#their scenes are flat

[ghostlycleric]

i find it rlly funny they arent comforting eachother about life or anything. mike hesitated to hold her hands here and if anything el was comforting mike through his bagillionth failed confession

buuttt… guess who does have a hand holding scene where one is actually comforting the other about life

byler would have been a much better much more fitting pair to put in that post like completely unbiased they just fit the prompt so much better

may i also point out that mike holding wills hand here calms will down (he stops shaking immediately) but el holding mikes hand doesnt calm mike down (even tho i dont really interpret the milkvan handhold as comfort? i cant decide but it doesnt blatantly scream im comforting you to me)

[percydoodless]

the player gave kris rizz

[icestorming]

Part 1 of the numerous scenes that I would love to (sooner or later) illustrate from @yunuen 's fic "The line is covered in jellyfish" ! This is from chapter one, my list is...very long (I am thinking of drawing one scene for each chapter but we'll see)

Also I have to thank @catttttyfandom incredible character designs that I used as references! I am extra grateful, especially for Viktor's body!

[kyngsley01]

I told you, Pure Vanilla cookie…

I’ll never let you go again.

[moiraines]

ANDOR (2022–2025) 2.07: MESSENGER

[wanologic]

The Mansons have Infinite Money

[nenoname]

stan's moment of smugness in nwhs being followed up by yet another Worst Moment of His Life™️ my beloved

but also the way he and dipper are fighting here always gets to me

[collophora]

Do yourself a favor and go read the entire fanfic work of @fanfoolishness

(In order: Under sun and shade, Blind Side, and Breathless (patching up is one of my fav too, I just had no cool sketch idea for it)

[wadesart]

in the absence of the klingons

[amaltheas-garden]

I miss when Alicent was allowed to have emotions

the range 🤌

[poorly-drawn-mdzs]

Gaslighter? I hardly know her!

[First] Prev <–-> Next

[occasionalsnippets]

As for you filling in as Red Robin later on, it might be better to discuss it chronologically with Batman getting lost in the timestream and the no good very bad follow up conversation about who should wear the cowl that somehow ends up with you filling in as Nightwing.

Hi, love the FD au!! there was something you mentioned in one of the other asks about FD!MC filling in as Nightwing after the battle for the cowl and it’s been rotating in my brain like a microwave lmao

the entire lead up into the red robin series is such a mess, and i know FD!MC ended up helping Steph during her robin run so that probably turned out better than in the comics, but so many things happened and lots of people tim cared about died so i can imagine that she had her hands full…. poor mc

A/n: asdlakjsh a more humourous take on the follow up on Bruce getting lost in the time stream. Battle for the cowl is messy and Does Not Happen like it did here I guess.

Taglist: @dragondevinity, @lonely-star2044, @sheep-from-rad, @ilxandra, @thethingwiththefeathers, @star-wars-lycanwing-bat, @sackofsadstuff, @zonked-times, @paastaboi, @venfia, @fantasy-angelo, @linaisadream, @shirp-collector-of-fixations, @roseapov, @alittletiredcry

---

So, Bruce is gone.

Exploded, vanished, died, and whatever during the battle with Darksied. Everyone is, for a lack of better words, bouncing off the walls but not quite falling apart at the seams yet. You're pretty sure Bruce is alive (something something timestream?????) and Tim is digging through something for a theory so you're calling a capital E, Emergency meeting.

The topic: Who is going to be the next Batman.

Right off the bat, Tim, Damian and Steph are automatically disqualified on accounts of being too young.

"Cass?"

"No. Would be The Bat, not Batman."

Fair enough.

“Jason?”

He scoffs. “Fuck no.”

“If he became Batman, he’d be an evil gun Batman who kills people,” Tim chimes in.

So that leaves Dick to inherit the world’s worst legacy.

You look at him.

He looks at you.

Everyone else’s eyes flick between the two of you.

“What are you looking at me for?” You raise an eyebrow.

“Well, I just thought that, you know, you might… want…”

“No.”

Why was he looking at you anyways? You’re absolutely the wrong build to pretend to be Batman.

“If Richard is to become Batman-” Damian’s face twists a little. “Then, what is to become of Nightwing?”

There's a mischievous twinkle in Steph's eyes. "Well if we want the net number of vigilantes to be the same-"

--

"This is an awful idea," you say for the record as you cross your arms, dressed in Nightwing's suit.

"It's this or you become Batman." Dick, in the Batman suit, pats your shoulders and pulls the cowl over his head.

Your hand twitches.

Fuck Darksied and Bruce and the timestream. You are so not getting paid enough for this.

[edwinisms]

you know. I think the reasons it feels so literally narratively wrong when people refer to charles as being straight (such as in interviews where his love life comes up and so on) are that A) he’s never deemed outright straight in the show, so it’s just an assumption that he must be straight by default (which is silly in a show like this), and B) what he says following edwin’s confession. I know I’m biased, but even when I try to look at it as neutrally as possible, the way he reacts in general and the specific words he uses just don’t sound right when you imagine them being said by a Totally Definitely Straight guy.

first of all if you actually listen to it instead of absorbing the scene superficially it’s not particularly a rejection at all, and the actors have stated that themselves– it’s not him saying no, it’s him saying “I can’t give you an answer right now, but I will eventually”. that’s not an interpretation, that’s literally just the truth of what he said (and again, the actors agree). can you imagine a straight guy saying that, or possibly even more damning, “we have literally forever to figure out the rest [“the rest” meaning anything that goes beyond the kind of love charles already solidly has for him]”.

imagine you’re a straight man who’s unwaveringly confident in his orientation and your gay best friend confesses his feelings for you. you would not respond with the implication there is a “the rest” to figure out. since the main, obvious obstacle would be your solid lack of attraction to men, that’d probably be essential to your response– it wouldn’t be a “I can’t say–“ it’d be a “I can’t be–“. and on top of all that, I feel like the whole thing would have to sound far more apologetic– “I’m sorry, I love you and that’ll never change, but I just can’t love you the way that you love me.” something like that, right?

tldr: this is a rare instance in television where assuming a character is straight by default makes Less sense than the alternative. and charles’ choice of words in the confession overtly suggest that he is, at the very least, unsure of his orientation.

[kalied0skull]

in reference to @alaskan-wallflower's post , i made this drawing just because i felt like i needed a little stevepop angst-comfort in my gallery... and i just really felt heavy over the post 😭 /vpos

now playing: Orange County — Dylan Kanner ♪

there's just something so intricate to me about steve being vulnerable even when he doesn't exactly want to be, but he'll let his guard down just for a moment for soda

he's always got such heavy walls up but something about soda really tears them down because of just how easily he can find the cracks within them

they care for each other in the most gentlest of ways to me ... i dunno, i just really like these guys :3c

not much of a ramble today since I'm a bit out of it (and distracted halfway) but i thought I'd at least share the drawing since i finished it !!!

[wicke2deer]

[captainfantasticalright]

Crowley’s Mayfair flat design (concept art) for season 1 was inspired by an art installation in the Royal Academy of Arts called “Sensing Spaces”; in particular this piece from Grafton architects.

This installation “aimed to evoke the experience of contemporary architecture within a neoclassical environment”. Especially the light “coming in” from overhead was the most important aspect.

Most poignant of all was to recreate the light sensation of both moon and sun simultaneously.

The spatial qualities of light and shadow shaped the installation by Yvonne Farrell and Shelley McNamara of Irish firm Grafton Architects. The architects suspended large wooden structures from the ceilings of two galleries to recreate the experiences of both sun and moonlight.

The structures by Grafton Architects, founded by Shelley McNamara and Yvonne Farrell, hover above Gallery IX and the Lecture Room, suspended from the roof lights above. In order to create a strong spatial tension between adjacent rooms and to set up different lighting scenarios, two dramatically different compositions have been made. Choosing only to work with the roof lights, both installations feature a series of suspended surfaces and forms that manipulate the light and reshape the space in two entirely different ways; one as an exploration of lightness, with what is referred to as a waterfall of light, and the other being the exact opposite, exploring weight, containment and the formation of carved-out space. In the Lecture Room, a series of dark, brooding and apparently massive solid forms obscure most of the existing ceiling and roof light, articulated by two relatively small, high-level ‘apertures’ or openings of light. In contrast to this, Gallery IX features nine blades, suspended in alignment with the gallery’s exposed trusses to reflect a balance of natural and artificial light filtered through the exposed roof light. While both installations drop down within the galleries to create an implied headroom of 2.5 metres within the 8.5-metre-high spaces, two entirely different relationships are established between the floor and the light. In the Lecture Room, the installation intensifies the perception of distance between the floor and the light, while in Gallery IX the hanging blades bring proximity and unity. By quoting American architect Louis I. Kahn’s statement that ‘to hear a sound is to see a space’, Grafton Architects allude to a consistent ambition in their work to make space tangible. As they put it, they seek to ‘make as much nothing as possible’, and to structure space through the careful orchestration of the passage of light and movement through the void. In response to what they refer to as an ‘amazing generosity of space’ within the Main Galleries of the Royal Academy, their installations set out to radically transform each visitor’s perception of the familiar. As such, between Gallery IX and the Lecture Room the architects have created two distinctly different scenarios which, when experienced side-by-side, set up a powerful spatial duality and tension that reinforces the qualities of the existing rooms while radically transforming them into something new. (for a complete 360 view of the rooms)

‘As well as enabling us to find greater pleasure in the spaces we inhabit, this exhibition will perhaps heighten our awareness of the sensory realm of architecture and thereby encourage the creation of a more rewarding built environment.’

From Michael Ralph: Crowley’s flat was the first piece of concept art he did before booking the job, and it stayed the same. He sent in seven pieces of concept art before he went for an interview, and four of them stayed exactly as they were – nothing changed from his original instinct. The idea of the apartment was for it to be almost a cement tomb but with a very high ceiling (hanging in mid-air) so there was a sense of light coming in from a very high level.

And just a piece I want to highlight: "manipulate the light and reshape the space in two entirely different ways; one as an exploration of lightness, with what is referred to as a waterfall of light, and the other being the exact opposite, exploring weight, containment and the formation of carved-out space."

In a way, the flat has always possessed a bit of light and shadow, something reflected in Aziraphale and Crowley's own essences.