of spf, so he’s not exactly new to the sun game, and if he’s the only one who knows how to handle it—that’s more than fine with the both of them
and ian—ian is the moon the way mickey needs air to breathe, because yeah, maybe he’s all smiley and lukewarm to everyone he fucking meets, but that’s not ian, not the real ian, that’s just good fucking manners or whatever shit ian says, but mickey doesn’t care about that. mickey cares about the ian that’s only for him, the one that is there for him through everything, even the bad shit, like the little sliver of moonlight slipping through the curtains on a really dark night, the little bit of comfort that’s enough to get him through the dark times and keep going until morning, like the guiding light on the sidewalks when he wanders home from work or the alibi or whatever late at night when the streets are empty and he’s alone. because mickey’s never really alone, not now that’s for sure, but not even then, when there were miles (metaphorical and literal) between them, because mickey would look up at the moon through the bars on the rec room window or the patio from his apartment in mexico and he’d think of ian, and his stupid fucking lopsided curved grin creeping up on his face like a crescent moon in its own right, and it’d be enough to get him til morning. even now, when he can’t sleep and he’s restless, he still looks for the moon, only now he doesn’t look out the window—why would he when he has the real thing on the other side of his mattress—he throws an arm and a leg over his husband like he’d lasso the moon if he could, and he pulls ian closer.
ian goes through phases, up down then up again, and they’re manageable, almost predictable if you study it close enough, like the phases of the moon or the flow of the tide, in and out, waxing and waning, and mickey loves all versions of ian, the full bright smiles and the dark barely there days, and every variation in between. because ian is still ian, no matter what stage he’s currently in, the same way the moon is still that bright glowing rock in the sky night after night, and mickey is happy to get pushed and pulled like waves on the shore under ian’s influence.
mickey studies the galaxies printed on ian’s body, across his chest and stomach, his shoulders and his arms, even the little ones dotting the backs of ian’s hands, and mickey finds peace in the stardust that paints ian’s skin, in the constellations he maps out on ian’s face with his lips, and even tho the freckles there are more faded then when they were kids, mickey still knows where every single one of them is. he brushes his fingers over the new one above his eyebrow, the one ian got after spending a little too much time with his tomato plant the other day, and mickey feels like an astronomer discovering a new star that he just never would’ve been able to see five, ten years ago on his own personal night sky, but he’s here to see it now so he kisses his latest discovery and falls asleep dreaming of a name for his newest constellation
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all-too-unwell-13 · 4 months
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I wish Hestia made an appearance in the first few episodes of the pjo show
like if we could've just gotten a glimpse of her sitting at the campfire, and then like Percy has to do a double take because he isn't sure he saw what he just saw
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shadow-tism · 6 months
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*takes a deep breath*
The beauty of Sonadow (with transmasc Sonic) in the eyes of Shadow once he learns about Sonic and how both him (the ultimate life form) and Sonic (the snarky blue critter) are actually one in the same, they know each other in a way no one else can and maybe its because they have shared so many experiences, maybe its because no one will know you quite like your enemy. But maybe its because both of them were not born as they are but Made into who they are, and well isn’t that just beautiful.
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charles-edwin · 1 year
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no but i’m literally eating our dating sim with my hands right now for all the things they could’ve done wrong but managed to do right by staying simple, true to themselves and really respectful to the characters.
like. the plot is really just two high school best friends who lost touch with each other after a disastrous love confession finding each other again after 7 years. but even then, they could’ve ruined this in a million ways by making up more drama, keeping them apart, hiding feelings, more bad timing.
BUT NONE OF THAT WAS THE POINT!!!!!
the point was character development, making the most of a second chance, start healing from past mistakes. and the show never lets lee wan and ki tae take a step back from that.
ki tae never gave up on trying to find lee wan and when he finally did, he confessed to him almost immediately. no games, no drama, just the truth. he suffered way too much for losing lee wan already, ep 7 really highlights how it’s even a trauma for him. and the show does not take it lightly, they don’t want to drag ki tae’s pain out any more than they already have. but they still give lee wan a choice and he chooses based on his heart, where it’s always been, with whom it’s always been with.
and lee wan. sweet jesus. the guy who thought he was suffering alone all along, sees himself in the face of what he thought was an unrequited love to find out that ki tae has been loving him all these years. all those unresolved feelings and pain that he buried come back full force but with the overwhelming knowledge that he is loved just like he’s always wanted to be and that he can either run away again or face that this is it. that ki tae is his person.
in the end, our dating sim is about second chances, being brave about your own feelings and treasuring the ones you love, not taking them for granted and how love is the source of our very own art. it moves, it inspires, love is art.
i truly love simple stories that are so honest with themselves, so understanding and loving towards their own characters, that they become profound.
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sw4nduckling · 20 days
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random word vomit to address this pinching in my chest: the hate that pen received for revealing marina's secret through whistledown (despite warning colin firsthand) is something i could never truly wrap my head around. i thought -- if we were to flip the narrative and colin was saving pen from a practical, yes, but loveless marriage. one where he was close to letting her go until he discovers the deceitful aspect of it all, it would be considered romantic.
if a man were to do what she did under those circumstances, he would be a hero who could not stand to see the woman he loved trapped in such a way, even if it meant not being with him. but because she is pen, a woman, she is labeled as jealous, manipulative, toxic, etc at 17 YEARS OLD. a literal baby. what else was she supposed to freaking do?
anyway, this fic really led me to think about the entire situation differently (specfically the conversation between eloise and colin) https://archiveofourown.org/works/44120773/chapters/139501306#workskin
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“Adrien made Kagami realize she’s a lesbian because she was not attracted to him” is boring and overdone.
Kagami made Adrien realize she’s a lesbian because she called him her “boyfriend” and he flinched and she was like “oh shoot what’s wrong” and he was like “i dont know, boyfriend is a really weird word for some reason” And because she’s Kagami, instead of being like “oh he clearly doesn’t want me” she just sat him down immediately and started googling Other Words and trying All of Them, and then she tried “do you want to be my girlfriend?” on a whim and he was like “holy shit this has awoken something in me.” And then kagami was like “oh huh i may be a lesbian.”
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sharksliveontrains · 10 months
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stories that express the fluidity of time and that your actions have an impact on the future and the past and the present and that you influence the world and people around you and that you are meaningful and
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cankersoregirl · 3 months
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Okay. So. I had a whole 1700+ word essay written about my thoughts on too many bl fans assuming actors are straight but it was very uhhh rant formatted and got too heated so I’m gonna try again and be a little more chill and concise abt it…
Let me get straight to the point. I didn’t mention fanservice or shipping real people in that little post I made (I wasn’t expecting it to get any notes tbh lmao) but that’s very much related to what I’m talking about. In my experience, being vehemently against fanservice and rps goes hand in hand with assuming these actors are straight which is of course heteronormativity (homophobia!).
Fanservice & shipping are a vital part to the bl ecosystem, and they aren’t going away any time soon. And I don’t mean because it’s great for promoting a product or an upcoming series (which, yes, it can be, not denying that) but fanservice, in fact, queers our perception of “truth” and “reality” when it comes to these actors’ lives. When an actor is purposefully vague about their relationship or sexuality, they’re able to simultaneously not put themselves at risk by being “out” in a more traditional/upfront (perhaps western…) sense while also being capable of being perceived as queer to some degree by their audience. Infinite homosexuality glitch! Shippers are important because they play a role in believing their fav bl couple are together for real aka they are gay for real (also it’s just fun to do…). Yes, some people overstep boundaries but for the most part people are capable of being respectful.
I see a lot of people say bl actors are absolutely not dating each other and 99% of them are straight and probably even homophobic etc. constantly but like… who told you that? If anything, a job where you’re perceived as gay while still being not out enough (having such a hard time phrasing what I mean by this lol) to keep your safety would be way more appealing to literal queer people right? And surely most actors know what they’re getting into by partaking? Yes there can be issues with fanservice, rps, etc. but I can’t help but notice everyone seems to be focused on the issues and never the benefits. Assuming the majority of bl actors are straight is just plain homophobic, and I might argue it’s counterproductive to resist and say it’s “none of my business” when they’re purposefully going out of their way to make it our business (if you’re not into fanservice/shipping that’s fine whatever but what I’m saying is they are trying to make a point to be visibly queer on some level). Yeah, not everyone is gay, I know. But I have a good feeling there’s a lot more queer people in the industry than most people assume.
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grimalkinmessor · 8 months
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BUCKLE UP BOYS IT'S TIME FOR MY TRUE SUCCESSOR MELLO RANT ❤️‍🔥
You do not have to agree with me but you do have to LOOK and ABSORB the incoherence of my thought process to understand where I'm going with this OKAY LET'S GO
The main line of this theory of mine is that, had he been given the time to choose a successor, L would've chosen Mello. To preface this: Near is my absolute favorite character. I adore him. I shake him like beans and squish him like a teddy bear. My freaky little snowball man 🤍 This theory has nothing to do with me disliking Near or seeing him as less intelligent or unworthy. Cool? Cool.
Now, canonically speaking if you don't take the events of LABB as canon then you won't put much stock in this point, but one of the reasons I believe this is because Mello was the only one that L spoke to personally. I don't think either Mello or Near ever met L in person, but from what little Near says about L, it doesn't seem like he ever spoke to him either. It seems like Mello was the only one bestowed the privilege of speaking with L one on one, even if it was just to be told a cautionary tale. This implies that L was at least somewhat personally invested in Mello's development. This is link 1.
My own beliefs of this implying that L liked Mello more notwithstanding, my BIGGEST reason for believing in True Successor Mello™ is that Mello is not afraid to go after what he wants. His brashness and grayed morality is something L would appreciate, because it is mirrored by L himself. Near plays very by the book—he may manipulate and trick, but ultimately when it comes down to it, he keeps his hands clean. His moral compass may not be completely on track but it's definitely very rigid. Mello, on the other hand, is far more flexible. He is willing to do anything to solve a case. This is something that I think L would've seen as a core quality; the solution of the puzzle justifies the means, no matter how,,,,unorthodox. It doesn't matter how elegantly you scripted out the problem, it matters if you got the fucking answer. Granted, wit does play a part in this too—L would rather discover the answer himself than be told, but he also knows that sometimes discovering the answer means torturing it out of the mouths of your opponents :)
Out of the two of them, Near may have been more physically (and even intellectually) similar to L, but Mello's character mirrors L far more closely than Near's does.
(Now, here you could argue a point that L would actively dislike the successor more physically like him because he would see it as someone attempting to replicate him like as consumer product instead of an actual person, but I personally do not believe this because I honestly do not believe L gave much of a shit about the successor program either way and would only interfere or give it thought when Watari encouraged or demanded it of him SO MOVING ON).
Another thing I think would be a big point in L's decision to choose Mello as his successor is just. The fact that Mello wanted to be L. He fought for it with everything he had, he was passionate about it, he desired it—the title, the status, the prestige, the lifestyle. Mello wanted to be L! And while I do think the competition was important to Near in his own way, I don't think it was because Near actively wanted to become the next L. I think that the reason the competition mattered to Near wasn't because of L; it was because of Mello.
Near wanted to win! But not because he wanted L's title or to be the next Great Detective—he wanted to win because it was a matter of pride. It became a game between he and Mello, one that Mello kept consciously escalating, to the point that not only was the goal becoming L, but earning L's approval as well. The few times we see Near smile or look amused tend to be when the competition between he and Mello to catch Kira is mentioned. "The race is on." Near didn't care about being L—he cared about beating Mello at whatever game they happened to be playing then.
But Near was distinctly lonely as L. Even lonelier, I think, than the original L was. Solving the world's puzzles and being the Great Detective didn't bring him joy and satisfaction; if anything, he seems rather depressed. Aimless. Being L does not fulfill him because I don't believe that was ever what he wanted.
And L would notice that. L would take one look at Near and Mello's rivalry and be able to parse out the fact that Mello was the one who wanted his title, and that Near didn't care for the title as much as the challenge. He'd be able to tell that Near didn't actually want it. And if you're going to give someone a responsibility, would you yeet it at the kid that doesn't seem interested in it, or would you give it to the kid that's been working for it and preparing to receive it practically his whole life? The most logical decision would be to give it to the kid that actually wants it, rather than the one that seems resigned to it. I think Near would've been a lot happier doing literally anything else.
(Or just being L by Mello's side because then the game would've continued and the challenge would still be there and it would be constant and neverending so he would always be entertained and stimulated but that veers a little too much into Meronia territory so I digress—)
Now, the caveat to this is that, again, this is only after L has time to choose. Meaning that I don't think L would've chosen Mello at the time of his death because I don't think he'd gotten to know any of them well enough to make a decision then. But in any AU where he doesn't die and I'm not writing Meronia then I'm convinced that L would've chosen Mello as his successor. And I think this would be the happier outcome for everyone involved, because Mello would've gotten what he wanted, Near would've been free to pursue other avenues of interest (that he might've actually enjoyed), and Mello is headstrong enough that L would barely have to teach him anything. He is free from Watari's insistence on his interference forever 🙏 It is now Mello's job to mitigate, which he does with...about as much grace as L lmao.
Anyway, TLDR: L took a more personal interest in Mello, Mello mirrors L's methods and character more closely than Near, and Mello's desire to be L surpassed Near's by a significant margin. True Successor Mello reigns. 👑🔥
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trash-can-sam · 7 months
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They ran out of musicians at the theatre.
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spelviin · 6 months
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something something lark instantly yelling at/blaming normal for releasing the flesh horde
something something henry refusing, for years, to blame lark for releasing the doodler
something something sparrow breaking down and screaming this at henry while trying to impersonate lark:
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and like, i know we still don't know if this is sparrow's actual true feelings or him trying to accurately portray his brother (porque no los dos?), but either way, failure to be adequately blamed/punished for their fuckup seems to be a real sticking point for one or both of them
so now we flash forward a decade and a bit, and a six-year-old normal has carried on the fun family tradish of unleashing some sort of eldritch horror upon an unsuspecting world. (never mind that he was unsupervised. in a place that was made to store dangerous eldritch monstrosities. in a room without a fucking lock on it. never mind that he was FUCKING SIX, and that lark sent him out there in the first place).
anyways, i'm wondering if lark being so shitty about this is a mixture of projection and tough-love bullshit. like, "my father refused to blame and/or get mad at me for my fuckup, and it's been eating away at me for most of my life, so i'm actually doing you a favour by acting this way."
which is objectively obviously dumb and incorrect on just SO many different levels, but i can definitely see lark seeing it that way.
anyways the REAL question here is how exactly this lead to the apparent complete dissolution of the relationship between henry and lark. like, henry never outwardly showed any blame or anger towards his son for literally stabbing him in the back and ending the world (though i'm sure he's been feeling and repressing it this whole time, as is the henry way) - but this? lark acting this way towards his own son? i can't see henry standing for that. henry "it's okay to be angry, it's not okay to be cruel" oak is in NO universe gonna let that shit go unchecked.
anyways i feel like this is nothing/entirely incoherent, just. there is a lot of pent-up and/or misplaced anger going on in this family and i CANNOT wait to see it (hopefully) all come to light in the next episode.
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petruchio · 1 year
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i think a big part of the magic of speak now is that it's such a perfect coming of age album.
if fearless is an unabashed celebration of teenagehood, speak now perfectly encapsulates those first, tentative steps taken into adulthood and every complicated and messy feeling that comes along with it. fearless leaves us with the promise that things will change -- speak now says: now things are changing, and i don't know what to do about that.
it's an album that struggles with growing up, with becoming independent. the tension at the heart of speak now is between the reckless optimism of youth and the ruthless cynicism of adulthood, and the struggle to reconcile the two. how to grow up but still maintain your idealism. how to stay hopeful but still mature.
the album opens with all these fantasies: mine is a song about idealizing a future with someone that doesn't yet exist, back to december idealizes a past love that never got the chance to see the future, speak now fantasizes about breaking up a wedding for some idealized future. but almost every fantasy on speak now has a reality check that ruins it. "my mind forgets to remind me you're a bad idea," is romantic in sparks fly, but turns into a regretful "i should've known" in dear john, and those same sparks, the ones that spun out a whole fantastical future in mine, turn into the bitterness of how "i used to think one day we'd tell the story of us, how we met and the sparks flew instantly." the fantasy of mean is that "someday i'll be living in a big old city" but the reality in never grow up is that "here i am in my new apartment in a big city, they just dropped me off. it's so much colder than i thought it would be."
the album is obsessed with the unexpected. "i never saw it coming, wouldn't have suspected it" on btr, "you and i walk a fragile line, [...] but i never thought i'd live to see it break" on haunted, "i never planned on you changing your mind" on last kiss. (which is one of the images we get over and over again on speak now: the parallel of changing minds and weather -- "minds change like the weather" in innocent, "you can plan for a change in weather and time, but i never planned on you changing your mind" in last kiss, "you paint me a blue sky then go back and turn it to rain, and i lived in your chess game but you changed the rules every day" in dear john, "i'd go back to december turn around and change my own mind" in back to december.)
because racing into things with that hopeful, idealistic optimism can only lead to surprise and heartbreak at how fast people can change their minds. it's why we get "i should've known" in dear john -- it's placing the blame on the self for being too optimistic, for not expecting the worst. the story of us breaks down all those fantasies from the early part of the album, telling us that the old optimism is gone: "i used to think" we'd tell the story of us, but i know better now. but still, we don't want to lose it completely. while we started out confident in the future in mine, enchanted is a song that *begs* us not to let the cynicism take over: "this night is sparkling, don't you let it go" and "please don't be in love with someone else" see the speaker almost desperate to hold on to the idea that a whole future could spring out of one moment, for a sign that the idealism of mine and sparks fly still exist. but all too quickly, we fall back into the pain of last kiss and haunted, we find ourselves once again reminiscing on when things were easier in innocent. growing up is hard; it's painful.
so it's beautiful that the album ends with long live: "hold on to spinning around, confetti falls to the ground, may these memories break our fall." we aren't fantasizing about our future in the big city, or racing into love without stopping to think about whether or not it's a bad idea. we're not begging a crush to hold on to the night we met, or promising an ex that we'd love them right if we could do it again. by the time we get to the end of speak now, we're looking backwards. instead of holding on to a yet unrealized future, we're holding on to the one thing we know to be true: our memories. the one future we're sure of this time? it's not love, it's not the big city, it's not even life. the one thing we're sure of is ourselves. that we will be remembered.
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ifindus · 1 year
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Pls tell us about ur uni au 😞🙏
Okii, I've mentioned it loosely one or two times, but it is something I might want to write someday, so I won't tell any major plot spoilers 👀 It's mostly been created because I am in university myself and there's a lot of exciting experiences and the community that comes with being a student that I would like to see in fics, specifically being a student in Norway, or even just a fic that is set in Norway at this point.
The story takes place in a city in Norway where Sigurd goes to university, studying maritime engineering in the second year. He rents a flat with his close friend Björn, who studies architecture at the same university. Matthias, Eirikur, and Timo also studies here, and even though they have their own lives for the most part, they do all hang out sometimes because they are friends and knew each other from before uni.
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Across the hall from Sigurd and Björn, in another flat rented to students, live Arthur and Emma. Arthur is a friend of Sigurd because they took a class together the first year, and the two of them have biweekly DnD-nights together. Alistair is Arthur's brother who sometimes drops by on visits.
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Alistair lives in a flat further away from the city center, which he shares with Francis. Some times Francis will tag along on the visits because he is good friends with Emma and of course to bother Arthur because he has a crush on him.
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Alistair and Sigurd becomes acquainted through Arthur and especially at a party he and Emma hosts at the start of the semester. They begin hanging out throughout the year, meeting up when they are out drinking in town, going on hikes together, and just casually hanging out. Everyone else can clearly see there is something going on there.
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The entire AU is based mostly on Sigurd and his relationship with Alistair in particular (shockingly it's scotnor again), but also his friendship with Björn and Arthur and all their other friends. As mentioned, it was born out of a craving for something familiar that I've had my own experiences from ✨
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corazon-sanador · 2 months
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23.03.24
The memories of our love feel like pulling a warm blanket over myself after a long day, which is funny, considering the reality of our love felt like the long day itself, don't you think ?
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hwanswerland · 2 years
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seongsang @ idol radio for @woosansang  our boys aggressively saying some more sweet things to each other
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