#Maybe I'll write a post.

[lazylittledragon]

if i had a nickel for every au spawned from twitter that i SWORE i was going to be normal about

[inkskinned]

my 10 yr high school reunion is coming up in november. does anyone wanna be my fake gf for it. i was super bullied in high school but i'm hot now so i obviously am only going to do lying, crime, and theft.

pros: - you can design your own character. i love improv games and will go along with whatever bit you desire - there's an open bar - you don't know any of these people and i don't care about any of these people, which is the closest either of us will ever get to diplomatic immunity. all bets are off. go hog wild

cons: - im devastatingly pretty & funny & charming and you will fall in love with me - some of the adults present will be business majors. i cannot do anything about that im sorry. - it is a high school reunion, which is the closest either of us will ever get to a nuclear waste site

[sukunasweetheart]

i so desperately want to write a dark romance with the concept of consuming as a form of intense, obsessive yet ominously beautiful, love with trueform sukuna.

i want him to love reader so much that he almost wants to literally eat her, and i want her to see it not as something to be terrified of, but to accept and recognise that his desire to devour you is not out of malice, but rather, something of adoration...

his mad infatuation would reveal itself in many, many forms. just by simply looking at you, his eyes darken, and his gaze seems to poke and prod at your soul, constantly analysing and soaking the sight of you into his memories. the way all four of his hands touch you, his searing hot palms smoothing over you, littering deep bruises across, claiming your skin as his canvas, embedding marks that indicate his presence in all and every way possible.

how his lips possessively captures yours, tongue twisting around in your mouth - sukuna kisses you with a type of hunger that goes unmatched by anybody else-- his engagements with you are all-consuming, meaning that he doesn't let you get a moment to think about anything else, too pre-occupied with his flames that lick up at your flesh, threatening to burn you down to cinders with its intensity, unmerciful. and when his teeth sinks in, a cry escapes your throat - a cry that isn't pleading for help, but is pleading for more.

sukuna's adam's apple would bob up and down as he swallows dryly, enduring another night of wishing to absolutely devour you whole, and leave nothing of you behind. it certainly doesn't help that you encourage him, egg him on.

he mustn't- he mustn't- he mustn't--

for who will comfort him from the loneliness that would follow, if he loses you to himself?

he satiates his aching desires by lapping up your honey-sweet blood from your inflicted bite wounds, addicted to your unique, intoxicating flavour.

you smile deliriously, like a madwoman, helplessly enamoured by sukuna's dangerous, distorted, yet an undeniably powerful form of his love.

Masterlist

[poorly-drawn-mdzs]

Get Souped!

[nonranghaes]

chris buries his face in his hands, hiding his reddening cheeks. “stoooop,” he whines out, “they’re getting too cringe.”

“baby. baby,” you reach out for him, still clutching your phone in one hand, “hey. are you french?”

he peeks at you, dodging any attempt for you to hold him. “i don’t want to know where you’re going with this--”

“because eiffel for you.”

another loud groan of embarrassment while you continue to giggle. “it’s not funny! you’re not funny!”

“you’re turning red!”

“because you’re not funny!”

you continue to scroll through the page, smiling hard enough that your cheeks hurt. “chris. are you a chicken--”

“--stop--”

"because you’re im-peck-able.”

“why do i love you.” he looks up, voice flat, despite how red his neck and ears have become. he buries his face in his hands again, letting out a muffled yell.

“chris... you know what’s on the menu today?”

he looks up, waiting for the awful second part to come.

“me-n-u.”

“i hate you.” he reaches out, pulling you closer. “i hate you,” he repeats, “why are you doing this to me?”

“because,” you giggle, leaning in for a quick peck, “you looooove me.”

... yeah. that’s it. he pulls you in closer, planting a longer kiss against your lips. he looooooves you and your silly pick-up lines.

[muffinlance]

Do you get the impression the live action is treating us like utter morons?? Like I thought that making it aimed at an older audience would open the doors for more subtle story telling, but no, they're just using monologues to tell us eveything! Like in the second episode Katara's like 'oh his power isn't that he's the avatar, it's that he ~connects~ to people'. Girl we're not idiots we can see that!! And the first episode with Aang's goddawful 'I don't want this responsibility' monologue

THIS, YES. The word that keeps coming to mind is definitely "subtlety". The show for literal children? Had it. The remake for adults? Not so much.

[cometshift]

predisasters

[little-pondhead]

Danny moved to Gotham.

Freakshow is touring in Gotham.

Freakshow knows Danny is in Gotham.

Danny knows Freakshow is still after him.

Danny's faith in heroes has been shattered.

Danny turns to the only person powerful enough to run Freakshow out of town, hopefully for good.

Danny turns to the Joker for help.

The Joker is looking for a new punching bag sidekick after Harley Quinn left him.

Danny is just the perfect person to be shaped by the Joker's hands.

Danny becomes the new Joker Junior.

[zephyrchama]

An idea for around lesson 41~ in OG Obey Me! when the brothers come to the human world.

In their first week, they all go somewhere with MC to celebrate. MC is very used to going out and drinking demonus alongside them, as it does nothing. So nobody thinks twice about ordering a round of drinks for the table. Maybe two rounds. Maybe just keep the drinks coming. It's a happy reunion, after all, and the house is close by.

MC drinks enough to get absolutely plastered by the time anybody realizes what's happened. You now have a table of seven very flustered, concerned demons and a human who can barely sit up in their chair.

[heartorbit]

the star you've longed for

[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

[dangerous-advantage]

jin ling, having done some stupid shit: my uncle's gonna kill me!

lan sizhui, serenely: it's ok, your other uncle's a necromancer

[leofrith]

ahsoka has no personality, practically no character arc, and probably less screentime than any of the other main characters. in the ahsoka show. sabine can suddenly use the force now because she thought about it really really hard. meaningful character interactions are constantly being cut short or interspersed with quips because heaven forbid we linger on any genuine displays of human emotion. morgan's identity as a nightsister could have been really interesting to explore but instead of doing pretty much anything with that her only purpose was to look like an idiot next to thrawn to emphasize what a genius he is. and then die. what motivation do the nightsisters have to help thrawn? that's anyone's guess! ezra is the only rebels character in this show who actually feels even remotely recognizable as his animated counterpart. and after all that we're probably never gonna get any resolution for shin and baylan because fuck me i guess!!!!!

[dumplingcatho]

the one and only smart dumbass. the most guy ever. (he looks so serious here bc he's sitting for a portrait. the painter has been relying on his memory of the one time sokka was neutral 3.5 hrs ago)

[hiding-under-the-willow]

Thinking about him falling asleep on top of the tower, overlooking the neighborhood. Also thinking about him waking up in the middle of the night due to strange happenings.

[rebouks]

Disposable camera roll.. 📸