#Is a little shit sometimes

[eveningserenityyy]

Padawan Obi-wan: What the fuck?

Qui-gon: Language, Obi-wan.

Obi-wan: Sorry master.

Obi-wan, clearing his throat: WHOM the fuck?

[60parsecsrevive]

Tom: As for me, I'll do what I do best

Tom: Lie, steal, cheat, and survive.

[undertheredhood]

jason 'perfect poker face' todd: and that is the story of how i got myself permenantly banned from three countries in the span of two months!

tim 'know it all' drake: *immediately picking up his stalking hobby because he doesn't know if jason is telling the truth or not*

[forgetful-nerd]

I love Raph. No matter what size he is. He can be big or small doesn't matter to me.

HOWEVER,

I genuinely believe that the smaller a Raph is, the more feral they should be.

I need these short fuckers to be trying to bite off everyone’s kneecaps:

While these tall (-ish) fuckers are holding them up by the napes of their necks (Rise! Raph would be doing it to actually keep these two out of danger, but 2003! Raph would do it just to be a smug shit about it):

[puppetmaster13u]

Prompt in Memes 5

Once more, have a prompt entirely in memes because I'm too lazy to properly write one right now lol.

[vypridae]

smoke

[ncutii-gatwa]

not a fan of the internet still treating people who just don’t want to watch sex scenes like they’re stupid or childish. some people just don’t want to watch sex scenes or even want to talk about sex. why is that so hard for some people to deal with?

[latenightsundayblues]

I imagine their banter and bickering in the process of killing someone would deal greater psychological damage than the torturing itself

[chappelroans]

TRAVIS MARTINEZ in Yellowjackets (2021-) [insp]

[cuethediscoandthedrinks]

jake sully + breeding/pregnancy kink hcs~

a bit of fluffy smut, enjoy lovelies <3

song rec while reading: i see who you are - instrumental (björk)

• lying in each other's arms, sat not too far from the communal bonfire; you could see friends and family all around you from the secluded spot you were in

• most of the children were asleep at this late hour, but some gently sleeping babies and their mothers sat around the hearth, sharing stories with their sisters and brothers, mothers and fathers

• the dark of night contrasted with the warmth and yellowish hues from the burning embers, smiles and sleeping faces, alongside quiet laughs and chatter echoed off of the inner cave walls

• you'd felt especially restless all day, the only thought tiding you through the chores and work being this moment; sat with your head to jake's chest, nuzzled up into his neck; your face was turned ever so slightly to the side, taking in the sight before you

• usually the urge to fly, jump and run was enough to keep you distracted from this, but today the still of the little hours of the night with the steady beat of jake's heart was enough to remind you: this was home, and so was he

• the seed of hope in making it permanent had been developing as you immersed and integrated yourself more and more into the na'vi culture; your shared bond with jake only strengthening, and the yearning to share your love in new and more meaningful ways grew in your mind and heart

• looking out to the circle of na'vi huddled close together, sharing songs and stories, your eyes naturally inclined to those expecting; some mothers were yet to have their children of course, younger in stature and skin tone, their bellies swollen and full, usually their mates by their side; the sight made your heart flutter, and a small smile grace your features

• jake noticed this, of course; you'd been much quieter than usual, although the way your body relaxed into him intimated that this quiet was of no alarm - he'a merely been glancing down every so often to your form, curled up in his arms as he traced patterns on your hips and upper thighs

• your expression of an almost warm-hearted wistfulness caught him off-guard, though; usually you were asleep by now, breaths deeper and body heavier in his arms. this time your eyes were cast to the group sat about the fire nearby, your lips briefly pursing in thought only to grow back into a small smile

• using his index and middle fingers, jake ever so gently lifted your face up to his by your chin, taking in your softened sleepy features, whispering a quiet "...what's on your mind, babygirl?"

• sitting up a little further, you wrapped your arms around either side of his neck, lightly stroking the soft braid, brushing any stray hairs away from his face, behind his ears; jake's arms snaked their way around your waist, his eyes flicking up and down your form in curiosity

• you'd then proceeded to express what filled your thoughts; being human and working at the base in pandora, the probability of having any children was low. but your life was so different now; even your body was made of completely different components - all that was you was your mind, and whatever you wanted it to be was now up to you; unconstrained by human rules and physical limits

• at your words, jake made sure to listen closely; his earnest little tail flicks and swivelled ears making sure to pay attention, as you continued to express how you felt the increasing urge to have a family; and how the prospect of being pregnant was especially appealing to you

• the idea of being so claimed by someone, in such an intimate way; enough to change your whole body once more, not only for your baby, but for your mate. giving him a family, and the mutual respect and love that such a shared act represents, it made your heart swell

• jake's gently widened eyes and small open-mouthed smile only affirmed your words, giving you the confidence to continue, almost whispering your confession, "..i just...i want to have that with you, if you wanted it too...i don't have it in me to fight something so instinctual...i'd have your babies, i want them...with you."

• as you subtly began to gyrate your hips into his now slowly hardening length, jake's expression only deepened as he nodded along to you; your words almost washing over him and sending him into a trance. you wanted children, and to mother, and best of all..with him. you wanted his children

• paired with your now growing arousal, and lightly rocking your form against his, he could tell that this captivated you in more ways than one. his mind shifting from a place of pride and sentimentality, to that of lust and an intimate kind of eroticism at your proposed prospect

• he'd have no quarrel with fucking you deep, watching as you swell full with his child; jake sighed out at the thought, "ah, i see..must mean you want a daddy too, huh. a daddy and his babygirl, mmhm?", your now more desperate grinds only increased the heat between you, the proximity beginning to rile the both of you up

• "..yes..but really..w'na be a mama.." you'd let out, eyes flickering back and forth between his emerald orbs and the ground; your flustered form couldn't be masked even by the enthusiasm you showed at the idea of starting a family

• letting out a feigned-innocent hum of approval, jake nuzzled his face closer to yours, understanding what you really meant - maybe the family was in the future, but your current state: pussy wet, pupils dilated, hips circling hard into his cock, was more interested in the prospect of making the babies, rather than rearing them

• "..ahh, ok..so my babygirl wants to be a mommy, and wants mommy and daddy to make babies, am i right?..protect their family..take care of each other?..well shit, sweetheart", he'd keen, already knowing the answer through your eager nods, the little high-pitched whine that escaped your lips, and your eyebrows contorting in weakly hidden arousal

• jake was fully on board with this idea of course, but took great satisfaction in watching your squirms of pleasure at the fantasy; sliding a hand down to your cloth-covered entrance, he moved the material to the side, sliding in his swollen cock; there'd usually be more foreplay, but feeling how much of your juices were already dripping from you, he took little more time in riling you up

• making sure to be out of direct sight from those at the fire, he gently scooted both of you deeper into the shadowed corner of the cave; once fully-sheathed inside your clenching, wet pussy, jake began to gently pump in and out of you;

• hips bucking rhythmically into you, your hips matching his speed as you rode him in equal fervor; in between desperate chesty groans, jake continued to gasp out, "..ffuck..you w-want a baby, sweetheart? i'll give it to you, i'll give it...ah-ah, fffuck..",

• "so t-tight for me..must've really wanted this, hm?..mommy wants daddy's seed, deep inside, right? m'gonna fuck it nice and deep for you babygirl, don't worry..sh-shit..", as his hips pushed deeper into you, his head leaned back on the cold stone wall, eyes clasped shut from the way your pussy constricted around his pulsing length

• all the while your hushed moans echoed in his ears, as you wantonly nodded to his lustful words; knowing just how much you wanted his babies, he was going to make damn sure you got them.

:,)

[theabigailthorn]

yesterday I was panicking because the next video seemed way too big and impossible to finish on time, and today I've written five pages of the first draft and I've got that "Ooooh it's cooking!" feeling. Gotta trust that the Little Spirit who comes up with all my creative ideas has my back

[sergle]

I'm thinking abt that pretty fall leaves embroidery pattern post and about how like... it is categorically a repost, it's a reupload. right? a thing that is generally disliked. but because it's credited, it's genuinely boosting the artist in question. and it could ALWAYS be like this. reposting content could ALWAYS be a symbiotic relationship, but because sourcing back to the original creator of something is so uncommon, it's just easier to ask people not to repost it at all. and people still don't understand the difference. or they'll go to the effort of cropping out usernames/signatures to repost something, which is More Effort than literally crediting the creator of something you liked enough to want to repost. Like. I literally don't actually care if my own shit gets reposted, you have to understand. I just don't want it STOLEN. But "do not repost" is easier to write on my art than "you can repost this, but don't alter the image/remove my signature, don't you dare write 'credit goes to the artist' because that is not credit, please link back to my original post or someplace that you can actually find me. please use an actual link/url instead of writing a non-clickable link of my username, because making it text instead of a clickable link cuts the number of people who will go to the effort of visiting my own page in Half." All those aggregate themed accounts, those fuckin annoying as hell instagrams and facebook groups that are like "body positive art we love wamen 💕 hashtag feminism" and then MASS-STEAL plus sized art created by women, if pages like these that always go and steal my older self-portraits and other works... If they just put a link to my prints of those pieces in the text of those posts, or, fuck, my commission info page? I would literally be living on the moon right now. I would have a house on the moon

[notfeelingthyaster]

you don't need to minimize other people's favorite because you have a favorite: it's okay to love damian, you don't need to shit on tim's character/erase his trauma. you can love tim and not shit on jason's run as robin. you can have cass or duke as a favorite and not diminish the other kids relationship with bruce and each other. and on, and on, and on.

[marley-manson]

the topic is Trapper and the army as foils, you have three hours, go

In no small part the satire of Mash, particularly in the first half of the show, is tied up with gender performance.

The army represents traditional, stifling and violent masculinity. This is shown through everything from freudian jokes about guns (eg Frank and Margaret's flirtations in The Sniper or The Gun), to Margaret trying to cajole Hawkeye into performing a more traditional standard of masculinity while treating him like a soldier in Comrades in Arms Part 2, to many jokes and comments about (usually) Hawkeye not being a real man in contrast to army standards and various specific army personnel (eg Lyle in Springtime, Flagg in White Gold), to Frank and Margaret's worship of the masculinity of the army ("He's twice the man you'll ever be," re: Flagg and Hawkeye, Margaret's lust for MacArthur, Frank pursuing the sniper in The Sniper in an attempt to be a "real man" in Margaret's eyes, etc) to many jokes positioning the military as a sexually aggressive man pursuing Hawkeye ("Sure, the sun the moon the stars, your high school letterman jacket. Same deal I promised nurse Baker." "A receipt please, and promise you'll go out with other doctors," etc.)

In contrast, the main characters all fail to perform traditional gender in some way, from crossdressing to immaturity to indecisiveness to peacefulness to Margaret's masculinity and Frank's pathetic failure to live up to his own masculine ideals, to just about everything about Hawkeye. His cowardliness, his jokes about not being a real man, his jokes about taking the feminine role in sexual encounters with men and women, even multiple double entendres about his average at best penis size.

Trapper is the most traditionally masculine of the main cast. He still subverts masculinity in some subtle ways here and there, such as the occasional feminizing joke and mentions of not being in great shape, but overall he's the more butch counterpart to Hawkeye's fem. He plays the role of boxer while Hawkeye plays the role of diva in their respective manager/star roleplaying episodes. He's broader and buffer and plays football, often seen playing catch with someone while walking around the compound, while Hawkeye disdains sports and doesn't participate. He reads Field and Stream which Hawkeye derides in Alcoholics Unanimous while making a wry comment about shaving his armpits. A past lover nicknamed him Big John.

And there are many, many jokes about Hawkeye and Trapper being sexual partners. The recurring Uncle Trapper and Aunt Hawkeye gag, if my father sees this you'll have to marry me, for me? only if you put those on, your father and I will tell you what we did to have you, that's when I fell in love with him, etc etc etc. It's constant. In these jokes Hawkeye usually takes the feminine role, though not strictly every time ("Me and the missus," is one exception in As You Were, the dance in Yankee Doodle Doctor is another).

Trapper's masculinity is differentiated from traditional military masculinity in a few ways. Most obviously, Trapper abhors the military's violence. He never uses guns and mocks Frank's obsession with them, he's a healer rather than a soldier, and he's disgusted by the results of military violence on the men on his operating table.

He's also secure in himself. The military's brand of masculinity is strongly characterized by insecurity and overcompensation. Frank is the main representative of this military insecurity - a coward who insists he's brave (The Army Navy Game), a man who clings to a phallic gun to compensate for his sexual and gendered inadequacies (a main theme of The Sniper, perfectly mirrored when the army itself comes in with a vastly disproprotionately powerful automatic machine gun on a helicopter to shoot down one sixteen year old), a homophobe repressing his own attraction to men (As You Were, the original script of George), etc. We also see this in Flagg, who implicitly sublimates sexual urges into violence (seen when he suggestively caresses his gun while describing how he wants to torture a boy in Officer of the Day).

Trapper doesn't need to overcompensate. He's well-endowed physically, he's portrayed as a competent and considerate lover, he's a brave man who doesn't mind being seen as a coward, and he may or may not be attracted to men but either way he's not a homophobe (George) and he doesn't express his sexuality through violence. When Margaret proves herself stronger than him, his response is to be impressed rather than offended (Bombed). When he dances with Hawkeye for a gag, he doesn't mind letting Hawkeye lead.

He's also differentiated in terms of tradition, with the mliitary representing a more propagandic 50s traditionalism, and Trapper representing a 70s, countercultural freedom from tradition. We see this in the way Trapper has plenty of sex despite being married, while adultery is a court-martial offense in the military. It's notable that he's open and carefree about it, while Frank and Margaret are surreptitious and hypocritical in their affair. This lack of traditionalism is also shown in his disrespect for authority, often in direct contrast to Frank and Margaret's worship of it, and his allyship to George who the military would persecute for his sexuality.

So ultimately we can see that while Trapper and the military are both examples of masculine performance, Trapper's masculinity differs from the military's in being more flexible, less violent, less traditional, and more secure. The military's masculinity is far more toxic than Trapper's, particularly in the context of 70s counterculture media, which aligns womanizing with sexual liberation rather than a lack of respect for women, accurately or not.

This contributes to their respective dynamics with Hawkeye.

Hawkeye, we've established, is usually more feminine, and there are a myriad of jokes characterizing Trapper as his sexual partner, as well as the military as a sexual pursuer.

The jokes Hawkeye and Trapper make about their relationship tend towards cozy domesticity. They're Radar's "aunt and uncle," they directly roleplay marriage ("Martha, we're going to have to move, the people upstairs are impossible,") and less directly behave as though married (the bickering in Alcoholics Unanimous, the discussion about naming their pony in Life With Father). Occasionally they're treated as a healthy couple in contrast to Frank and Margaret's toxicity ("While I'm gone, promise you'll go out with other doctors," vs "Touch anyone else and I'll cut off your hands" in Aid Station).

In some instances the jokes lean towards predatory - "If you're trying to get me drunk, it'll work," or "Who is this man in bed with me?" "I followed you home from the movies," but they're always playful, always fond. If Hawkeye takes on a submissive or victimized role in these jokes, it's one he has fun with and discards just as easily in the context of the rest of his relationship with Trapper.

So, it's important to note that Hawkeye and Trapper support each other and look after each other in an equal, enthusiastic friendship. From Trapper ensuring Hawkeye gets to sleep in Doctor Pierce and Mr. Hyde, to Hawkeye supporting Trapper when he wants to adopt a child, to Trapper right at Hawkeye's side as they attempt to procure an incubator, they are there for each other every step of the way. If their relationship is a marriage in some ways, it's a healthy, strong, and non-traditional marriage, an equal and open partnership free of jealousy and insecurities.

Compare that to the military's relationship with Hawkeye. In jokes it's characterized as powerful and predatory, far from an equal partnership. Sometimes it approaches positive - in Carry on Hawkeye, much of the humour is derived from Hawkeye and Margaret's gendered role reversal as she assumes military command of the unit. Hawkeye playfully calls her sir, seductively lies on her desk like a secretary in a porn film, and most notably treats an immunization shot as sexual penetration in a prolonged gag about sexual role reversal. Hawkeye has fun playing a sexually submissive role to a representative of military authority in this episode, but it is a submissive role.

Several of the one-off jokes have a similar sensibility, such as the double entendre of "My bellybutton's been puckering and unpuckering all day," in response to a representative of MacArthur assuming their excitement over the general's arrival to the unit, or Hawkeye's "Okay, take me, I'm yours," to Colonel Flagg. They demonstrate a willingness to play the receptive role on Hawkeye's part, but they also, pointedly, disturb the object of the jokes.

When Hawkeye makes these jokes that sexualize military authority, he's attempting to be provocative as well as defiantly drawing disruptive attention to his own powerlessness as a drafted surgeon. The power dynamic between Hawkeye and the authority of the military only goes one way, and Hawkeye gets a kick out of pointing it out in ways that perturb the representatives of that authority, but it's a power dynamic that takes its toll on him.

Many of Mash's plotlines revolve around Hawkeye rebelling and attempting to seize some scrap of agency back from the military. Adam's Ribs, for example, in which he starts a mild riot over the food he's being fed and spends the episode attempting to procure barbecue ribs from Chicago (which Trapper procures for him), or Back Pay where he tries to charge the military for his forced labour. A particularly notable example is Some 38th Parallels, in which Hawkeye complains about being paid the equivalent of a nickel per operation, and his frustration manifests in impotency until he can perform a gesture of rebellion against the military.

One unfortunate consistency of these episodes is that the army ultimately retains its power. When Hawkeye achieves his goals, it's only in small ways that do little more than satisfy his own need to assert his sense of self. Often, Hawkeye doesn't achieve his goal at all, but is thwarted by the army, such as in For Want of a Boot. In every instance he remains powerless in comparison to the authority of the military.

So the context in which Hawkeye makes these sexualized jokes about the military literally fucking him is one of abject helplessness. In a sense, all he's capable of is pointing out what the military is doing and putting it in his own, audacious terms. He's not capable of preventing it. His jokes usually have an edge of bitterness to them in delivery, and when they don't, that tone is imparted anyway by the greater context.

With Trapper, Hawkeye can play-act a marriage or an assault, but in either case he's an enthusiastically consenting, equal partner. Trapper's performance of masculinity allows for Hawkeye to take any role from victim to wife to husband, and enables Trapper to respond in kind from a position of equality and respect. The military, in its insecure, domineering performance of masculinity, is a dictatorial authority, never allowing Hawkeye perform any role but a feminized, victimized one, and only ever giving him the choice of whether to perform with a wry smile or a sneer.

In short, Trapper is the cool, considerate service top to the military's insecure domineering boyfriend.

I'm tagging everyone who enabled this lol, share the blame. @beansterpie @majorbaby @professormcguire @rescue-ram

[slavhew]

Winner Winner Pina Colada Dinner

[ladylightning]

supernatural s2 is SO GOOD because every decision has more weight because the after life is still unknown to us. we know there is something after death but we don't know quite what that is. the season starts with tessa the reaper begging dean to come with her. to where? she cannot say. when john dies it’s devastating to the brothers that he’s no longer here but elsewhere. but it’s even more devastating as they come to the slow realization that elsewhere is probably hell, whatever that looks like. sam and dean don't know anything more than the audience does about hell.

there is an effort to exorcise the possessed and save them instead of letting them die because there is no promise of heaven to be made. the ghost in roadkill wants to know what happens when she crosses over and sam and dean just don’t know. where do the monsters go when they die? are there angels? is there a god? sam and dean don’t know. sam more than anything wants to believe. and secretly dean does too. but they just don’t know.

when sam dies where does he go? dean doesn’t know. we never get to see it. and more than that. does dean truly believe that he would be sent to the same hereafter as his brother after everything he has done? all dean knows is that there is a way to damn your eternal soul to hell and there is a way to bring his brother back from the unknown and he will choose that path without hesitation over and over and over again.

the second the angels are introduced we lose that sense of unknown. while the stakes are higher in seasons 4-5 the second we can see behind the curtain it’s over. yes you can damn the world and start the apocalypse but at least you KNOW. you know there is an afterlife. a heaven. a hell. a hereafter. and all the people who die will end up will end up where they belong so how guilty can you feel using a demon knife to kill an innocent? how wrong is it to drain the host for blood? they’ll end up in heaven after all. no more pain. and that is how only the winchester family drama becomes important to the brothers, because they KNOW the end is not the end. there’s more than just ghosts and demons and reapers. there is a heaven. and if there is a heaven every wrong bad thing in the narrative can be brushed away by the characters or the audience as “well at least they are at peace in heaven now.” they do this to jimmy novak and ash and pamela and lord knows who else.

season 2 sam and dean don’t have this opt out. every choice they make is so much heavier because they just. don’t. know.