#Might just rewatch it if all else fails

[mummelthecryptid]

gays in my phone.. Do yall have any good queer movie recs? Preferable biopics or something a little historical, i watched pride 2014 yesterday and need more

[awearywritersworld]

Ryomen Sukuna x Reader summary: you're cuddling in bed with your very sleepy boyfriend, except he's not exactly your very sleepy boyfriend w/c: .75k tags/warnings: somewhat suggestive but not smut. praise. "good girl" but no other reference to gender. fluff. "kitten" i can't help myself. aged up!yuuji a/n: idek! wrote this in an attempt to get inspired and to let everyone know im still alive, kicking, and most importantly, suffering from sukuna brain rot. currently rewatching so this is brought to u by s1e4. masterlist

Your favorite place to be, even after all this time, is Yuuji's arms. His embrace is warm and inviting, and it never fails to put your mind at ease, even with Sukuna in the picture. You've known him for as long as you've known Yuuji, but his snide, snarky comments never deterred your love for his vessel.

Though, after many long months, his commentary became more... unassuming? At least when you were around, anyway. The first time it happened, you'd asked Yuuji if he knew where you left your phone.

"It's on the couch," another voice answered.

You and your boyfriend stared at each other with raised brows before your eyes shifted down to ever abiding mouth on his cheek.

"What?" Sukuna actually grumbled before disappearing.

It's been a while since then. You're resting against Yuuji's chest, his arm snaked around your waist, his breathing deep and steady. Sleep nearly overcomes you, but his chest vibrates with words you're not quite able to make out and it just barely tugs you back to consciousness.

You hum drowsily, your hands grabbing at his sweatshirt in a weak attempt to pull him nearer.

"That's it," he encourages, drawing you impossibly closer.

The small noises you make as you situate yourself have the man exhaling just a little more harshly than before.

"Want me to praise you?" he offers, a sly edge to his voice. It's only then your mind registers that something is... off. This voice is more intense than the one you're used to. "It's obvious you like it when the brat tells you what a good girl you are."

Your eyes snap open, the top of your head nearly colliding with his chin as you pull back from him. Propping yourself up on your elbow, you're unable to help the small gasp that passes your lips as you take in your boyfriend's changed appearance.

"W-What the hell, Sukuna?"

There's a lazy smirk on his face and his hand settles on your hip like it's the most natural thing in the world.

"He's right, you know."

"What are you even on about? It's too late for this shit" you remark, free hand rubbing at your eyelids in an attempt to wake yourself up.

Despite Sukuna never having randomly appeared before, you're not intimidated. Well, not terribly so, even if the man before you is of infamous legend. These days his voice is a constant in your life and that keeps you from registering the possible (probable?) danger of your current situation.

"I was trying to tell you how pretty you are."

"Oh," you squeak out, warmth creeping from your neck toward your cheeks. He chuckles, but you're uncertain whether or not he's teasing you.

His fingers trail up your waist, his touch just barely grazing the skin there before catching your chin between his thumb and forefinger.

"Hm, and so sweet too." His thumb extends to brush against your bottom lip.

The contact leaves your stomach swirling with one too many emotions and your hand reaches up to his bicep, as if the action might stop anything else from being said or done.

It doesn't.

He moves his arm from your grasp, but only so that he can wrap his fingers around your wrist. You finally meet his lidded gaze as he brings the inside of your wrist to his lips, peppering a few light kisses there. "So that means you're a very good girl, don't you think?"

His tone is even and low, unfeigned in a way that makes you shudder. The whole situation has you shifting restlessly and averting your gaze.

"Why are you...?" Your voice is barely above a whisper and you're incapable of figuring out a way to describe what was happening at the present moment.

He takes a few seconds before answering, studying how you've pulled your bottom lip between your teeth with a furrowed brow.

His voice quiets to match your own. "Is Yuuji the only one who can concern himself with your happiness?"

You attempt to mask the surprise that threatens your features, but still glance up at him with widened eyes. A momentary silence falls between the two of you and there's an air of suspense to it.

"I never said that."

That must be answer enough, as he tugs you back to his chest once more. You let him envelop you with ease and tangle your legs between his.

"Then stop worrying and go back to sleep, kitten."

[psychedelic-ink]

𝐒𝐂𝐑𝐄𝐖𝐄𝐃 𝐔𝐏 𝐀𝐍𝐃 𝐁𝐑𝐈𝐋𝐋𝐈𝐀𝐍𝐓

pairing: max phillips x f!reader

genre: smut, office romance

word count: 5k

summary: a week after walking in on your boyfriend fucking someone else, Max gives you the day off. You leave, unaware that you dropped your watch. Much to your surprise, he brings it to you. Your relationship with him escalates in the following days.

warnings: office sex, rough sex, praise kink, dirty talk, use of 'sir' & 'good girl', piv, dom/sub dynamics, very mild degradation (he calls you his cocksleeve like once), dumbification if you squint, soft!max at times

a/n: I drafted this months ago and only now I finally finished the fic, I have no idea why I waited this long especially since I'd written most of it back then but other wips got in the way--sorry Max lmaodvdf this is my first time writing for you and I hope I did you justice 🖤 I rewatched his scenes and I'm still so horny for this man it's making me look stupid

Max’s office is the nicest one of everyone who works in this building, albeit a bit darker. There’s a succulent on his desk that reminds you of a translucent star and you can’t seem to draw your eyes away from it. His voice is smooth and melodic but you aren’t really listening. Your hand moves over to your watch, feeling the coolness of metal underneath your fingertips. It’s nice. 

It’s safe to say that you’re not really paying attention to anything. 

Your eyes are wet still, a sting every time you dare to blink. It’s been a week since you found your boyfriend screwing someone else on the couch in the living room. The image still lingers in your head, taunting you. 

While you stared, unblinking as they scrambled for their clothes, all you could think of how happy you were that they didn’t use the bedroom. 

Now that the relationship is over it’s easier to see the red flags. The way he belittled you, your passions, the things that you enjoyed. Your body, your cooking, anything you did was never enough for him. It was an open invitation to mock you for who you were. And that was the least of it, he never touched you, and you had to beg him for sex— not in the fun kind if you might add. You feel so fucking stupid for trying to make him happy.

“You’re not listening are you?” 

You flinch upon hearing the question, eyes finally snapping away from the succulent and turning to Max. You didn’t mean to be so obvious about it. He sighs and pinches the bridge of his nose. . . Great, another person you couldn’t make happy no matter what you did. 

“You’ve been like this all week. Is there something going on? You can take leave if you need to, you’re not really much use like this anyway” 

His words sting but you can’t really blame him for it. Though you did find it funny that as an immortal he was so pressed for time. 

“Sorry,” you say and he looks at you, really looks at you. Brown eyes move from your eyes to your lips, his own tongue darting out to wet his own. “I’ll do better just some... personal stuff going on,”

“Family?” 

“Shitty breakup.” 

“Oh.”

Max appreciates bluntness. You figured that one out on your first day here. He isn’t a fan of keeping anything that might affect your work bottled up. He doesn't like the guessing game either. If there’s something wrong he wants to know and if he can he’ll fix it. Not that he can really fix a broken heart. 

He suddenly stands up, making his way around the desk. He lends against the edge, hands on his lap. Instictecly you curl your fingers around the armrests. Max is pretty docile for the most part, unless he’s hungry. But the way he’s looking down at you, brows relaxed and a faint smile tugging at his lips, it makes your heart drop. He’s a walking corpse but his eyes are more alive compared to most people you’ve met. 

“I’m sure you’ll be happier without commitment wearing you down,” he says, voice dropping, barely above a whisper. You shudder and fail to see the way his fingers twitch. “Don’t think about it, relax, sweetheart.” 

And you do. It’s like warm water dancing over your skin. Your shoulders slump, your body limply sinking into the chair. A lazy smile spreads across your lips and he smiles back, teeth winking at you between his plush lips. “That’s it. You’re not feeling anything  now, are you?” 

You giggle, shaking your head. Even your heartbeat slows, the tips of your fingers tingling with pleasure—

You blink, pinching your brows, you slowly roll your shoulders and hear your bones crack. Max is gazing at you with utmost curiosity, thumbs drumming silently.

Then it hits you. The fucker is using his powers. Fucking vampires. 

“Stop it,” you hiss, your body relaxed but mind racing. He rolls his eyes and waves his hand as a sign of dismissal. The tension that had disappeared from your muscles return at full force, and you jolt. “You shouldn’t do that,” 

“I was trying to help,” he answers without a care in his tone. He buttons his vest and gestures with his head to the door. “Take the rest of the day off. Sort yourself. See you tomorrow, sweetheart.” 

“But—” 

“Just go. It’s fine,” when you fail to look convinced, he pouts and draws a cross over his chest. Ironic. “I swear. Now go, take the day off, collect your thoughts or whatever you need to do,” 

You leave without pointing out the irony of him making a cross over his non-beating heart. You’ve worked long enough to know that if the boss wants you to take the time off, you take the time off. 

Max drags his palm over his face, eyes rolling to the back of his head as he hops off the desk and turns to look at the empty seat you left behind. He’s not sure if he should be condoning this kind of behavior. He doesn’t want people barging in here asking to leave with the most minuscule of problems. But it isn’t typical of you to be distracted so he decided that you earned it. 

He’s curious about what kind of man would be stupid enough to leave you, let alone make you look that sad. Not that it’s any of his business. 

Max is amidst turning on his heel when he sees it. A small sparkle on the carpeted floor. Cocking an eyebrow, he leans over with his hands in his pockets. A watch? 

That’s right you had a watch when you came in, you were playing with it while he was going over the weekly sales. You must’ve dropped it. Looking almost bored, he scoops it off the floor and stares at it. He sees your initials written on the back, a pretty, delicate little accessory. 

Surely you would miss it. He knows your address due to dragging your drunk self back home after an office party— so maybe he should bring it to you. Max sighs and flips the watch over. He has time to make a quick stop. 

He leaves the office with the watch snug in his pocket. It really isn’t his style to be nice, or remorseful, but he does feel a tad guilty using his powers on you. He genuinely did think he was doing some good. It did look like you were feeling better until you broke out of the trance. 

Max steps into the elevator. The tedious music loud and scratching his ears as always. 

Taking a day off isn’t going as smoothly as you had hoped. 

Initially, you thought you would binge your favorite shows and eat a bucket of ice cream. Instead, you ended up staring blankly at the ceiling, arm dangling out from the side of the bed. It’s a shitty feeling. Your heart feels heavy and uncomfortable. Maybe Max taking away the pain wasn’t so bad after all? 

There’s a loud knock on the door and you jump. Every bone in your body aches, your heart beating fast as you head to the living room. You’re praying to every god you know that it’s not your ex. You don’t want to deal with him. Especially not today. 

You take a deep, calming, breath. It’s okay. He wouldn’t just show up now, would he? Stupidly enough you don’t look through the peephole before yanking the door open, the person that lurks on the other side takes you by surprise completely. 

It’s Max. 

What the hell? 

“Hiii,” he says with a smug grin. He lifts something to your line of vision and it takes you a moment to recognize your watch. “Found this, thought you might miss it.” 

Blinking, you open your palms and he drops it. It feels like a dream. “Uh…thanks,” 

“You’re welcome,” he peers over your shoulder, looking into the dimly lit apartment. “So how’s your day off going?” 

“Not as fun as I hoped,” you give him a bittersweet smile. His eyes meet yours, and you see your reflection in them, so bright. “Do you want to come inside?” 

A shudder climbs your spine when something dark crosses his face, eyes becoming sharper. Your stomach churns and you swallow, fingers tightening around the watch. 

“Would love to” he chirps, practically jumping over the threshold. “Thank you for the invite, much obliged.” 

“You really can’t come in without being invited?” you ask, closing the door with a push of your heel. 

“Nope,” he answers, emphasizing on the p. “Why do you think I left you at the door after the party? You were too drunk to say ‘come in’ I basically had to push you through the door just so you could crawl the rest of the way to your bedroom,” 

“I honestly thought you were just being an asshole,” 

He scoffs, “I am an asshole. Just not to the people I like,” 

He drops down to the couch, which in return makes your stomach sink. You really need to burn it, you don’t think you can have it in your apartment anymore. You sit across from him, placing the watch neatly on top of the coffee table. “I wasn’t aware you liked me,” 

“Let’s say tolerate. I like your work ethic.” 

“Thank you?” you answer, unsure.

“You’re very much welcome.” 

You’re not sure why you invited him inside. He doesn’t drink coffee unless it’s morning, and he doesn’t really like to eat as far as you could tell. The silence is deafening and uncomfortable. You part your lips to ask if he would like tea or anything else but he beats you to it, gaze fixated on you. 

“So, how did it happen?” 

Your throat goes dry, “What?” 

“The break-up,” he shrugs and leans back into the couch, you internally cringe. “Do you want me to break his neck or something?” 

“What—No!” you’re horrified but can’t ignore the way warmth blossoms in your chest. You’re highly aware that he’s joking, however, it’s still a nice thought that someone actually cares enough to get pissed about it. “Where did that even come from?” 

“I don’t know, I’m not sure I like seeing you so sad. It’s unnerving.” 

“Sorry that my misfortune is bothering you,” you answer, crossing your arms. “He cheated on me, and I’m only now realizing how shitty he was.” 

“Ouch.” 

“Yeah,” 

“So I do need to break his neck then?” 

You laugh. 

You aren’t expecting it, but here you are rubbing tears from your eyes as you laugh with your whole body. There’s just something about the way he said it; as if it was the most normal thing to do. He seems to enjoy the way you laugh. Smiling wide and bright, watching you with fond eyes. 

After minutes, your laughter starts to die down, softening into breathless giggles. You’re surprised to find that Max is still smiling at you, no smugness, no cockiness, just an earnest smile. 

“Thank I really needed that,” you say, heat building at the base of your spine. “Sorry if I worried you. It’s been a bit rough lately.” 

“We can’t all be perfect every second,” he grins, he flattens his palms over his thighs, moving them up and down. Your breath hitches, eyes involuntarily dropping to his crotch. You’re flustered all of a sudden. He tilts his head, tongue poking out of his cheek as he gives you an open-mouthed smirk. “See something you like, sweetheart?” 

Your eyes snap to his face, cheeks burning, “Nope. Not—Not at all,” 

He leans forward, placing his elbows on his thighs. There’s a table in between but you feel as if he’s a breath away. You swallow, goosebumps rousing over your skin. 

“You know I can smell it right?” he purrs. “I can smell the arousal gathering between your legs. I can hear the way your heart is beating… That asshole had no idea how to fuck you properly did he?” 

Your pussy bottoms out at his words. You don’t want to give him the satisfaction that he’s right, you don’t want him to know how badly you want him inside. For him to whisper praises into your ear as you squirm around his cock. You lick your lips. He’s not using his powers, you can tell. Yet you still want to blame it on the fact that he’s doing something to make you feel so hot and bothered. But it’s not him, just you. 

You’re not sure when you started to have the hots for your boss, but clearly, there was something there. Lurking in the darkness of your mind.

“Look at you,” he coos, eyes raking over your body. “So sweet and afraid. Let me be the first one to say that he didn’t deserve you. Not in the slightest,” 

“Max…” you warn. 

“Yeah…?” he mimics your tone, smile somehow wider. “Would you want to get coffee before work tomorrow morning?” 

The question catches you by surprise. You observe him for a brief moment, he seems dead serious—at least the amount of serious Max Phillips can be. 

You nod.

Your first early morning coffee date with Max goes exactly how you expect it to go. You pay for both coffees as a thank you. He found it unnecessary but grumbled a thanks anyway. He talks a lot about work; about sales, about his time in Romania. But mostly work. You do appreciate the distraction though so you don’t complain. You pitch in, telling him ways the company could improve but also adding that you want to quit one day and do something better with your life. 

The following mornings follow the same pattern. Mostly conversations about work, and sipping coffee. That is until Tuesday rolls around. It’s an especially cold morning and you find yourself huddling closer to him as the two of you sat on the bench. He doesn’t really seem bothered by the cold, which makes sense since he’s cold-blooded. 

Max’s eyes drop to your trembling fingers that were curled helplessly around the coffee cup. You notice his frown, his gaze lifts back up to meet your eyes. “Do you want to go inside?” 

“No, I’m good. Besides it’s too early to start working.” 

He chuckles, shaking his head. “We do get here early don’t we.” 

“I mean…we don’t have to. But I have been enjoying our mornings.” 

“So have I,” he chews on his bottom lip, instinctively moving closer to you when he feels a shudder crawling up your spine. “It sucks that I can’t really warm you up—being undead and all— This would be the perfect moment to hold your hands.” 

Funnily enough, he does manage to warm you up. You look down at your hands, the cup only half full, you place it to the side. Max truly had been a balm to your broken heart these past couple of days. He never got overly flirtatious again as he did in your apartment, some part of you is disappointed that he didn’t. 

“You can—” you lick your lips, the wetness furthering the chill. “You can still do that. If you want to.” 

“Yeah?” he moves his jaw, eyes dropping to your lips. “You’ll be colder.” 

“I think it might be worth the risk.” 

Max brings your hands to his lips, brushing your knuckles and kissing each finger individually. You shudder. He wasn’t wrong, he was awfully cold. But you weren’t wrong either, it’s worth it. Hundred percent. His mouth moves over the back of your hand in the shape of waves, the pit in your stomach rolling, and butterflies fluttering in your chest. His eyes meet yours and you’re mesmerized by him. His eyebrows raise, lips kissing the curve of your wrist, laying a path to the inside, he drags his teeth over the skin right above the vein. 

A sudden fear spikes from your feet to your neck. He wouldn’t, would he? 

“Are you afraid of me?” the question is whispered with a breath into your skin. Everywhere except the tip of your nose is warm. He looks at you with heavy eyelids, lashes kissing his cheeks every time he blinks. 

You don’t have an answer, but you know what he needs to hear. 

“I’m not.” 

Before you can blink his lips mold into yours. He traces the seam of your mouth with his tongue eagerly, and you part your lips, allowing him to taste and dominate. With both hands he holds your wrists firmly, pulling you close until you’re basically flush against him. Max inhales as he presses deeper, licking the inside of your mouth and swallowing your whines. 

He breaks away from you with a smile, you see the flash of fangs.

You gently knock on the already open door. Max is positively exhausted. His eyes snap from his computer to you, he sighs and signals you to enter with two fingers. You close the door when you enter. 

“Are we still good for dinner?” you ask, feeling slightly foolish now that you were standing in the middle of his office. 

“Sorry baby, not today. These assholes managed to mix everything up, need to fix all that so I’m going to be here late,” 

You try very hard not to look disappointed. You already know you failed when you feel your bottom lip starting to quiver. You ball your hands into weak fists, pushing your nails into your skin. He notices, a moment of worry crosses his face. 

Tonight wasn’t really a date, or anything important. It was just dinner. 

Then why are you so upset?

You neither move away nor lean in as he wraps his arms around you, pulling you into a tight embrace. “What’s wrong?” he murmurs, and you exhale at the way you can feel his chest move underneath you. 

“Nothing, just—Don’t worry about it. I’m just being clingy. I know you’re busy,” 

“Clingy? Oh, sweetheart,” he rolls his chair back and slaps his thigh. “Come, sit on my lap.” 

“Uh…” your eyes flit between his spread legs and his face. “Excuse me?” 

“Just get your gorgeous self over here.” 

Swallowing, your legs move on their own. Your heart does somersaults in your chest. His smile never falters as you slowly lower yourself down, feeling his frame under you. Your insides clench. Your arms shake. You feel his breath on your neck when he guides your arms around his neck. He presses his lips where your neck and chest meet, heat coils in your stomach. 

“Max…” 

“You could never be too clingy,” he murmurs. “And even if you were I would love it. I’m actually really happy you came over, I was starting to think this thing between us was going nowhere.” 

“You want it…to go somewhere?” 

“Of course, I fucking do,” he snaps, looking up, glaring at you. “Do you think I come here that early just to drink coffee—I like spending time with you.” 

You feel yourself start to tremble as his hands move up your thighs and cup your ass. He squeezes gently and you gasp, your skin prickling under his touch. His lips move away from your neck, pressing soft kisses up your jaw until he reaches your ear.

"I want to take this further," he whispers, his breath hot against your skin. "I want to fuck you, sweetheart. Bend you over this table and make you scream my name because I’m sure haven’t been screaming anything for a while."

His hands move around your body, tracing the line of your spine and the curves of your hips. His touch is gentle and yet rough at the same time, your heart beats faster with each passing second. You melt into him, wanting more, wanting him.

“I want to feel your wet cunt around my cock,” he groans, dragging his teeth down the column of your neck. His voice drops an octave. “Let me fuck you sweet thing.”

You pause for a moment, and then you nod, your heart pounding in your chest.

"Yes," you whisper. "Yes, I want this too."

Max smiles, a satisfied smirk playing at the corners of his lips, and he pulls you in for a long, deep kiss. He nips at your bottom lip before pulling it and slipping his tongue into your mouth. Pulling you closer—inhaling you—he cups your head from both sides, and groans into your mouth. You feel the growing wetness between your legs, your body having a mind of its own, you grind down on him, shuddering as you feel the hard length under his pants. 

“Needy,” he tuts, gripping you by the neck. You hiss when he yanks you back, the rest of your body falling still. “You’ll take what I give you. Is that clear?” 

“Yes—” you bite the inside of your cheek. “Yes, sir.” 

Your cheeks burn as his eyes widen momentarily. Then he closes them, taking a steady breath, he cocks his head to the side. A soft hum echoes in his throat. 

“I like that,” he purrs, opening his eyes. “Say that again.” 

“Please, sir.” you choke out.

Max's grip tightens as he bends you over the office table. You gasp, your skin hot as he shoves your pants down to your knees. While you kick them off, you hear a zipper, feel the weight of his cock on the top of your ass. Your face is directly staring at the door— If someone were to waltz in, the first sight to greet them would see you taking your boss’s cock. However, you can hardly care when his warm breath fans your neck, his breathing uneven and rushed. 

He slips his hands down and cups your ass, kneading and squeezing as he shoves you further against the cold desk. 

"You look so sexy like this," he growls, his cock pushing against your ass as he presses himself against you. His hands move up your body, and he starts tugging at the buttons of your shirt, loosening them one by one. His lips brush against your ear and you shiver in anticipation as his hot breath tickles your skin.

"Say. It." 

It’s a threat and some wicked part of you is tempted to exhaust his patience. His hands move down your body, and his fingers start to tease your nipples as he traces circles around them. Then, when you don’t answer, he pinches them harshly. 

Your body jerks at the sharp pain, an acute moan rips from your throat. 

“Fuck me, sir. Please.” 

“You sound so good like this, begging for my cock,” he purrs. “I’m going to go easy on you today sweetheart, but don’t expect me to always be so nice.” 

He slides his hands lower, and his fingers slip between your legs, teasing and caressing your wetness. Your eyes roll back as his fingers start to penetrate you, and you grind downs in search of more. Wanting him deeper, wanting more of him. 

“So fucking wet,” he coos, he pulls out his fingers, smearing wet streaks across your hips. He nudges his cock between your folds and rocks his hips, the catches against your clit and a loud moan rips from your throat. “That’s my girl, and you thought I didn’t want this. What kind of idiot wouldn’t want this pretty cunt? Hmm?” 

“Max, please. . .” 

You hear the growl that rattles his chest. Closing his eyes, he cocks his head to the side, tongue tracing the edges of his fangs. “I really love hearing you beg,” he groans. “And the blood rush in your veins.” 

Your breath catches in your throat—and in one smooth thrust, he slips inside of you. You clutch the edges of the desk, your eyes rolling back into your skull. Suddenly the rest of the world blurs and it’s just you and him. He stretches you perfectly, his length deep enough to hit all the right spots. His hands smooth a path up your spine. You practically purr at the feeling. You whimper, and when you do, his lips are on your neck in an instant. His body a cool, yet comfortable, blanket on top of you. 

“Good girl. Look at you, being so obedient,” he licks the salt off your skin. “You feel so good, baby. The perfect cocksleeve for the boss.” 

“Oh god—” you choke out. You have no idea how to respond to that, but your body sure does. Your walls flutter around him, squeezing him tight. His breath hitches. You feel him straighten behind you, his hands press you down from the waist and you can’t help the small squeal that parts your lips. 

He’s restraining himself. You can tell by the way his hips twitches, eager to bury more of himself into you. His nails bite into your skin and instinctively you raise your hips. “Maaax,” you moan. “Fuck me, please. I can take it.” 

“You can, can’t you?” he mutters, sounding almost impressed. “My perfect girl. You’ll take everything I’ll give you?” 

You breathe out, “Yes—” 

And he gives you everything. 

Every thrust knocks the air from your lungs. Somewhere on the desk your arm hits a stack of papers and they fly everywhere, making a mess on the floor. Max doesn’t stop. He jackhammers into you, splitting you into two. It never felt this intense before. Never. You struggle to breathe and with every snap of his hips, you feel slick dripping down your thighs. Max groans as he wraps his fingers around your neck, pulling you up. Your breasts sway with every stroke, your nipples aching from how hard they are. His one hand remains on your throat as the other moves to your chest, kneading the soft mound in his palm. 

“Wouldn’t be fun if someone walked in right now?” he teases, his teeth grazing the shell of your ear. “Seeing you getting absolutely railed—kinda wish I had a mirror so I could see how cock drunk you look, sweetheart.” 

Fuck, is all you can think and you desperately want to voice it out, tell him how good it feels. His voice, his breath, his teeth, his cock— But all you can do is whimper helplessly, hoping that the sound is enough to convey how much you’re enjoying this. 

“So stupid for me, I love it. You want me to make you come?” 

Another whimper. You nod helplessly, forcing yourself back to meet the movement of his hips. He hums as his hand slides between your legs, he draws wet circles around your clit, and your entire body clenches. You can barely hear him from the blood rush in your ears but you think he mumbles ‘oh shit’. Max continues to play with the sensitive bundle of nerves, with fast strokes he mumbles profanities against your skin. 

You come with his name on your lips. Your body convulses, muscles clenching and unclenching over and over as you gush all around his cock. It feels never-ending. He grinds his hips, burying himself deeper, throbbing inside. You hiss as your second orgasm washes over you, fluttering and twitching, your body goes limp. You're fairly certain if Max wasn’t holding you up, you’d collapse. 

Much to your surprise, Max slowly lays you on top of the desk and the office ceiling comes into view. He’s still pulsing between your legs. He smiles down at you, slides his fingers between your lips—the same fingers he made you come with—and leans in to shove his tongue alongside them. You part your lips wide, the taste of yourself and him making your head spin. You moan around his tongue and fingers. He pulls back with a smile.

“Where do you want me, sweetheart?” he asks, cupping your face with the same hand. 

“You can come inside,” you answer in a daze, then quickly add. “You can’t get me pregnant right?” 

He shakes his head and you smile, “Go ahead then.” 

It doesn’t take him long. He buries his face into the crook of your neck and takes deep inhales of your scent as he spills inside of you. You thread your fingers through his soft locks and gently tug on them. He groans. 

“That’s nice,” he hums, pressing his lips over your clavicle. “I wanna spend an eternity between your legs.” 

“Should I be scared that you actually can do that?” you say with a soft chuckle, he looks down at you, a mischievous smile tugging at his lips. He wiggles his brows. 

“Maybe.” 

Max slowly pulls out, and when he stands, he watches the mess pour between your legs. His pupils eat away the color of his eyes and you shudder at how hungry he looks. 

Suddenly shy, you avert your gaze as you try to collect yourself, “Sorry about messing up your schedule. I’ll see you later.” 

“And where do you think you’re going?” 

He grabs your wrists and pulls you into an embrace. You hadn’t realized how tense you were until you feel yourself melting into him. 

“Fuck work,” he says, his hand resting over the small of your back. “I’ll get it done later. Let’s go home so I can at least spend tonight between your legs.” 

You grin into his chest, happy that he can’t see how ecstatic you look. He probably knows how excited you are anyway. 

“Sounds like a plan.” 

[angelmachines]

teru & socialization

i've posted about this before but something ive been thinking about a LOT is mp100's themes of loneliness (and eventual connections). i think this is an aspect of teru's character (in particular) that gets left out because it's not as explicit but i've been wanting to do a deep dive on it for a while and i finally sat down to do it. just a warning, this post is gonna be LONG.

these two panels are from chapter 16 of the manga (which i'm using for my evidence because i. dont want to scrub through the anime LOL). initial sentiment: teru uses his powers to cheat having friends/a good social life and wouldn't have that if he tried earnestly. this is a fair interpretation of the scene. with what we know, at this point of time (as in within the teru-mob fight) teru would not be able to connect with other people earnestly, due to his mindset. which i think is a fair interpretation, HOWEVER:

(from chapter 17 ^^) the first panel shows teru's expression to be strained and the second is visibly unhappy. this puts the first set of panels into a different context, that maybe underneath all of this, teru doesn't WANT any of this life that he's built. keep in mind that i'm analyzing this with teru's possible autistic tendencies in mind & you dont have to believe he's autistic, im not your dad, but i do find this a pretty meaningful indication of masking if he were

(note: yes, the strain can definitely be read as comp-het, and i would agree but that's not relevant so go read this post on that instead)

even if the rest of these panels show teru content with his life, i think these expressions are pretty vital to how we read his life especially because we know so little of it. think about it, if you were a kid desperate for affection because you couldn't get it anywhere else, especially not in a way that would come off as "mature" or "unaffected", wouldn't you also look for validation in your popularity? even if it aligned you with people who you consider fundamentally different to you? my point here is that teru can't not stand out-- it's in his nature-- and we are shown how he tries to blend in & receive attention in the only way possible to him; which is to say that he molds himself into something that is palatable, likeable, and superior to other people. if he's nothing, like mob, he has spent his entire life covering up for it. if he fails socially, like mob, he has to be good at everything (even if he cheats to do so) so that everyone else can look past it.

(side note for my teru angst enjoyers: this is a panel of his mom. the mom who he hasn't seen in years. doesn't it make sense that, if he hasn't heard his mom say he's proud of him for literal years, that he would overachieve in response? not related to the autism thing i just have the teru bug. also don't be misogynistic in my notes both his parents suck we just get a singular mention of his mom)

so if teru couldn't meaningfully have friends before mob, that could very easily be because of his past mindset, right?

...except, we don't.. really... see him make other friends afterwards.

but, the awakening lab, right?

(ok i lied to you sorry there is one anime screenshot and thats because it stood out to me while i rewatched it earlier this month. sorry.) id like to bring attention to this screenshot during the cultural festival because the awakening lab can definitely be seen as a direct contradiction of this and i'd like to point out a couple things:

1) in this scene the shiratori brothers are in another room 2) them and the other three are friends with ritsu (or at least close enough acquaintances to want to see him).

considering this is one of the only times they appear together for Fun i am more inclined to believe this is an encounter where they went together because they all would've gone separately anyway. this isn't to discount the possible bond that these characters might have, but thats the thing. we... aren't really shown that they're friends and enjoy spending time together outside of this screenshot, where two out of six of the members are not even present. not to mention that teru is still placing himself in a role separate from his peers. despite stripping the superiority away, teru is still the awakening lab's mentor, not friend. teru still views himself as fundamentally different in a context where his psychic powers don't make him that way.

...except with mob. i bring this placement of power up because where he is the awakening lab's mentor, teru declares mob to be his rival, or, in other words, teru is just like him. he is accepting that mob and him are the same. (and if we view mob from an autistic lens... so on and so forth)

as if to hammer in that point even further-- in the summer vacation omake, teru explicitly states that "summer break is just a super long, super boring stretch of alone time." i'm not sure of the timeline here, but guessing from the hair, we're at least post season 1. which gives us explicit confirmation here that teru is spending the break alone despite his relationship to the awakening lab. his connection to mob is a lifeline here because mob is one of the only people who can intuitively understand teru's isolation without judgment

(also, on that point of teru's autistic tendencies: teru does and says a LOT of things that would raise other peoples eyebrows and doesn't seem to notice.

here we get teru actively admitting to his home life, right in front of reigen, WHO COULD CALL CHILD SERVICES ON HIM? this genuinely made me rethink this character entirely. teru's filter is... minimal. he isn't constantly volunteering information and generally minds his own business, but if you ask? Well.

teru is a social person, but to say he is proficient in understanding social situations seems... wrong. teru views his loneliness as boring because, despite being fairly open, does not actually allow himself to think about his own feelings and how they affect him. this loneliness is boring because he doesn't have enough of a reference to realize its not

if we are taking pre-mob teru to be a version of himself who is masking, or at the very least someone who is faking a lot of stuff in a less autistic sense, the fight with mob changes teru to the point where he no longer hides himself. in the same way that mob was able to shake teru's fragile superiority complex i think the change in appearance marks the end of the self teru had built up. from this point on we see him become a lot more... Him. his appearance and his fashion choices are, presumably, completely normal to him and we get no indication that he believes otherwise despite the reactions it gets-- which is... well, i wouldn't be writing this post if i thought it was one of his most neurotypical traits.

in fact, he seems... pretty oblivious to what other people think of him. which is an interesting distinction to make considering the intelligence we Know he possesses (which is not to say that you are unintelligent if you don't pick up on social cues, just that its common for media to depict it that way.) these traits are made pointedly, even if unintentionally, separate, ESPECIALLY when you note the amount of characters who Do ruminate on or stare at teru's appearance.

some examples. i don't even think this is all of it-- case in point.)

[weltenwellen]

Hello! I didn’t want to reblog your personal post so I came here to tell you that I relate to it so much.

I’m 27 and currently very scared to look for my first ever job, while my friends are years along in theirs and some are getting married. I don’t know if you’ve ever watched “Friends” but it feels very much like being Rachel, who at some point “was only getting coffee”. I rewatched it recently and it helped with that lack of compassion a bit - it was easier to feel it for someone else, but then it dawned on me how similar some situations were to my life. It made me feel better about myself and somehow also more hopeful.

So, I’m sending a virtual hug to you (if that’s ok) along with a reminder that 30 is young and we have entire lives ahead of us and I don’t think it will ever feel like we’ve learned enough. We can only keep going and try to approach the learning with excitement (if possible), even if it seems we might be behind.

I get that feeling. When was writing my master's thesis it was really hard for me to get motivated to finish it (due to there not being a deadline) but also I was dragging out the time where I had to apply for jobs. I was working always a bit while studying but I really started to panic because I could not imagine myself working in the field that I studied in for 5 years and I was also scared to get rejected from jobs if I did apply. I did not know what I liked, where I saw myself. It was really bad. But I did get a job and it did change me and I grew a lot as a person. I am also single and people around me seem to be more grown up than I do (at least that's what my inner critic is saying :)). They're having kinds, getting married or buying a house or even just dress more confidently and it makes me feel insecure and more isolated at times.

But as clique as it sounds, life is about being scared and showing up anyways. About writing your own stories and failing plenty. I feel like I fail plenty but I win and grow also all the time. It depends on which emotion I stand on when I look at the day or what I did or did not accomplish.

Me for example, I just got fired on Thursday because I also have a problem of keeping my mouth shut and keeping critique to myself. That post was about me not being professional enough or conformed enough and my boss got pissed at it. It feels like a relief because I was so stressed but it also it feels like my personal failure because the situation is due to both my boss and me (and also of course the work environment, the clients, a lack of communication etc.). But it really sucks right now and I feel the whole rainbow of anger, guilt, shame, fear and sadness right now. But things will get better again and in the grand scheme of things, this will not be as signifiant right now as it feels. It just does at the moment because I am feeling all these things and this job was very important to me.

I think what I just want to say with we're all fail at time but we also can celebrate our private victories a lot of times because both of them exist. That's life and that's the strength, for stuff to suck but still show up for yourself. I am trying to be compassionate with myself even though in all honesty I fail at it this year like 7 out of 10 times. But we still gotta try 🌻

[windcarvedlyre]

Rewatched part of ch1's trial and found something else that's really interesting in hindsight!

We're all familiar with Komaeda's FTE; over a decade later, there's still some room for debate wrt whether he was telling the truth about his diagnoses or not. My stance was already that he was telling the truth, instantly regretted it, and lied that he was lying, and I will die on that hill. I think the above lines reinforce my stance further.

Hear me out. I might as well make this a comprehensive 'Komaeda wasn't lying' post while I'm at it.

For reference, here's the entire final FTE.

The reasons I already had to believe him are as follows, ordered from strongest to weakest:

Komaeda almost died from despair disease; he was much more severely affected than Owari and Mioda. Lymphoma can weaken your immune system, leaving you more vulnerable to infections. While Komaeda's degree of illness could also have been due to bad luck, this could easily be an intentional hint about him.

He claims he's wanted someone's love all along. Again in chapter 3, after the trial, Tsumiki targets his lack of loved ones and seems to genuinely perturb him, indicating this is a real insecurity:

Behavioural variant frontotemporal dementia, or bvFTD, can have symptoms that align with a lot of his social and behavioural issues in the game. bvFTD symptoms can include saying socially inappropriate things/being rude and insensitive, rash/impulsive behaviour, empathy issues, and rigid thinking, among other things. Do I even need to cite examples of these? He can still hide things and manipulate people sometimes, but his ch4 investigation segment proves he's genuinely socially impaired. He sometimes fails to understand the emotional nuances of other people and the impact his words will have. For example:

(Though he still has moments of self-awareness and introspection; he acknowledges he's pessimistic in his introduction and worries he'll make Hinata hate him by saying weird things in Island Mode.)

Issues with memory, cognition in general, etc, are more of a thing in later stages of the disease, so Komaeda having significant social impairments but still being extremely sharp and lacking noticeable lapses in memory makes sense.

Physically Komaeda just doesn't seem healthy in general. He's pale, skinny, his hair is white (possibly fading into a pinkish brown that I could see being his hair colour in the past), and- at least in Japanese- he sounds really breathy and wheezy. I once laughed in a way uncannily similar to his ch1 breakdown when I had a chest infection. With asthma. Stage 3 lymphoma symptoms can include chest pain, shortness of breath, weight loss, loss of appetite and fatigue. If it's still stage 3 it's present in lymph nodes above and below the diaphragm but hasn't metastasized outside of the lymphatic system yet, but if it's advanced to stage 4 since his diagnosis then it may have spread to his lungs as well- having further potential to cause respiratory issues.

In his second-last FTE he starts to tell Hinata about something before he entered Hope's Peak but stops himself, not wanting to 'burden' Hinata. And leaves immediately to end the conversation. He'd just told Hinata how his parents died in front of him, showing zero awareness of how bad it was or how it would affect Hinata, so it must have been real bad for him to do this. And makes it less plausible he was impulsively repeating something from a book later, imo.

Iirc at least one spinoff manga runs with it being true, depicting him in a doctor's office during a nightmare. I'm too tired to hunt this down now; maybe I'll edit it in later.

On a meta level I just find it less compelling for the final reward for spending so much time with him to be 'Here's some actual vulnerability- lol psyche, remember he's manipulative? He might still want sympathy, you be the judge'. It would make the aborted confession at the end the only thing we can't infer from elsewhere in the game already. On the other hand, the diagnoses being real, and him trying to take it back and distract Hinata with an incitement to kill him (before also trying to confess his crush and aborting that too, he's a mess there), really really adds depth to his character.

Semi-tangentially, some people with bvFTD also develop neurological problems that affect movement- eg. making them slow and stiff. There's no evidence for or against Komaeda having this in canon afaik, and I've read it's more of a thing in later stages of the disease, but in the ch1 trial he talks about the threatening letter as if it's in his actual handwriting, and if so... it looks pretty stiff, doesn't it? Either it was angular on purpose or the writer has trouble with fluid hand movements. Let me know if he displays fine motor skills anywhere else, I guess.

The only real counterargument is that he's outlived the 6-12 months he was expected to, but:

The estimate is presumably from the cancer, which is treatable. FTD can take years and years, even 10+, to reach the later stages.

That's an estimate, not set in stone, and real people have survived after being told they have X months to live without supernatural luck.

In either case, it doesn't matter how dire the prognosis is if Komaeda's involved. If the chance of him surviving something isn't zero it will probably happen. When he finally managed to kill himself it wasn't even real.

Anyway, the thing I started the post with! Compare the lines below.

In both cases he's said something that could make others feel bad for him, immediately takes it back, and claims he did that on purpose.

But he wasn't actually lying in the first line, albeit hamming it up a little. He wanted someone to kill him. This happened while he was still pretending to be the killer, after Saionji asked him why he sent the letter. He dropped a hint about the truth and then deflected away from it, likely intentionally antagonising people to distract them from thinking too hard about what he just implied and make them more averse to empathising with him.

So what could that imply about the lines from his FTE?

TL;DR: He told the truth about having cancer and dementia, your honour. There's not only strong evidence for this but precedent for the sort of deflection he made afterwards.

[wen-kexing-apologist]

Last Twilight: Ep 12

The TL;DR of this post is just... Sincerely what the fuck?

I remember posting after Episode 1 that I was keeping a suspicious eye on the mention of the eye donation because while I do think in real life disabled people have the right to manage their disability any way they want to and would support someone's choice to get a cornea transplant, real life is not fiction and fiction is designed to pull messages and themes from. Episode 12 from almost it's first moments completely undermines two and a half month's worth of messaging about learning to accept a new reality. I don't think it is foolish of me to assume based on the set up of the first episode that Last Twilight was supposed to be an exploration of grief as told in conversation and parallel between someone who lost a loved one and someone who lost their vision.

If this story had continued in the way it started out the first half of this show, I honestly think it could have been a 10, those first few episodes I was enjoying so much I was worried it might knock out Moonlight Chicken as my favorite Aof offering. Now I have rated Last Twilight as a 3, I will never suggest it to anyone and I will never rewatch it. Why?

Because from a fictional narrative perspective, having Day gain his vision back at the end undermines the entirety of the show's messaging from the first 11 episodes. Every single lesson, every single message just absolutely obliterated by every moment of Episode 12.

Day getting his vision back right as he and Mhok get back undermines the narrative in the following ways:

Rewarding Day for managing to create a successful and happy life as a blind person (literally like "hey you graduated and ran a bookstore while blind! Congrats you get to be normal again!)

"Rewarding" Mhok by insuring that he never has to do any caregiving for Day going forward so we don't get any navigating or expectation of Mhok and Day being in a longterm inter-abled relationship

We eliminate all chances that the subject of pitying Day re-enters any future fights, meaning there is now zero risk for Day maintaining a relationship with someone he worries might infantilize or pity him

It absolves Night of any remaining guilt he may be carrying from thinking he caused the accident that made Day blind

It absolves Day of any remaining anger at Night thinking he caused the accident that made Day blind

Mhon's ableist fucking ass gets her "normal" son back the way she confided in Mhok she'd hoped for after the first failed cornea transplant

It undermines the theme of the in universe Last Twilight novel and the conversation that Day and Mhok have about Mee being turned in to a statue on the top of the mountain and how that was hopeful because her father had found a sight so beautiful he couldn't think of anywhere else Mee would need to see and instead turns the message essentially in to: "there is hope, you can be cured"

It dismantles their cute couple thing of the one palm distance which also makes the OST that they played all the fucking time completely irrelevant

And most importantly, it undermines all the growth that Day went through while processing his grief and the two, TWO separate occasions where he came to terms with his disability

And that's just the disregard for the narrative messages, giving Day his eyesight back is incredibly ableist in the case of this story because of certain ableist through-lines woven in to the entire show. Namely:

While Day is blind, there is no reciprocity of care. Mhok is always taking care of Day, I cannot think of a single instance where Day really took care of Mhok in a significant way. By focusing so much on Day, and abandoning any strong focus on Mhok's grief over losing his sister, Day is never given an opportunity to be a support system for Mhok. Which is fucking ableist. Disabled people have so many things to offer the world, and while they might have specific support needs that does not mean that they can't offer support in return.

Mhok doesn't introduce Day to his family at their graves until after Day has his vision restored, and it is only then that Mhok says he has someone to take care of him. Able-ist!

Day gets his vision back almost immediately after a conversation with his mother where she says he wants to be normal and the fight he had with Mhok is normal.

Handling the entire story this way, with the break up, and a three year time gap, and then Day having his vision restored literally hours after he and Mhok get back together does not allow for any exploration of Mhok and Day having to figure out the differences between Mhok being his caretaker and Mhok being his partner.

We shunted literally every part of Mhok's backstory completely to the side, which in and of itself is fucking ableist in my opinion because it implies that able bodied people who are caretakers for or who are in a relationship with a disabled person don't have any time for themselves, to deal with their own shit or to have their own needs because they are too busy taking care of a disabled person.

With this being, what, the first main character in a BL with blindness, you want to go for the cure route after acceptance? Like you are rewarding someone for their bravery of handling their disability instead of allowing the disabled person to remain happy and thriving in the life they have built for themselves while they continue to be blind?

I'm not blind, so forgive me if I am overstepping at any point here but in my opinion, if you want a narrative that gives Day back his eyesight, that story that not be written by a sighted person. You need blind writers, people with the lived experience having control over the story so the narrative is better able to navigate the complexity of a decision like that, to reverse a character's blindness. I just think blind people would be able to minimize how much returning someone's eyesight might come off as ableist in a story like this. Additionally going the cure route is not a choice I think anyone should be making with the first BL that focuses this heavily on blindness. This world is so fucking ableist, if you want to make a story with a disabled main character with how slim of pickings there are, it feels much more responsible and subversive to go a disability pride route.

And these are just the issues around disability in this show, I have problems with the classism in this show, I have problems with the absolute ridiculousness of Mhok and Day's breakup and their reunion. MHOK APOLOGIZES, MHOK THANKS DAY FOR BREAKING UP WITH HIM, DAY DOES NOT APOLOGIZE FOR BREAKING UP WITH MHOK OR BLOCKING HIM ON SOCIALS FOR THREE YEARS BECAUSE MHOK PITIED DAY ONE (1) TIME. I get not wanting to be pitied, I get it, but seriously it is so much less compelling to have Day just completely abandon Mhok after all of the positive experiences they've had together because he messed up once rather than reel himself back in and have an adult conversation about what happened and try to get back to a balanced state.

Anyway, fuck this show. I am so disappointed that this is Aof's last directed piece for who knows how long. He could have gone out with a bang after Moonlight Chicken and now I am just fucking thankful I won't have to see anything else from him for awhile.

[piratecaptainscaptainpirates]

Regarding this post (https://www.tumblr.com/piratecaptainscaptainpirates/750832838350340096/okay-so-theres-one-thing-that-im-kind-of-tired), the racism of Stede having the crew members of color acting as servants was clear, but I always thought he did that because that's what Badminton and his officers would expect. If he had had everyone sit at the table, or even if he'd had the "servants" be both white and PoC, that would have given the ruse away. I saw it as Stede pulling off his first fuckery before he even knew what a fuckery was, and creating what he thought would appear to Badminton as "a bunch of upper crust lads trying their hand at the seafaring life". In other words, he was well aware that it was racist but asked his crew to go along with it so they could get Badminton and his officers off the ship as quickly as possible. Had Wellington not been such a blatant racist prick, they might have succeeded, but Jim was never gonna let that behavior slide. Quite right too.

Now, in S1E2, him and Pete thinking that the tribe were cooking and eating their hostages was incredibly racist and they absolutely deserved to be called out on that. But I never got the sense, even in those early episodes, that Stede treated his PoC crewmembers any differently or worse than he treated his white crewmembers. And especially with Olu and Jim, he valued their advice and counsel, and Olu had no issues speaking his mind to Stede, which to me meant that he never felt threatened by Stede or worried that Stede would abuse him or anyone else on the crew.

If I've misinterpreted Stede's actions, please let me know. I'm white, so I know I don't see a lot of the micro aggressions that you see every day, though I have been working on actively listening and learning.

Hey there! I don't disagree with any of your points here, but I think there are wrinkles!

Was Stede just falling back on the easiest option to allay suspicion? Absolutely! Was it still a racist move? You bet!

See, I think Stede's first fuckery is the "ghost of the forest" bit in s1e2, and this is more...him leaning back on established social hierarchy. He fails to think outside the box in a way that would allow all of his crew members to feel respected. Think about how Frenchie gets himself and Olu onto the party boat - by thinking up a creative story. Stede thought up backstories for his white crew. His crew members of color could have been African royalty, rich benefactors, envoys from distant lands...the possibilities of avoiding suspicion are endless, and they could've even used these exoticizing tropes their guests were unlikely to see through as a way to boost the Revenge's apparent prestige for their guests.

The important thing to remember here, I think, is that Stede's plan in the pilot fails not in spite of the racism of it but because of that. If their guests had known that it would be not only inappropriate but a social faux-pas to insult the crew members of color, then there never would have been a need to fight back against an escalation in racist language.

And I don't disagree that Stede doesn't treat his crew members of color differently! My point is rather that his racist biases are an important facet of his general ignorance of the lived experiences of others - like, he genuinely doesn't really get that most people are pirates because they have no other choice (there's a huge racial component there, no coincidence we hear it from Olu), he doesn't realize most of his crew will be illiterate, he fails to account for the differences in lived experiences he's enjoyed thanks to his relaive privilege. In these early episodes, he talks at the crew, not with them.

I love Stede and his journey so so so much! And every time I rewatch the show I love seeing all these ways that he's grown and learned.

[cashmere-caveman]

read a post about there being next to no record abt the historic edward little again (we dont even know what he looked like!!!) and now im thinking a lot about how he died in uniform again.

hes far from the only character to die in uniform (the marines die in uniform! franklin dies in uniform!) and he isn't even the only lieutenant to do so (gore, under his slops, was in uniform; fairholme, too presumably; irving famously wore his coat that hickey steals later; george wore something that used to be his uniform when he got eaten but imo atp he did not wear it as A Uniform anymore that were just the clothes that he had on if that makes sense) but at the end, he is the only one where i still felt that it was an active choice to wear it.

almost everyone else sheds their layers along the way or turns into something else, but ned starts in uniform and he stays in uniform and that's it.

fitzjames famously sheds his vanity and dies in his shirtsleeves, without any of the pomp and pizzazz of his uniform.

jopson, another character who is to me really connected with a certain mindset of holding up appearances, dies in his shirtsleeves, believing himself abandoned by the very person that was his reason to even wear a uniform at all.

goodsir as a doctor/assistant surgeon doesn't really have a uniform in quite the same sense as many others but when he dresses himself before his suicide it is not as an affirmation of his role, or at least not a positive one. he has sworn to do no harm, but he was forced to do it anyway and now he will add a final evil to his toll of sins in the hopes to balance the scales at least somewhat and for that to work, he must wear his outfit as always. he ends up with all pretenses stripped bare anyway.

tozer, a man so proud of his uniform in the beginning, again, dies in his shirtsleeves, no rank left, betrayed by someone who had convinced him to give up everything and yet! reduced to nothing but an ordinary man, he tries again where before he had given up. he cooperates, he coordinates, he even calls crozier captain again, he tries very hard to do the right thing in what looks like a no win scenario from the get go!! and he fails, of course, but he tried.

almost everyone else also ends up either dressed down (bridgens, armitage, dundy, des voeux etc) or somehow transformed (blanky, to some extend silna with her patched and bloody furs) or in hickeys case, both (iconic underwear & greatcoat combo). little never changes. he sometimes has a little scarf, theres the bandage for his headwound for a bit, he sometimes wears the full parade uniform with epaulettes and sometimes just the regular one, there are at least two different uniform hats and ofc you can tell that he loses weight by the way his shape chages under all that wool but he is always. in. uniform.

and maybe this is just my mind making up dots to connect but i think he might even be the last character that crozier ever gives an order to in his official function as a captain (in the tuunbaq seduction/boss fight scene he has been stripped of his rank, at least according to e.c.).

before his final scene, all we get is little arguing over the orders they are given, and how to interpret them. and he is still wearing his uniform!!! wait hold on im not gonna check but maybe he might only wear a jumper in the tent where dundy lauches his soft mutiny actually, so maybe this whole post is crumbling like a domino line but!!! ignoring this. moving on. (even if it is a jumper i remember him wearing sth dark blue aka Uniform Colour so im claiming it doesnt even matter bc spiritually that hypothetical jumper still is a uniform. im not going to let anything like "accuracy" and "real details" fuck up my post smh 🙄. im joking. however! Moving On as i said) (edit: i rewatched the scene and it IS his uniform actually, just v rumpled. going insane btw)

he doesnt even dress up for carnivale! the only other characters that are not in costume are jopson and crozier and they were literally too busy keeping crozier from dying to even begin thinking about joining the communal arts and crafts session! little is atp the acting no2 of the expedition so u might say he was busy but fitzjames has the overall command and still finds time to have a little gender moment in private and the imperialism-approved version of it for the Big Crowd!! (u could ofc argue that fitzy Always has time for a gender moment and who would i be to argue but my point is: i have no doubt that man was fucking busy preparing carnivale & beginning to prepare the walkout and there still was time to Express Some Character!! so how come ned didn't do anything?)

the one other scene we get where we can catch a small glimpse of characters out of their element before it all unravels (pre tuunbaq attack on the camp) is the scene at night when morfin gets shot. it shows lots of characters in various states of undress (silna big blanket burrito i love you) that allows us to see them differently, like their costumes at carnivale did, but in an entirely opposite direction. while carnivale was about putting on masks, this scene is about taking them off. and it drives me insane because i know that little must be there. he is somewhere in the crowd when morfin gets shot but so far i havent been able to make him out and i need to know what he is wearing so bad. it is actually for science (my own curiosity) ! i really need to know. and i cant help but feel that maybe it is intentional that he is just ~somewhere~ instead of In Front of the Fucking Camera because, well. that would be just ned little, wouldnt it? and we dont even know who that is.

[not-aurii]

Rewatching ATLA and I think that one scene when Azula shows up to blow them off the Air Temple they were staying at (forgot which one, sorry), is already a tell that she's losing her mind a bit.

Because, this is right after Mai and Ty Lee betray her. And in The Day of Black Sun episode, when asked if she wanted to follow the gaang, all she says is:

"There's no point. They'll be back soon." And she was right, they would be back soon.

So why did she suddenly decide to get an entire squad of airships, just to blow up her brother and the Avatar?

Even when Zuko asks her, she doesn't give him a proper answer, just saying she's "celebrating becoming an only child".

I think this was her way of trying to feel better about herself with a win. Any win would do.

Because this attack is so weird for Azula, out of character even. An entire fleet of warships? Not just a small group to be inconspicuous? Of course, Mai and Ty Lee are no longer an option, but... why not just take the Dai Li?

Why the need for this sudden show of force, when just her presence alone is more than enough to make anyone cower in fear? Why does she feel the need to remind them that she is That powerful?

Because she's already suffering the consequences of Mai and Ty Lee's betrayal. Because she's already starting to doubt just how much power she actually has over people. Because she's already losing sight of herself, little by little.

This is also why I love the way Azula and Zuko's fight ends:

They're both falling from the sky, seemingly to their deaths with no way out, but the gaang grabs Zuko at the last minute, making sure he's safe. His connection to people, his choices to help and redeem himself, were what saved him in the end.

Azula is all alone.

She saves herself, but barely so. Even Zuko has a split second of "she might actually die" and then goes "Of course she didn't". Like it's expected. Like it's a law of the universe that Azula would be all alone and able to save herself, and that's nothing grand or anything else. It's just how it is. Azula has always been by herself, always been alone, always keeping herself safe the only way she knew how: fear.

And then that fails her too. So what is she supposed to do now?

She's falling. No one is going to grab her, keep her safe. And the only way she knew how to do that by herself, for herself, is gone.

Fear wasn't enough.

But what else is there for her to grab on to?

[invisiblerambler]

GO AHEAD AND CRUCIFY ME IN THE SQUARE

I think this season might be my favorite. Or favorite is the wrong word, it lives most closely to my heart. Before last week I would have said that about S2 and I LOVE season 2 it feels like a warm hug to me and I can rewatch almost any episodes any day of the week and it feels like a comfort.

Especially the back half of the season. The conversation Syd has with her dad about this being the thing and the conversation with Carmy under the table. Those represent a better part of my nature when I'm mostly concerned about the state of my career and what I hope to accomplish.

Season 3 though, and I acknowledge it could be biased towards where I am in my life right now, but season three hit me between the eyes. It's forced me to confront things frankly I didn't want to, but I think that's it's success.

The honesty with which it portrays someone so deep in grief and trauma and the ambition that intersects both of those things.

I cannot begrudge anyone who finds it tedious, but unfortunately healing from trauma is tedious and boring and just as awful as it looks from the outside sometimes.

Living through a period of time where the thoughts in your head are consuming and distorting reality to the point they are with Carmy this season, I have never had words to describe that experience.

That is a gift this show has given me, a way to communicate things that I always felt my words fell short of reaching.

I wouldn't wish the level of trauma Carmy has experienced on anyone, but I wish this season garnered more empathy and less contempt.

I have frequently been described as high-functioning, resilient, and well-adjusted, but like all three of these seasons of The Bear have portrayed in stark relief, no amount of achievement can undo what you do not want to confront.

It's a cliche possibly, but the ways in which Carmy is portrayed as having it all together while not at all... A fine dining restaurant is the perfect place to not have shit together while outwardly pretending.

The messiness and utter raw emotion of it was painfully endearing. I didn't watch this season and see a monster, I saw someone desperately trying to figure out how he can feel better, and everyone around him failing to realize the depth of his suffering.

This season is so human. I saw someone say that this was a cooking show about grief and now it's a grief show about cooking, and a part of me wants to yell THE COOKING WAS A TRICK SUCKERS. IT WAS ABOUT GRIEF THE WHOLE TIME which feels painfully obvious, but based on the reactions, I think a lot of people were not expecting such a grief forward season.

I understand this show was a big swing and was not giving you almost any of what most people wanted or expected, but for me my favorite art is when I get the thing I least expected. And that was painfully true of this season. I didn't want one of my favorite and most painfully tender shows to present me with a season that laid bare a lot of things I had intended to hide away from, but I am better for it.

Even if you didn't like the season, I hope you came away with a sense of empathy for those who have experienced trauma as layered and ongoing as Carmy.

I have for a long time struggled with the idea that I was a perfect victim. I outwardly made the correct choices, and mostly acted in ways that turned my suffering inwards not outwards. I did not feel afforded the luxury in life of taking it out on other people.

Watching this season felt like a window into my id. The version of me that maintained a high level of function, but indulged in many of my worst impulses, not turning them inward and burying them down. The contrast of the way Syd reacts to the trauma of being left alone on friends and family and throughout the renovation vs Carmy feels like a near perfect study in the contrast of expectations for male and female trauma victims.

Syd keeps it all inside and punishes only herself, because to do anything else would sabotage the career she has worked so hard to build. It feels like an obvious statement to make, but feels so much less obvious when the only place it feels like the pain can go is inward.

The panic attack at the end of the season is the physical manifestation of her body no longer being able to contain all the pain she's turned inward. It has to go somewhere and there's no control over when that happens.

I'm not sure if I am simply drawing obvious conclusions everyone else has already come to, but I wanted to reflect on how human this show really is. It is beautiful and artistic and a work of art but it is also messy and human and realistic in ways that set my teeth on edge.

I understand if season 3 wasn't the full course meal you were expecting, but I hope you'll find compassion and empathy for those who felt it to be a slightly abrasive but ultimately satisfying Tuesday surprise.

[thorias]

So I know I've been fixated on this, but the more I think about it, the more signs are pointing to the timeline getting reset. Upon rewatch, there are just so many things about the events of ep5 that simply don't add up if this was meant to be permanent.

First, there was that weird psychic blast that hit Madelyne/Jean right before the attack. What was that about? Could it have been Cable? Possibly. But it seems awkward when it happens right before he shows up in the flesh anyway, so my guess is it had to do with someone else. But who?

It might be a stretch, but given what happened in ep6 with Xavier on his way back to Earth now, I could see it being Charles trying to warn them from the future via time travel tech. I might be way off base on that one, but we've certainly seen weirder things happen.

Also, Rogue wearing a version of her famous first-date-with-Remy dress in the comics only to dance with Magneto while Remy dies without knowing that she'd chosen him is a detail that stands out like a sore thumb. That didn't happen by accident. This was a very deliberate choice by the writers and unless the point of it was to just be intentionally cruel to Gambit AND Romy fans, (and I kind of doubt it was) this is going to come back somehow. These writers have been very reverential to the comics and they had to have known how fans would react to that. If those events aren't going to change so Rogue dances with Gambit instead, (paying off that line in ep1 about suffering her hand for a dance) then why do it this way? To heartbreakingly end one of the most iconic and popular relationships from X-MEN TAS, which was built up over 5 seasons, with no payoff at all? How is that an ending that would satisfy anybody?

Maybe I've got my tinfoil hat on a little too tight right now, but I just don't see any way that this is going to stick. I don't know if the attack will be prevented entirely, (probably not, tbh) but something about that night is going to be changed. You don't establish that the whole reason Cable's here is to stop the attack and then have him completely fail at stopping it.

Maybe Cable, Xavier and Forge put their heads together, get Cable's tech working properly and manage to warn everyone in time to make a difference.

In fact, I read a brilliant theory the other day that Xavier would use Madelyne/Jean as psychic conduits to make the X-men and everyone at the gala remember what happened before the attack starts, giving them enough of a heads up to save themselves. And ep5 was literally titled 'Remember It'; I mean, it could be more perfect.

AND since Sinister was behind the attack, how fitting would it be for Cable (the product of Sinister's machinations) to be the one who thwarts him?

What if Cable and Xavier manage to warn everyone in time, all the mutants of Genosha band together with the X-men to take the Wild Sentinel down and then afterward the gala happens, but with Rogue dancing with Remy this time?

I don't know... that's probably wrapping things up too neatly (and the teases of Remy becoming Death are piling up fast, so we can't rule that out) and I'm sure there are going to be consequences to the Sentinel attack that stick even if they do reset things, but narratively, this would make a lot of sense, not to mention finish the story in a way that doesn't leave Gambit/Romy fans utterly depressed and miserable.

[queen-lucy-the-valiant]

On my last rewatch of Prince Caspian, I wondered what it would be like to be one of the Narnian’s in the battle planning scene; watching the supposed High King suggest what is essentially a suicide mission. The fight is really between the High King, the myth come to life, and Prince Caspian, the Telmarine prince they’ve accepted as the leader of their rebellion; both plans offer hope, both plans might work, but both plans also seem like a stretch; the most likely outcome is that they all die. But no one is saying that the most likely outcome is death, they’re all just dancing around it. Caspian and Peter are both saying their plan has the highest chance of success, but neither of them are saying that the rebellion might fail, that everyone in the How might die in a few short days.

And there has to be a disconnect here; how many of the Narnians were like Trumpkin when he first met the Pevensies, how many of them assumed these apparent children wouldn’t be able to help them. They accept them, of course they accept them, Caspian himself is a child, if an old one. So you have this apparent child, claiming to be the high king of legend, suggesting an insane plan, and even though he’s sure the plan will work, maybe you can’t get over the fact he’s young, maybe you can’t get over the fact young usually means inexperienced. And during all of this, his youngest sister, supposedly a queen in her own right, is casually sitting on the stone table itself, and maybe this angers you, because no one has dared to touch the stone table, the place where Aslan died and was born again, because to do so would be to disrespect him; but there she sits, silent until she challenges her brother, silent until she voices the thought everyone is thinking but no one dares to say; “That’s what I’m worried about,” she says after the first pledge of ‘or die trying’ has been made, “You’re all acting like there’s only two options. Dying here, or dying there” she says. “I’m not sure you’ve really been listening, Lu,” the high king says, a little patronizingly, a little dismissively; and it occurs to you that maybe he cannot see past the child to the woman she used to be, as you cannot see past the child he appears to the man he used to be. If he cannot, how can you? Maybe you expect her to back down, this is the high king after all, but she has already been brave enough to voice what everyone else didn’t dare. So she doesn't back down; “No, you’re not listening” she says emphatically, “or have you forgotten who really defeated the white witch, Peter,” and she refers to an event a thousand years past, one so wrapped up in legends and myth that maybe the truth really has been forgotten, maybe everyone in the How has also forgotten who really defeated the White Witch. Or maybe you simply do not expect her to call on Alsan, when she appears to be so casually disrespecting him. “I think we’ve waited for Aslan long enough” the high king says, and then walks away, ending the argument, after all, they’ve already decided to attack the castle, what’s the point in arguing about it more. 

In this moment, Lucy is the only one thinking about Aslan, because everyone else agrees with Peter, they have waited for Aslan long enough, centuries of waiting while the Telmarines hunted them to near extinction, and now the kings and queens of old are here, surely sent in Aslan’s sted; they’ve decided it is time to act and the high king has offered a plan, something they can do, rather than continue to sit around and wait. He’s the high king, he’s so confident the plan will work, and it’s the only plan they have, so of course they do it, (and it seems like it might’ve worked if caspian understood that you can free people from the dungeons and execute miraz after you’ve managed to take the castle, but that’s not what this is about). 

I don’t know, it just seems like this moment would be really strange to see as a bystander; the Pevensies haven’t even been there that long, maybe a couple of days, so even if everyone accepted them as the kings and queens of old, they still don’t really know them, let alone understand them; it’s doubtful that the Pevensies they know from the stories are anything like the real Pevensies that stand before them. They’ve suddenly been confronted with kings and queens of legend who appear in the bodies of children, who look like young ones but behave like old ones, who saw the history of a thousand years ago, who are the history of a thousand years ago. Even if they believed the Pevensies are the kings and queens of old, maybe they’re finding it hard to stop discounting them as children; and then they see the high king himself do it, in the same breath as dismissing Aslan. In this moment they see that the high king is just like them; he to is avoiding the inevitability of death, dancing around it with grand plans and heroic deeds, and he fully believes they will work, after all, he’s never lost a battle before; but he’s avoiding it all the same, casting off Aslan as the rest of them seem to be doing; not intentionally, of course not, but they’ve waited, and waited, and he hasn’t come, so they will follow the high king who acts in Aslan’s name. And maybe in this moment they begin to stop discounting Lucy, as the youngest of the kings and queens, because she has not lost her faith in Aslan, while so many of them have, she is willing to wait for him as the rest of them are not.

I feel like we don’t talk about the point of view of the caspian era narnians enough; we talk about how strange it would be for the Pevensies, to come home and have home be unrecognizable, but we don’t talk about how desperate the caspian era narnian’s must have been to accept that four humans were their kings and queens of old, even with the cave paintings; we see more detailed in Cornelius's office, but how many of the narnian’s would have had access to that art? They put their lives in the hands of the Pevensies, on the faith that they are who they claim to be, on the faith that these children have more experiences than anyone else, and maybe it’s during this scene that the faith begins to become belief. Then they fail and everything falls apart again before they pull it together one last time, but that’s not my point. My point is, how desperate would you have to be to believe four strangers are the heroes out of your myths come to save you; how hard would it be for you to believe it, truly believe it, instead of just following along, hoping they succeed because everyone else has failed you.

this is very disjointed, so I hope you actually made it to the end and I thank you if you did, hope you enjoyed my random mutterings.

[bitletsanddrabbles]

Stolen Child: A Much Needed Screaming Fit

Okay, so, as I said earlier - I'm fine. The story's fine. I'm not angry at anyone about anything or shouting at or accusing anyone of anything or any of that sort of thing that I might come across as somehow because I'm shouting and only sort of semi-coherently. I'm just shouting because I need to shout.

Basically, I've been feeling increasingly just…tired and tense? The temperature spike this weekend did not help at all, since I am not a heat person and it narfs my sleep. And my brain finally phrased last month as "I didn't have a single day off in August because every time I wasn't at work I was some stripe of not-feeling-well", at which point the rest of my mind and body went "YES EXACTLY!" and doubled down on the exhaustion and anxiety. I also have another routine medical appointment next Tuesday and something going on with my hand that looks kinda like ringworm, but doesn't act like ringworm (and how would I have picked up ringworm there?), which I will need to make another appointment for. Which means I really need to have a good, old fashioned, overstimulated three-year-old level melt down about something I care about, but that is not ultimately important to the universe and then go…I dunno. Maybe eat some ice cream and take a nap. Definitely with the napping.

Since Stolen Child is kinda the Big Craft Community Craft Thing right now and ranting about it could, conceivably, generate some useful dialogue which always results in Happy Brain Chemicals (useful right now!), we're going with that one. So if you feel like reading through the flailing mental health fail rant and giving advice, observations, feedback, or just patting me on the head and saying "Don't forget to breathe, dear. Air is important", go right on ahead. If you don't, eh. Not your job. Feel free to keep scrolling.

And now! Here we go! Ready, set - MELT DOWN!

This right here? Is a great comment. It's a lovely comment. I love informative comments like this! There's only one problem with it:

I SERIOUSLY NEEDED THIS INFO BACK WHEN I WAS PLANNING THE ORIGINAL STORY!

See, back in 2017, when I was first plotting this whole thing, my plan was to have him wind up…not heir. I seriously think he'd be happier doing like Tom and Henry and living at Downton, but running a clock shop somewhere and letting Mary run the estate and George be the heir. Thing is, I didn't know that was possible just like that. I hadn't made any of my UK fan-friends at the time (heck, I don't think I had this account yet?). As I have mentioned a million times, I fail at research, although I have been slowly getting a bit better with help. So at the time I thought that an Earl's son became the heir, no questions asked, and no options unless they abdicated which was fully what I intended on having Thomas do after a bit of trying and getting a headache and having him and Mary both unintentionally-but-avoidably stomp all over each other's toes. Then I started rewatching (didn't make it through season one because I have officially hit the 'can't really watch things on my own' stage) and was immediately reminded that Matthew didn't have a choice but to be heir. Oh! Oops! Guess Thomas can't abdicate! Which is how we wound up with the current draft.

And this comment.

Now, I have no reason to disbelieve the statement that they don't need to recognize Thomas, but I can't think of why my UK friends wouldn't have pointed it out at some point, except that I did always call it the Thomas-as-Heir fic which could have lead to the concept that heir was my desired end game. Or perhaps it was one of those things that just didn't get questioned because subconsciously they thought it was my desired end game. Or maybe something else perfectly logical! I mean, there are reasons it could have happened, but my brain is not braining good right now, so. Point being, I didn't know and I'm still not sure and this firmly falls outside of my 'things I can comfortably research'. If it were modern, sure! But history?

Seriously, my researching lessons in school extended to 'go to the library and read a book' and stopped. There was nothing about how to gauge how trustworthy the book was, or if there was, I didn't learn it because I moved through three school districts (five if you count college and uni) and wasn't in the right district at the right time. Given how obvious it is that there are a lot of history books out there that straight up lie (and I don't just mean the school texts. I've tried to teach myself history in recent years and wound up straight up calling bull shit on several books), this leads to massive trust issues. I asked at my local library if they had a research librarian on staff and bless his heart, the fellow I was talking to didn't even know what that was. There's another library nearby that is bigger, but I keep forgetting that it's part of our library system now and honestly I don't even know how to drive there and don't like driving in that area anyway and I'm not even sure the busses will take me there in a reasonable manner given public transport in this area. I know I've heard of a couple other tricks over the years that I've carefully noted down in places I've forgotten about so that I could reference them later.

…yeah.

And if it is true (which I have every reason to believe it is), what then? I've already set up the entire story to have Thomas be recognized as heir! I mean, I could put it on hold and rewrite the ending. There are a couple of scenes that would be easy, but others would be straight up impossible. I'd also have to lose at least three scenes that I've been looking forward to sharing and that people would love, and I don't know what I'd replace them with, and I'd have to rewrite the dinner scene (*straight up cries at the thought*), and I am a slow writer, so I have no idea when it would be done! I kinda hate the idea of telling everyone "We're going to be a chapter a week!" and then three chapters later going "Haha, just kidding! Indefinite hiatus while I fix the entire plot!" Especially since right now reader comments are definitely my primary 'happy chemical' source and I need that! On the other hand, I really, really love the idea of this being a one shot and not having to figure out what happens next! But it might not get done for another ten years if I try that!

If I do stick with him as heir, it seems like people would know that not recognizing him was an option, so I'd still need to do some rewriting to explain why he winds up heir! And why would he? The only thing I can come up with given my current setting is Cora pitching an ever loving (dignified, restrained) fit over the idea of not acknowledging him and he and Robert just going "OKAY OKAY WE YIELD!" which will still take some rewriting, but a lot less (I think I can keep the rewrites ahead of the posting schedule for the most part maybe?), and will still leave me figuring out where we go from here, but might work as a decent compromise?

Either way, I have to figure out what I'm doing before I post next week's chapter! And all my brain wants to do is melt into a puddle of goo for a month! The idea of trying to research or plot or anything like that just makes me want to sit in the shower and cry! I WANT A MONTH'S VACATION FROM LIFE, DAMN IT ALL!

Edit: I now have an appointment to have my hand looked at this Wednesday.

[grifff17]

hi I've heard you do podcast recommendations

I've just finished Desert Skies after relistening to Midnight Burger for the third time, but there's still a burger-shaped hole in my heart that Welcome To The Horizon just doesn't seem to fill.

do you maybe know of any podcasts with a similar vibe? for me it's very about "outcasts in a very surreal scenario with a dash of comedy and strong characterisation"

if so, much appreciated ❤️

I decided to break down you request into "outcasts in situations", "surreal", "comedy", and "strong characters", and recommend some shows that have multiple of these traits. I've roughly listed the traits in order of how prevalent they are.

SCP: Find Us Alive (strong characters, surreal, outcasts in situations, comedy): This show might be the closest thing to Midnight Burger out there, but it's still very different. It's set in the SCP universe, where a covert foundation studies and hides things that break the laws of the universe. The show is set in a Foundation research site that gets transported into a pocket dimension, and focuses on the characters adapting to their weird situation and attempting to escape. It's also in some ways a workplace comedy. You will get more out of this show if you are already familiar with the SCP universe, but since the show is entirely contained within a pocket dimension you don't miss too much.

Wolf 359 (strong characters, outcasts in situations, comedy, surreal): Wolf 359 is an absolute classic audiodrama, a good percentage of modern audiodramas are inspired by it. The main characters are the crew of Hephaestus Station, a deep space outpost looking for signals from alien life. For the first 10 episodes or so it's a comedy, but after that the plot really picks up. Fairly similar vibes to Midnight Burger, though the way the characters are written is very different.

Girl in Space (outcasts in situations, strong characters): A girl has spent her entire life alone on a spaceship orbiting a star. The only people she has ever talked to were her parents and a dysfunctional AI. All she wants to do is do science and rewatch Jurassic Park. Of course, other people have to come along and ruin it. This show is a lot like (and probably inspired by) Wolf 359, in the "set on a remote space station with lots of weird hidden secrets in it" sense.

Midst (surreal, strong characters, outcasts in situations): Midst is hard to describe. It's somewhat similar to Midnight Burger, but only in that both of them are so different from everything else out there. Midst is a surreal space western with very unique worldbuilding, and, in favor of a full voice cast, three narrators who narrate together, like people sitting around a fire telling a story. If you aren't sure about this one, listen to the first 2 minutes of the first episode, it stats off with a bang, literally.

The Strange Case of Starship Iris (outcasts in situations, strong characters): Think the tv show Firefly, but its super queer. That's basically TSCOSI. In a sci-fi setting where the human government is evil, the main characters are a group of smugglers being gay and doing crimes on their ramshackle spaceship. It also has a little bit of comedy, but less than Midnight Burger.

Mission Rejected (comedy, outcasts in situations, strong characters): "This is your mission, should you choose to accept it." What happens when the superspy declines a mission? The backups are called in, of course! A pencil pusher, an intern, a failed actor, and a hacker on work release are brought together to take on the spy missions that superspy Chet Philips declines. This show is a parody of spy tropes, with surprisingly strong character writing for such a silly comedy. Hope you like volcano lairs, silly accents, and villains that refuse to stay dead!

Fall of the House of Sunshine (surreal, comedy, strong characters, outcasts in situations(in the later seasons) ): This show is as surreal as it gets! A terrible noir detective investigates the murder of a kids tv show host via a bullet fired through a rift in space time, and gets sucked into a secret war between a cult of dentists and living puppets. Oh yeah, and its a musical! If you like the sound of that, this show is for you. Every season is an escalation of the previous one. Like Mission Rejected, I care about the characters shockingly much for how thoroughly ridiculous this show is.

If you want some more recommendations, I can find you some more, but these ones are the closest I found. I'll admit that the last couple are a stretch, but I just really like those shows and take every opportunity to recommend them.

[superpowered-dirt]

i never post on here but i have so much in my head about twd: the ones who live i honestly feel like i might explode.

i know all anyone really wants to talk about from episode 2 is That Part of their reunion (which is fair, don't ask me how many times I rewatched it), but now, the part that keeps playing over and over again in my head is this tiny bit:

and i just need to say, danai and andy are so insanely talented bc this clip?? this clip—short as it is, with not a world of dialogue—says SO much about where our two characters are at.

first, rick. i watch this clip and i think holy shit, yeah, that is a broken man. andy does a masterful job at displaying through his eyes and the way he carries himself the extent of the psychological damage and anguish within rick, not to mention the guilt he carries. you can see the gears turning in his head as he reminds himself how he basically gave up on her. how he gave up on himself. how he told himself that he was done, he was never seeing her again, and let himself fold into the CRM. i think it's safe to say he hates himself for his choice to move on. he's utterly crushed by it. like look at him, he can't even meet her eyes!!

and michonne? she sees it. once the euphoria of I Found You has begun to wear off and she lets herself really take him in, she immediately clocks that this is not the same rick that "died" on the bridge. not the rick that led alexandria. not the rick that got them out of terminus. and definitely not the rick that stood up to the saviors. in fact, the last time she saw this version of him, it was right after the first time they ever lost to negan, and that horrifies her, because if that rick is back, then something truly terrible has happened. the look on her face in the clip says a million things, but most loudly, she's wondering, understandably and devastatingly, "my love, what have they done to you?"

the final clue for her that her rick is gone, at least for now, is their next interaction. since forever, both of their instincts anytime they've been told that something bad is coming their way have been to either hoof it for the safety of their family or stand back to back and dispatch the threat. it's the panic in his voice, the sheer desperation as he pleads with her to stand down instead and hide herself after she suggests they go that tells her she has no idea what he's been through or what she's in for now that she's in the shit with him. and even now, if the trailer for E03 has been any indication, she still fails to grasp the danger they're both in. i know what people online have been saying, but she's not being careless, this is michonne we're talking about, she just doesn't understand how careful she really has to be. and then throw jadis and her bitch ass bowl cut into the mix and suddenly a whole new threat looms over alexandria and the commonwealth that ultimately all comes back on rick too? the guilt he now has to face for not only dragging his wife into his mess, but through jadis, also his daughter and all his friends?? and if he finds out now that he has a son too, then there's even more guilt??????

i could go on for hours but i won't. all i'll say is that we're definitely in for such an emotional ride tomorrow. and really there's no one else i trust more than andy and danai to deliver that for us.