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#the pushing and shoving
chloecherrysip · 1 year
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Head empty, only thinking about Ultra Protective Big Brother Mario at all times and how ever since he was a literal baby who just learned to walk, his first, strongest instinct, as unthinking and instantaneous as a reflex, as breathing, has been to position himself in between Luigi and the slightest hint of danger with absolutely ZERO hesitation
(Their expressions are EXACTLY the same in the 1st and 3rd image!!!! Some things never change!!!! LOOK HOW HARD I CAN CRY!!!!!)
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when i picture carpenter silt verses i am picturing a woman in her late 40s with the same physique as jason voorhees and hair that she's been washing with motel bar soap since she was 18 btw. this woman looks like if a long haul trucker occasionally had to perform ritual self-flagellation. like if a man with a single bottle of dawn dishsoap in his shower was a middle-aged woman who feared neither pain nor death. we're talking dry skin, resting bitch face, and something of the classic slasher villain in her sheer size and resilience. someone who could break an ankle and still not stop trying to kill you with an ax, genuinely frightening.
i believe in scary, gruff, aging women's rights.
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emmcarstairs · 5 days
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Watching the final episode again, it's obvious that Cooper is observing the exchange between Hank and Lucy, waiting for her move. And it's not until she wavers that he shoots. Then he asks her to join him and waits for her decision. It's interesting compared to Max's entrance in the scene minutes earlier when he blasted open the cage with little grasp of the scene before him and grabbed her hand eager to ride to the sunset. It's a testament to his character and nicely showcases the contrast between the two. Of course, Max is not aware of all the family drama. Yet, he pays his surroundings little mind, acts on impulse and morals alone, and plays the hero. In a way, he reacts as Lucy would have once.
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theminecraftbee · 5 months
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thinking a LOT about etho jokingly telling cleo "you make the most interesting relationships" in episode one of secret life, back when that was a joke about the bizarre variety of frienemies cleo was making, in the context of this past session, her bond with etho, her Thing with martyn, her friendship with scott, her connection with grian, her relationship with bigb, her frienemyship with the heart foundation--she makes the most interesting relationships. and often, they look unstable from the outside. right up until the moment you test them. then, though...
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tending-the-hearth · 8 months
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I 👏 LOVE 👏 THEM 👏
bonus walker and dior picture bc they're giving me the clarisse and percy big sister/little brother vibes we deserve:
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horrorshow · 4 months
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Alright well I hate to disturb your marathon, but I think I found us a case. - More Michael monsters? No, killer toy. - What kind of toy?👀
Supernatural 14.04 Mint Condition
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ffiahh · 7 months
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there's something about vi hurting men that wants me to somehow rip the thick web between our world and arcane world just so that i can find her and ask her to marry me; aggression in a certain form; on the face or body is somehow very attractive
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ALT Text: A GIF of Vi angrily shoving a man right before she gives him the unsavoury middle finger, following a very colourful 'Fuck you!'
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formosusiniquis · 1 year
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There's something about the idea that every adult that spends more than ten minutes alone with Steve Harrington is instantly enamored with him 
The King Steve era house parties don't get broken up by the cops anymore. Steve is too far from his nearest neighbors for a noise complaint and the cops who would do it like Steve. They know they don't have to worry about any underage drinking and driving incidents after a Steve Harrington party because anyone who doesn't have a DD just crashes at the Harrington place, it's not like they have to worry about getting out of there before his parents get home.
His teachers can't help but let certain things slide. Excusing a middle school Steve's tardiness, the Harrington house is such a long bike ride away from the school and the bus route doesn't reach the grounds of Loch Nora. High School Steve's grades are average at best and his attention drifts, but his questions if poorly worded are insightful at heart and if you catch him away from the friends he tries too hard to keep he's polite and willing to spend time discussing his school work. By senior year they're excusing his tardiness again, they all know he has to swing by the middle school on his way over; and his forgetfulness too, two concussions in as many years it's a wonder he's not worse.
Joyce Byers, who by all accounts should hate this boy who fought her son and belittled her family, already has a snag in her armor thinking about a little boy who used to bike to Melvalds all alone for more milk and the sugar dusted cereal his mother didn't like him to have. Has her walls damaged by Jonathan coming home with a Christmas present they both know Nancy Wheeler even in her middle class glory couldn't afford. Has the adoption papers ready to be notarized when that same little boy, just a little bit bigger, offers to cart her Will around town since he knows she and Jon are busy and he has nothing better to do; really, and Will is the only one that ever says please or thank you.
Hopper, who largely left the everyday police work to the other officers, didn't interact with Steve much until the Upside Down business started. He's ready to add Harrington to the list of kids he'd die to protect the second the bloodstained boy cracks open a bleary eye from the Byers' sofa. Concussed and happy for it since it meant the youngest ones were safe.
Claudia Henderson has decided that the law has little to do with family. She's seen too many young men in the hospital grieving loved ones they can't see while parents who don't care make decisions for the dying. Steve Harrington is hers now has been since he did her Dusty's hair. The Sinclairs only let Erica roam the mall on her own on days they know Steve is working. They know no matter what Erica and Lucas promise the two of them aren't staying together. There's something rotten in Hawkins, and the kids don't whisper as quietly as they think they do. They know there's something they are missing, but they don't need to know everything to know they can trust the boy who put himself bodily in front of their child to protect him. Karen still occasionally mourns the loss of Steve as a son-in-law but the fact that he still drives Mike around even on his surliest days, she couldn't ask for more.
Wayne Munson lasted the longest. A product of night shifts and a powerful wariness around anyone whose tax bracket exceeds his by more than one jump. But he knows the kind of skittish that Steve is, remembers an eight year old boy with eyes he hadn't grown into who used to skitter away from a sharp tongue or raised hand just the same. Even then all it takes is sitting next to Steve on a rare night off, the game fuzzing in and out on the TV, listening to him softly explain the rules of it all to his boy relating it back to the ones of that dragon game Eddie likes so much and he's gone. Steve's a hard worker, a wage slave as much as Wayne these days, seems wrong to begrudge him just cause the house he's kept at is a little bigger than theirs. There are worse boys to have as future in-laws, even if he is a Cubs fan.
The only person who doesn't seem to get the memo is Richard Harrington. So rarely around his own son he isn't swept up in the charm. Richard and Stephanie Harrington make their way back to Hawkins, unannounced on a Tuesday. The sleepy morning hours are still lingering when they make their way into the house, through the foyer, and onto the kitchen; following the sounds of crooning oldies. Richard has long thought his son a disappointment, too lazy to get into college and too spoiled to leave home, catching him dancing around the kitchen like a fairy with some trailer trash punk is really the last straw. He lets the wife he wishes he didn't have make some asinine comment to this freak that's in his kitchen, and turns to the child he never wanted to say, "I want you out, I won't have a queer living under my roof."
Stephanie and that long haired bastard both rear back like they've been slapped. While Richard is forced to watch as the son he's neglected straightens up, every ounce the man every other adult on Hawkins has watched him become, look him in the eye and say, "It's not your house, it never was. Grandpa Otis left it to me. So if you've got a problem with me or my fucking boyfriend, you can get out of my house. Looks like you're already packed."
That empty house gets emptier as Richard, alone, takes the furniture he paid for and the clothes that lingered in the closet; but it's quickly filled with the hand-me-downs of everyone who has ever fallen for that Harrington charm. They're all too happy to help Steve fill what's his.
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chaoticace2005 · 2 months
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Based on this post and suggested by @scarlett-hofferson
Three types of hostages:
Situation 1-
Henrion, on the phone: We have taken the one you love most princess!
Charlie, turning into her demon form: Oh? I'd go to help but I doubt she needs it. Good luck :)
*distant screams heard over the phone*
Situation 2-
Henroin, to Angel, and Pentious: We’ve kidnapped you!
Angel: Pops, you're in so much trouble. You are in so much fucking trouble. You are in the most trouble ever, oh my god.
Henroin: ???
*DOOR EXPLODES INWARDS AS DEMONIC CHARLIE, ALASTOR, VAGGIE, CHERRI, AND HUSK ARRIVE*
Situation 3-
*A vehicle pulls up, door opens, Niffty is shoved out, door slams, vehicle screeches away*
Angel: ...Did you get kidnapped by my dickhead brother?
Niffty: For a minute, yeah. But then the bad boys let me go :(
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ms-all-sunday · 4 days
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okay preemptive media anaylsis of the robin goodbye scene. (paused just as it started)
this scene had to be sanji because of the skypeia flower action, because this arc is about mentally ill people and those that love them and sanji truly does fucking love robin. the reason it hits with sanji specifically is he occupies a level of "not manly" due to his relationships with women and wearing his own heart on his sleeve that he can be nothing but genuine, and there's an assumed naivety to that, (to some degree there is) but robin herself believes him (unlike nami) that isn't the problem here.
robin must face sanji (someone who does not hide his emotions when it comes to her) to face what she's going to do. much like the usopp "i should leave the crew" moment, it's the point of no return coming from a want to punish herself. one of my favourite things about sanji as a character, is his ability to show love in ways that are completely nontraditional for men, and he screams after her. it had to be him because he is emotionally intelligent enough to identify that loss and hurt in ways that any other character (besides nami) wouldn't be able to express in the same way. she must face unconditional love and reject it based on her own belief that she is unlovable.
theres the water river flowing between them and as sanji crosses it its too late
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Hera: children you have not found the love of your life if you didn’t find them in the trash!
*Sabine and Ezra both look at Kanan*
Kanan: why do you assume that I was in the trash?!
Leia: no she’s got a point
Ezra: does this mean I can space Kallus cuz Zeb didn’t find him in the trash!
Kallus: Bridger I swear
Zeb: kid….Kallus was the trash
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the-uncanny-dag · 1 month
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Not my circus, not my monkeys (x)
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arsenicflame · 7 months
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🕯 prayer circle for an angry, wall shoving, stizzy kiss in s2 🕯
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wafflesrisa · 8 months
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Carlos using Charles as a stressball
Or: Charles is so used to Carlos absolutely bodying him as a sign of affection that Charles has no reaction to Carlos doing it anymore
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memes-saved-me · 1 year
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When your homoerotic shower gets interrupted
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boytraining · 2 months
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i need someone like you to make me transition, i'm so scared of being wrong about being a man or of ending up being too ugly or short to be a man i cant trust myself enough to do it
we are always scared and always wrong. that’s just being alive. it doesn’t mean you shouldn’t get to live. you’re on this page for a reason. you know what you want already, but it’s okay to need a push.
if you can’t trust yourself, trust me when i say you won’t end up ugly because you will end up as yourself. authenticity is attractive. plus, men are hot. short men? even hotter.
every trans man i have seen has made me fall in love with the world a little more. don’t you want to help me fall in love with the world a little more?
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