#dad Dylan

[coochiekrab]

The muchly requested (fiercely bullied out of me) Worlds Worst Family Tree. All characters are depicted based on relevancy and comic appearance, making some characters look younger than they should relative to others

[panthressa]

Hi can i please make a stiles request? Possibly dad stiles and or reader and stiles trying for a baby? Thanks😛

Stiles having a breeding kink? Um, yes. Thank you!

First of all, I need to point out how Stiles immediately gets excited when he finds out that his girl's gorgeous tits will get bigger. He has a lot to learn about pregnancy, especially since his mom wasn't around for most of his upbringing and his dad gets too uncomfortable to talk about "women things". That being said, every new fact he learns entices him more, and he uses that against her when he fucks her.

"You're gonna look so good for me with your big, leaking tits and your pretty swollen belly. All because of me, because of my baby."

If she ever blows him, he refuses to let her swollen his cum, insisting that he does so inside of her because he doesn't want to "waste" it. And so he does, and he keeps his cock deep inside of her to make sure that not a single drop leaks out.

"Stiles, you're literally soft now, you can pull o-"

"No! It has to stay in there! I need them to do their job."

"'Them'?"

"Yeah, my... my sperm."

At this point, she's trying not to laugh, and he pouts at her mockery of his dedication.

He begs to fuck her any place, any time, but as soon as she seems even slightly hesitant, he yields. His stamina may be out of this world, but he certainly still respects her. He can't expect her to keep up with him all the time, so he doesn't. However, his impatience is, well... Let's just say he buys a pregnancy test every day on his way home from work (he's an adult here, minors should not be trying for a baby). At every negative test, he either groans or quietly tears up. It's a heartbreaking process, but at least they have each other.

[onegiantmeep]

hang in there

Severance 2x04 / 2x05

[ghostdrinkssoup]

Severance S2 spoilers, but I think innie!Mark running back to Helly is deeper than just him realising he doesn’t have feelings for Gemma. As we know, outie!Mark gets severed because he doesn’t know how to cope with Gemma’s passing, meaning he’s someone who struggles to accept death (and by extension change). We see this characterisation extend to innie!Mark when Petey’s disappearance forces him to re-experience grief. Notably, innie!Mark’s gut reaction is to hide the group photo of Petey so he won't be reminded of him, similar to how outie!Mark hides Gemma’s things in his basement because it’s “easier pretending she never existed”. Innie!Mark later shreds the map on the back of that same group photo when Helly presses him to question Petey’s death, again, very similar to how outie!Mark tears up the picture of Gemma. Despite differing contexts, both versions of Mark try to prove they don’t “give a shit” about someone they are very clearly mourning.

Innie!Mark isn’t just mourning his best friend, but also how things used to be. His attachment to Petey doubles as an attachment to the culture created by his coworkers, again, not so dissimilar to outie!Mark mourning his old life with Gemma. In both cases, he doesn’t want things to change. The idea that work culture is created “by the people” is established in the first episode, during a meeting between innie!Mark and Cobel:

Here, Cobel explicitly associates hell and heaven with the work environment, noting that hell is not reality but our perception of reality, influenced by our environment. Essentially, the people at work determine whether the workplace is worth being attached to. Although this philosophy isn’t universal (not everyone loves their coworkers), it aligns with innie!Mark’s values, as demonstrated in the shredding scene: 

Here, innie!Mark confirms that he isn’t loyal to Lumon, but to his colleagues. We also learn that in the face of uncertainty, he would rather lean on the support of his immediate community (his “family”) than become isolated, reframing the workplace as an intimate (and domestic) space. Considering that severance is meant to separate people’s work lives from their personal lives, this scene is particularly fascinating. Especially since Helly resists conflating the professional sphere with domesticity (“I could not, with a razor to my throat, be less interested in being your family”), viewing work as a prison that restricts her freedom (which, ironically, is likely the reality of Helena’s personal life). Interestingly, innie!Mark resents Helly’s constant disobedience until she tries to commit suicide. Again, when he’s confronted by death.

The show continuously reminds us that loss of intimate attachment, whether at work or home, is what both versions of Mark fear most. For example, innie!Mark is the only worker who hasn’t tried to quit. Helly repeatedly tries to quit in season one, even though she knows it’ll end her life; Irving is more than ready to quit after he learns Burt is married, and is ready to accept his death after outing Helena as a mole; Dylan also tries to quit when he’s separated from Gretchen and realises she won’t be coming back. Innie!Mark is the only severed worker (of the main cast) who can't accept death. Walking out that door terrifies him, and Lumon nurtures that fear. As Milchick says in season one, death isn’t something that happens at Lumon. The workers don’t even know what death looks like, as shown when MDR find the animal corpse in Woe’s Hollow:

Suddenly, the external world of the natural environment overwhelms the workplace, bringing death in its wake. Yet, the internal world of domesticity also brought loss in the form of Petey, Burt, and Irving’s “retirements”. Clearly, neither private nor public spaces are appropriate labels for the workplace, because the workplace is unnatural, monitored, and sealed off from reality. Lumon literally advertises this state of being, yet woe resulting from the loss or death of a loved one keeps threatening to invade this sequestered paradise. The personification of woe being a ghostly bride (AKA someone’s dead wife) also feels pretty pointed.

But let’s return to that point from earlier about work culture. As we have already established, innie!Mark is more than willing to work at Lumon if he becomes accustomed to the culture created by his colleagues. Helly contrasts him in this sense, as she is both independent and capable of rallying people to action without group support or approval (as we see during her speech to Choreography and Merriment). Innie!Mark, meanwhile, quelled his rebellious behaviour the moment he made friends with Petey. Under ordinary circumstances, innie!Mark is unlikely to be the kind of person to just up and leave his job because it’s exploitative. His decisions are not guided by morality, they’re guided by emotional attachment. We see this with outie!Mark in season one: his views on Lumon only begin to shift after he attends Petey’s funeral, and goes to his (Petey’s) daughter’s concert. Before this moment, outie!Mark is mostly apathetic about the inner workings of Lumon because severance is a convenient coping mechanism. It’s only when the peace is disturbed, and someone he’s grown to care for dies, that he changes gear. 

Innie!Mark behaves similarly when he demands to have his team back in the first episode of season two. It’s the most rebellious we’ve ever seen him. He doesn’t want his friends to disappear, and once they’re back, he doesn’t quit despite being given the option to leave. He wants to find Ms. Casey (who he knows is his outie’s wife), sure, but he’s also attached to Helly and his other colleagues. They’re his family, and he is very unlikely to abandon his family.

Outie!Mark is also very unlikely to abandon his family. The moment he learns Gemma is alive, he’s willing to risk everything (including his safety) to get her out. His stubbornness and loyalty are only rivalled by his innie’s, who is effectively himself. The problem isn’t that innie and outie Mark are different people; it’s that they’re the same person. If the roles were reversed, outie!Mark would never leave Lumon for Helly, not if it meant leaving Gemma behind. He would do the exact same thing innie!Mark does because neither version of him can accept loss, which is why he can’t leave. It’s not just Helly: it’s Dylan and all the other innies he would be abandoning. Not to mention that leaving would mean his certain death and Mark has never been able to deal with death, something Lumon promises to shield its workers from.

Why don’t people quit their jobs, even when they know it’s corrupt? Because people become complacent, conditioned, and attached to the status quo. Innie!Mark was always going to run back into the tender arms of hell. For a moment, it probably seemed a lot more like heaven to him.

This has been Mark’s consistent characterisation throughout the show. Do I view innie!Mark and outie!Mark as separate entities? Yes and no. I do think that innie!Mark is just as much a person as outie!Mark, and that they are different versions of the same person. However, that doesn’t mean they aren’t the same person. If innie!Mark was different from his outie, he probably would’ve gone with Gemma. But outie!Mark has never learned how to accept grief, and innie!Mark is a version of himself that hasn’t evolved past this worldview either. What we see at the end of Cold Harbour, then, is a very literal representation of self-sabotage. Because the type of person who would’ve gone with Gemma wouldn’t have severed himself to avoid grief in the first place. For Orpheus not to turn around, he would've had to be someone else.

[cletus-kasadys-gay-boy]

I love my gay dads

Separation Anxiety was the first Venom comic I read. I felt like there was so much fruit in it.

[punch-aholic]

I feel like Bob would be an amazing Stepdad to John’s first son.

They probably got on a rocky start of course but then got super close together.

Bob doesn’t care that he’s not blood related to him, that’s still his son too. Him and Owen are both Bob’s babies.

I have so many thoughts about this and you are so right anon. I consider Dylan to be Bob’s kid just as much as he is John and Olivia’s. They bond over video games and football (Bob is a secret fan) and I like to think that at first Dylan sees Bob as the cool uncle who works with his dad (Bob is amazed that anyone in his life calls him ‘cool’) but after John and Bob get together Dylan starts seeing him more as a stepdad. Dylan calls him ‘Bobby’ because that’s what John calls him, and they’re the only two people Bob would let call him that. Dylan is like a trial run kid for Bob and I think he’d be the reason Bob realizes he might actually make a good dad one day. And when Owen is born Dylan is the second person to meet him after Yelena. As far as Bob’s concerned those are both his boys.

[longlaegs]

in Take Me Back, Tom says to Becky that "there's an alternate reality where we're now a family". For Tom, Tim is an inseparable part of his life. Even as he is rediscovering himself and his love for Becky, Tim comes first. Even though Tom is trying to put his past behind him, he refuses to leave behind Tim.

On the other hand, Becky says "there's an alternate reality where it's only you and me". For Becky, Tom is a much needed escape from her own life and past. She is just seeking someone to accept her and what she has done. Tom is the first person that she told (that we know of) and he is immediately understanding.

Both are looking to each other to help overcome their pasts. They are trying to move on in their own respective ways.

[warningsine]

[coochiekrab]

Hate this video for reckless and improper handling of wildcats but my Greatest Mistake will always be making Kuri Short when eurasian lynxes are both the biggest lynx species and just really big wildcats in general. I had no idea at the time

[toomuchracket]

bump in the night (dad!matty x reader fluff)

baby phoebe thinks there's a monster under her bed. matty to the rescue! once again, promptober. enjoy <3

“dad… dad, wake up.”

the owner of the worried voice shoves his shoulder, and matty jerks awake. disoriented, he fumbles for the switch on the bedside lamp; when he finds it, he also finds dylan standing beside him, eyes wide and teeth chewing at her bottom lip. “dyl?” he clears his throat, voice scratchy. “what is it, darling?”

“it's phoebe. she won't stop crying,” her jaw is trembling, a clear sign that she's anxious. matty reaches for her hand, and she seems to calm down slightly. “me and elena both tried to calm her down, but she just keeps sobbing for you and mum. don't know what else to do, dad.”

terror pierces him, the kind of fear that only sets in when you or your daughters are concerned - the worst kind, it goes without saying. extracting his right arm from your still-sleeping hold as inconspicuously as possible, matty pulls himself out of bed, reassuring his eldest before he goes to help his youngest. “you did the right thing, dyl,” he pulls her into a hug, kissing her sleep-messy curls. “is pheebs saying she's not feeling well, or…?”

“no, she just keeps crying and saying she wants you and mum. she calmed down a little bit when lena and i went in, but not a lot.”

“okay,” he rubs his eyes, taking dylan's hand. “lead the way.”

it's only a few steps across the landing and down the hall to phoebe's room, but the worry makes it seem far longer. a wave of relief washes over matty when he and dylan make it through the door, but it's short-lived - his three-year-old is shaking in her big sister’s arms, the flush on her tear-stained cheeks evident in the glow from the nightlight, and elena looks on the verge of tears too. “oh, my darlings,” he coos softly, kneeling at the side of phoebe's bed. “what's wrong?”

phoebe practically throws herself into his arms, tiny body wrapping itself around his. hot tears dampen his t-shirt, and matty can feel his own eyes welling up. he's sick to his stomach when any of his girls are upset, but his youngest is so especially sweet and smiley that her sadness seems to hurt him just that little bit more. “phoebe, sweetheart,” he murmurs. “please tell daddy why you're crying, yeah? deep breaths, munchkin, copy me,” he inhales deeply, and exhales slowly. “can you do that?”

she copies him shakily, while elena crawls to sit on the edge of the bed in front of him; even at seven, her legs still don't reach the ground, dangling endearingly instead. “i think she's scared, dad.”

“alright, darling, thank you,” he smiles at his middle baby, who returns it sleepily. “you two can go back to bed, if you like. thank you for helping your sister, my sweet girls.”

they shake their heads in vehement denial, dylan moving to join her sister on the edge of the bed. “not leaving until phoebe's okay.”

“you sure? you'll be tired tomorrow.”

elena shrugs, matty in miniature. “doesn't matter. our sister’s more important.”

matty's eyes actually do fill with tears at that - how on earth did you and him manage to create such perfect, kind humans? it's baffling. “alright, darlings,” he nods, before turning his attention to phoebe. “did you have a bad dream, sweetheart?”

tiny curls brush his neck as she shakes her head. “uh-uh.”

“okay. was there a big noise outside? foxes, or a car, or people shouting? that can be really scary, especially if it wakes you up.”

another head shake. “in here.”

now we're getting somewhere. “there was a scary noise in your bedroom, munchkin?”

“yeah,” phoebe's little voice shakes, turning to a sob when she speaks again. “like… like a monster!”

“where exactly, darling?”

“the- the wall,” she hiccups; matty softly rubs her back to calm her down. “and under my bed.”

interesting. monsters under the bed aren't exactly uncommon, but in the wall? maybe phoebe's imagination is stronger than you all thought.

or maybe… “what kind of thing did it sound like, sweetheart? can you remember?”

she thinks for a second, wiping her eyes on the shoulder of his t-shirt. “like when my tummy is hungry.”

“rumbling? why would it be… oh,” the answer clicks in matty's brain, the logistics of the house's layout revealing it to him: phoebe's bedroom is directly above the utility room, so - “it isn't a monster, my darling, it's just the central heating.”

dylan lets out a soft “ahhh” of realisation, but elena looks puzzled - when phoebe moves to look at matty, so does she. “the heating?”

“yes, munchkin. it's what makes the house cosy, and makes sure we have hot water for our showers and baths-”

“and washing our hands?”

he smiles. “exactly, my smart girl. but it all starts from that cupboard near the washing machine, and then it travels through the pipes up through your room, and into the rest of the rooms. that's what the noise is, darling. not a monster.”

phoebe sniffles. “really?”

“would you like me to check under the bed anyway?”

“mhmm.”

“alright,” he kisses her head, settling phoebe between her sisters on the bed and ducking down to scan under the bed; his back practically screams at him not to, but he can't disappoint his baby girl. “all clear down here, girls. not even a speck of dust,” popping back up, he takes phoebe's tiny hands in his own. “do you feel a bit better now, munchkin?”

“yeah,” she nods. “but the noise is scary.”

matty can't blame her for that - the bed is right against the wall with the pipework, and she's only three. it's a lot. “tell you what, darling - you come in with mummy and me, just for tonight, and tomorrow we can rearrange your room so the noise isn't as loud, yeah?”

“‘kay.”

phoebe rubs her eyes. matty smiles, scooping her into his arms again - smiling even wider at the way she melts into him - and stands, nodding at his older two. “come on, my girls. back to bed.”

the four of them trudge out onto the landing, exchanging goodnights and head kisses. matty gives dylan and elena an extra hair ruffle each. “thank you for looking after your sister, girls. lie-in tomorrow, alright?”

“mhmm. night!”

“night, dad! night, pheebs!”

two bedroom doors close, and matty carries phoebe towards the last slightly open one; behind it, you're half-asleep, but quickly awakened by the sound of matty's footsteps and, ironically, his hushed “don't wake mummy, sweetheart, alright?” to the little one in his arms. he sighs when you turn to face him, sitting up slowly and flicking the light on. “baby? what's going on?” rubbing your eyes, you notice phoebe. “oh, hi, my darling. you alright?”

“she is now,” matty sets phoebe on the bed; she crawls to you for a cuddle immediately. “but she's staying with us tonight, and i'm spending my saturday rearranging her bedroom.”

“oh, okay,” you raise a brow. “do i want to know?”

“i'll explain tomorrow,” matty flops onto the bed, flicking the light out, suddenly tired. “right now, i think we all just need to get some sleep.”

“alright,” you lean over to kiss him, dropping one onto a now-sleeping phoebe's head for good measure. “goodnight, my loves.”

matty strokes your face, and then your tiniest girl's. “goodnight, darlings.”

[thornescratch]

Dylan Strome reacting to his daughter and nieces' annual jersey swap.

[monzterzack]

maverick’s mom

[elsannej]

VENOM WAR #1 Spoilers

Eddie: WDYM YOU LOST MY OTHER?! HE/YOU HAD ONE JOB!!!

Dylan: DAD I'M HOMELESS + LITERALLY DIED, CAN YOU GIVE A DAMN FR!!!?

Bren and Normie in the bg:

Sleeper:

[reaperlight]

[In which Eddie gets a new show, casually mentions his husband/he/they partner on air and gets a not-so-nice phone call from his estranged father]

Carl: You're not good enough for my son!

Venom: You're not good enough for your son. Or ANY of your grandchildren.

Carl: What?!

Venom: You heard me!

Venom: [*Angrily slams the phone down*]

Cletus: Uh... Did you want us to...?

Venom: No! I'll take care of it.

Eddie: Guys, really, I appreciate it. But I'd rather not find out what my father tastes like.

Venom: I'm sure his brain is far too small to make a meal in any case.

Carnage: My host knows some excellent places to hide the body!

Eddie: [to Carnage] ...This is not setting a good example for your brothers. [To Venom] Just let it go man, he's not worth it.

Venom: But you're worth it.

Eddie: Yeah, but he no doubt wants the attention. Just let him rot.

Frances: Well, we've got some nifty ideas for revenge if you change your mind...

Eddie: ...

Frances: They don't ALL involve kidnapping and murder, I swear.

[graveyardgayme]

never change, Stromer lmao

(quote from the new W Magazine CapsPR posted)

[thescreenking]

every animated fictional character that makes up my entire personality