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#they should have kissed in the movie
taydaq · 4 months
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Maybe, baby, I'm just losing my mind 'Cause this is trouble, but it feels right
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Rooster x Hangman for my sister, @darthsyd-ious!
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humanshark · 3 months
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Guys I made the Gibson/Jill scene into an iCarly episode 🙏
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karalovesallthegirls · 2 months
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After years of pain and love and slow-building hope, Lena and Kara marry.
They are so in love Lena can hardly breathe sometimes from the weight of it. Life has meaning, the world is beautiful. Somehow, despite the odds and atrocities constantly suffocating her, Lena was blessed with her happy ending. The one sweet reward she’d ever had. They were so happy together, always waking in each others embrace. Always sharing kisses and giggles and sighs between work and warfare. They’re so happy that morning that Kara is called to the pier. Some dispute between aliens, nothing to worry about of course - they just need Supergirl to make sure it stays civil. She kisses Lena on the cheek that morning, promises to bring her lunch when she’s done, and then never comes back.
They don’t have an answer for Lena. Even after years of investigation and analysis, no one can tell her what or why it happened. All they can say is one moment Supergirl was there, and the next she was gone. There’s no body, but the Geiger readings are so high they say the Kryptonite must have melted her in a flash. One minute she’s there - her wife, her hero - and then she’s gone. Taken from the universe forever. Taken from Lena.
It nearly kills her, too, the loss. Kara was the one light she had in this life, and it was snuffed out like nothing. She almost lets it kill her. She wants it to, really, but Kara’s voice in her heart won’t let her give up. Despite her deepest desires to be with her wife Lena pushes on. She spends years pulling herself back from the brinks of despair and rebuilding herself into a new Lena. Not the same one, never the same without Kara, but something close. She finds a way to bear the pain. What Kara would have wanted.
And then, as unexpectedly as her second love had, her first returns to her. Slowly, somehow, Andrea finds her way back into Lena’s life. She’s different now, too, and Lena learns she’s lost her life’s light as well. Lena would recognize that look in anyone’s eyes. There’s no hiding a lost love like that. But Andrea has had longer in her grief, her scars less raw. She’s able to hold her pain and still hold Lena, too.
Andrea is remorseful and repenting and so acutely aware of the new scars Lena carries, and in her own twisted sort of way she’s good for Lena. No one else can see Lena like Andrea does, no one else can stare into the depths of her sorrow without flinching. The world mourns Supergirl, and the few mourn Kara Danvers, but only Lena mourns her wife. Alex mourns her, of course, as do their friends, but not the way Lena does. Never that way. There is a hole in her chest that will never close, and no one else will ever fill it.
And Andrea knows that. She never tries to fill it, never tries to replace. She holds Kara in her heart with a begrudging reverence. She knows the only reason she has Lena is because of Kara. Because she died, yes, but more so because she loved her. Her love opened Lena up again. Gave her hope. Made her believe in second chances. Kara was the light, Kara was the greatest lover and friend and hero anyone could have. She’s a dead god, and Andrea finds herself a parishioner.
Andrea loves Kara, in her own way. She’s an aspiration, a tormentor, a ghost that haunts the halls of their life. She’s in every embrace they share, every whispered word. When she finally convinces Lena to marry her, their wedding photos hang proudly beside those from her wedding to Kara. They both mention Kara by name in their vows. Kara is as real in their relationship as she is. And it works for them.
The jealousy is always there, what with living in the shadow of a fallen superhero, but it’s manageable. She knows she can win against a dead woman. And the pain and humiliation and constant pick of jealousy at the back of her skull is worth it because Lena is worth it. No one is worth more than her. And Andrea tries to make her happy - she promised that to Kara in her vows, after all. She made vows to Lena, and then made vows to Lena’s love: I will honor and cherish her as you would. I will protect her as you would. I will love her with all I have, as you would. I know the shoes I’m filling, and I will spend my life proving I’m worthy.
Andrea meant her vows and she keeps them. She loves Lena, and in her own way Lena loves her, and it’s enough. She’s happy. Andrea is so happy, and sometimes she sees that happiness in Lena, too. They build a life together and it’s good.
Then one day, Kara comes back from the dead, and everything falls apart.
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gloomy-prince · 2 years
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R+E kissing compilation 💚💙
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sometimes im watching dead poets society and i genuinely forget that todd and neil aren't canon..
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kayvsworld · 4 months
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sorry to be doing mcu throwback complaints again and EXTRA sorry for it to be about cacw and aou, sorry, i just am thinking again that if marvel had. in aou. committed to letting steve rogers see that captain america graffiti calling him a fascist with his own two eyes i would have forgiven many of their subsequent deeds and crimes
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famousprophetstars · 5 months
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I think saying Saltburn is simply "homoerotic" really erases the obvious queerness of it. Like, okay. Homoeroticism is definitely related to but also distinctly separate from queerness. It's like saying The Talented Mr. Ripley (1999) is not queer because Tom doesn't kiss Dickie, or even Peter for that matter. Like no, the whole film is literally about the obsession and heartbreak of queer desire. I'd argue Saltburn does literally the same thing, though not to the same level of success or nuance (and this isn't shade, I love this movie even if I don't think it's, like, good). But to imply that Oliver and Felix are just best friends with an intensely close relationship is ignoring literally everything about the film. Like Oliver is pretty clearly infatuated, aroused by, and in love with Felix, in the same way Tom Ripley is Dickie. Like this is not even subtext, it is the text of the film. He licks a bathtub filled with semen-water and puts his penis in the dirt of Felix's grave. And while those things are certainly not as interesting, or even disturbing (!!!) as Tom killing Dickie and holding his lifeless body (and making Dickie hold him back) but there's no "heterosexual" way to read this. And I'm not saying that this is necessarily good, or that you have to like it, or that you cannot be disinterested in the way Saltburn handles queerness, but it is textually queerness. It is not just homoeroticism. There is textual desire.
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tenpintsof-sundrop · 6 months
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also everyone can we please all be collectively thankful that there was no unnecessary romantic subplot between Vanessa and Mike in the movie
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greenerteacups · 17 days
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hi GT!
Lionheart had me the moment you kicked it off with “it’s a nice day to start again.” Might i ask why you chose that particular line?
And, if you havent already answered to this emoji:
❄️
P.s: you have my eternal gratitude for creating the most brilliant piece of writing i’ll ever read. I shout about it from the rooftops, share it on my socials, requested my spouse to read it so we may discuss it together (in lieu of a present for my 30th birthday), et cetera.
I see from your URL you are a fellow lad of taste.
There's a couple things going on in the epigraph for Book 1. On one level, it's a lyric from the first muggle song I picture Draco listening to on his walkman at the end of the book, so there's a cute full-circle thing there. The second layer is the theme of change and redemption, which, in Lionheart, doesn't so much come from major moments or self-sacrifice, but from the slow, grueling, everyday work of living, and living better. It's a nice day to start again because every day is. You always have the opportunity to start making better choices, no matter what lies behind you. That's the thesis of any Draco redemption arc, right? You have to imagine that he could have chosen to be better.
And then thirdly, there's the audacity of doing a full Hogwarts canon rewrite, a good 30 years after the original books came out, millions upon millions of words of fanfic later, and basically asking everyone to read the same story they did the first time around, only different. So it's a kind of winking entreaty. It's saying to readers, many of whom are understandably wary of doing it over, zeroing out the characters to starting positions, and starting from the beginning with 11-year-olds all over again. It's going: "hey. That was fun, right? Why not do it again?"
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moonlit-knightz · 2 months
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thank you tanner for serving the gays! 🫡
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mr-walkingrainbow · 7 months
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Random opinion
Toralei severely needs to get topped by Clawdeen this very instant.
their. I said it. I said what everyone was thinking
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*if yes please reveal what version of cherik!‼️
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starrycassi · 6 months
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Weapon.
One to disarm. One to fear.
Ballister stood still, looking at the boy in front of him. Ambrosius Goldenloin, the Golden Boy of the academy. The blonde, younger than him, was quickly showing him just why everyone adored him so much.
He'd thought of Ambrosius as a complete idiot, a total jerk, a spoiled brat. It was, well, shocking, to see him act like anything but. They fought, and Ballister won, and Ambrosius looked like a caged, confused animal. It was a stupid brawl, merely a misunderstanding, and Ballister had never actually won against a classmate. Sure, he was the most energetic and motivated student in the whole class, but the pure force of will he had wasn't enough to match whole childhoods of training.
And Ambrosius bowed.
It was slow, and kinda painful. Ambrosius Goldenloin bowed, bending over with a careful reverence. His long hair was loose now — Ballister had lost his own hair tie, too, and they both had a million of leaves and tiny branches in their hair and faces and clothes. The fight had started because Ambrosius said something stupid, but Ballister didn't even remember what he said. He was too stunned, too captivated by the respect he was being shown for the first time ever.
He'd always been a reckless boy. It felt right, and he wanted to, so he launched himself forward and hugged Ambrosius, because where he came from love was the only way to show trust, physical affection was the biggest form of friendship.
"Let's make up" he said, smiling with ease — he'd seen Ambrosius as some sort of god-send child-angel, but he felt so alive and real trapped in his arms, he breathed erratically and he had a heartbeat.
A voice in the back of his head told him this wasn't okay. He shouldn't, he couldn't, he didn't deserve to be so familiar with this boy. But hadn't he hugged all his roommates back at the orphanage? Hadn't he shared a warm embrace with every kid that offered him help?
When there's no money around, trust is the best currency one can give. He shouldn't, je couldn't, he didn't deserve to treat Ambrosius Goldenloin like he would any other kid, but he wanted to, he really wanted to. He wanted to become a knight, and it was working out. He wanted to have a friend, and there didn't seem to be any other way to get one than launching himself head first into unknown waters and hoping for the best.
"...sure" said Ambrosius, after a few seconds. And Ballister was almost starting to regret this, when the other boy's arm surrounded him, too, and he could feel the warmth emanating out his skin. The gross smell of the sweat. The trash and dirt all over him. The quickened pulse.
Ambrosius, suddenly, started giggling. He pushed Ballister away with a soft movement that he could never imagine would ever come from the cocky kid in the tv ads. But this wasn't Ambrosius, the child prodigy. This was Ambrosius, his classmate and newly acquired friend, who was blushing all of the sudden.
"Sure, let's be friends. I'm sorry, by the way. I didn't mean to be rude to you"
Ballister started cackling at the other boy's face, sorrow and regret painted over it, hunched over by the lack of breath. He didn't even remember. He didn't remember shit. The situation was so absurd — one second, he threw himself against an idiotic blonde for saying a stupid comment, the other, he practically tackled Ambrosius Fucking Goldenloin into a hug, all because he wanted to.
Ambrosius wasn't that much of a jerk, he came to find out later, together, in the blond's bedroom, patching each other up to avoid getting scolded by the nurse. He was rather kind. Rather human.
And a little bit pretty.
.
The clashing of swords and armors, bodies and fists, metal and iron, flesh and blood invaded the place.
Ballister cornered Ambrosius, smiling. This was fun. Their first time actually wearing their knight attire at practice, where they usually used bodysuits or something else. Armor was way heavier, and infinitely harder to maneuver in. However, Ambrosius's training seemed to languish when confronted with Ballister's line of work.
Ambrosius had been trained, sure. He was born to be a knight, raised to be a captain, and prepared to be the best; and he would've been, had it not been for Ballister.
Ballister, who went around, more often than not, helping the maids of the Institute to carry heavy loads of whatever they were transporting, who climbed trees for fun and grew up running errands.
Their bodies clashed, again. Metal against metal and sweat mixed with sweat; Ballister smiled, and so did Ambrosius. All the other couples were done already, and their eyes were fixed on the pair. Ambrosius and Ballister seemed to ignore the fact, hitting and moving and launching and escaping with ease, laughing slightly whenever the other wavered.
Ballister gave him the fatal blow. Or what would've been the fatal blow, had he used a bit more force. Instead, Ambrosius doubled over with pain, while their coach reluctantly announced Ballister as the winner.
Again.
.
Ambrosius and Ballister looked at each other, frowning. One in front of the other, swords raised, ready to fight all the monsters in the world. They stared.
They had fought, cried, laughed, made out, screamed at and enjoyed things, together. Like two cherries on a stem, like two sides of the same coin. Never seen without each other.
Both of them were adults, now. Even if Ambrosius was barely sixteen, and only an adult because of signed paperwork, they were legally, adults. And they were going to be treated like adults, from now on.
(It wasn't the first time. Had they ever been kids? Ballister couldn't remember. Had they ever been free?)
"From now on" said the Director, walking around them. Every pair of knights stood still and stiff, looking at each other. They always worked in couples. "I want all of you to understand weapons"
Her heels clicked against the floor at every single step she takes. Weapons. Ballister's heart starts to feel heavier in his chests. Weapons. He feels so ready, to take the laser bows and the energy-powered arrows.
He looks around, they all do, murmuring to each other, to themselves. Weapons. They expect to see someone bring them in, or to be told that the lesson will be moved and received outside, where the weapons will be awaiting.
The Director, however, keeps her rhythmic pace. She tells them to close their eyes, and they do, excited.
"I want you to think, for a moment" her voice, cold and bored, makes Ballister's excitement die almost immediately. "To really feel what it's like, to be alive."
They do. Ballister breathes in, slowly, and remembers sunny summers and deadly winters in an orphanage. Joyful springs and melancholic autumns in the Institute. It's calming, if only for a bit.
"Your blood" she adds, enunciating every word, "Feel it, feel it run in your veins. Feel your skin tingle, your hair"
They do. Ambrosius remembers that he's just a bunch of bones, guts, meat and cartilage, all put together to make him... well, him. It's comforting, in a sense.
"Now, open your eyes"
They do. Ballister and Ambrosius look at each other, smiling for half a second, too happy to see the other to hide it immediately.
"In front you, lies the deadliest weapon ever"
(she looks at Ambrosius when she says this. She looks at Ambrosius when she says this. She's already planning the future and he's going to be a vital part of it)
"I want you to try and understand what you are. All of you. You're knights, almost. You've been trained and been instructed"
She instructs them to get their swords up, again. They will fight, again. Like that, all. bundled up, all together. Ambrosius can feel someone hit his back, and he tries to communicate his confusion over to Ballister. Where's the weapons?
The Director tells them. All about it. They're not people, anymore. Not normal people, anyway. They're the best of the best, and the blood that runs under their skins is almost like the oil under a car's metal. They fight, confused and used to bigger spaces, to less people.
She tells them to watch out. They're a weapon, and the person in front of them is, too. Good weapons can be modified, upgraded and polished.
(They can also be disarmed. They can also be disarmed)
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sunstonespark · 6 months
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yeah i... idk. i just think it'd be neat :)
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autistickhunsam · 2 years
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I don’t know what to do cause I actually like AJ... I just don’t know what to do. I don’t want her to think it didn’t matter and I don’t want her to think that I like her sister, I don’t. I don't want her to hate me. We were talking all night and I really don’t want her to hate me. 
Crush (2022)
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0rph1x · 1 year
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look at them look at them look at them look at them look at th
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