#Overdose Era

[fanofbirdsflying]

exo k in mexico for @baekhyunonlyfans

[unwilling-exo-stan]

What if the Overdose MV were warm toned instead of cool toned.... Thinking thoughts.

The first two sets just give them like. A skin tone. The second two make it almost have a sepia filter? But either way. Warm toned lover.

[keremdogulu]

TYPE: Self Para @berat-yalaz

PART ONE OF TWO.

SUMMARY: This is a part of his reply to @emine--yalaz but also his self para.

Keder, aşk için ödediğimiz bedeldir.

To breathe again, he wasn't sure if it was a blessing or a curse.

"It's..." Emine had said "Berat."

"What happ-- " he knew. The look on her face, the floor threatened to swallow him whole. "Is...is he hurt?" It was the same denial he'd had three weeks ago, but this one was the worst kind.

Kerem was pretty sure he might fucking pass out.

This surreality? It was roaring in his ears, unable to focus on anything as the world fell into silent chaos. The familiar timber of Berat's voice echoed through his mind, that laugh that so often made him feel at home nothing but dread that was collecting within him. The clogging in the back of his throat, the familiar burning behind his eyes as the pressure built and built.

Gone? Gone, gone? Not just hurt, there would be no recovery.

De-- no. He couldn't.

His world was crumbling, on fire, spreading and catching onto everything he held dear. Kerem was descending into madenning chaos, into the unknown and he'd never known such undiluted terror before. His nose burned every time he tried to bring air into his body, to keep himself from passing out from the spot in which he stood.

The look on Emine's face broke everything he'd known about his resolve, the way she -- for the life of him, it tore him apart to see her in such disarray. In such unbridled pain. He was frozen, unmoving, and unable to voice exactly how the world seemingly stopped moving. Berat was his brother, they'd fought side by side together for so long that it'd been natural.

Three weeks had felt like torture, even if he'd been pissed.

Friends fought...all the time, right?

He wasn't sure if it was because he was scared he was going to collapse, or because he needed to hold her again, but his arms found her, pulling her close as he tried to keep them here. His mind was spinning, and his world was imploding.

He wasn't going to be able to keep this upcoming eruption at bay much longer, he could feel it winding through his bloodstream and speeding straight for his faltering heart. It was breaking, more than anything could ever possibly break.

Irreplaceable. Irreparable.

Kerem tried to swallow, heaving in the process.

This...this was not real. It couldn't be real.

"Please." The words were but a whimper, his lashes fluttering as they collected water droplets in their erratic dance. "Oh god, you're wrong. You've gotta be -- " The second the words left his mouth, they tasted like ash. The truth seeped into the knowing part of his brain. "this is not happening."

Kerem had done this. This was his fucking fault.

They had been laughing so wildly, that he wasn't sure he'd ever be able to stop, ever be able to breathe again with this feeling of freedom. Berat had been narrating some fucking show as they'd lounged around doing fuck all. Those had been simpler times, even if things had never been simple in the first place. Berat had always had a way of bringing out a more relaxed version of Kerem, always pushing him to do things that he might have shied away from. They had been a duo, there had never been one without the fucking other. And now.

Kerem couldn't remember what had been so damn funny now, but he wished he did. He wished he could remember every single fucking moment he'd been blessed by his best friend's presence. How could he have gone back to that, but that voice in his head came for him 'Because you threw him away without regard for everything he's done for you over Nevra'

He slammed backward, pulling away from Emine. His palms found his eyes as he pushed and pushed.

No. No. No. No. No.

He wished he could go back three weeks and say something different. Be different.

Nevra's name came to mind and he couldn't stop himself as his legs rushed to the nearest bin, he emptied the contents of his stomach in such a violent fashion he gasped trying to claw air back into his throat through the blinding tears. Berat couldn't be gone. But he was.

Kerem had hurt everyone he loved in that fallout, and it'd ended with his best friend's life. If the guilt hadn't been there before, it was now attempting a sniper-styled assassination. Was this his fucking fault? Truly? Had he robbed everyone of knowing him because of a stupid fucking fight?

It hit him.

Berat was dead.

He wanted to tare his fucking heart out of his chest and be done. He wouldn't, but he wanted to. Even as the room closed in on him, breath was stolen from his lungs once again at the onslaught of memories. He'd never get to make new ones because drugs had stolen his life, had embedded itself so deep into who he was, it'd warped his sense of self. Berat had so much to fucking offer and give.

But addiction never lets its victims go easily.

Or at all.

"I did this, this is my fault." Kerem sobbed. "This...this is my fault."

[sincericida]

ANDREW GARFIELD at the Zegna Spring/Summer 2024 Fashion Show during the Milan Fashion Week menswear.

Our Garfy overdose ❤️

[breakyourbox]

IN THE "OVERDOSE" MV (x)

🍒 25 days until Chanyeol’s discharge 🍒

[k-i-l-l-e-r-b-e-e-6-9]

𝔒𝔳𝔢𝔯𝔡𝔬𝔰𝔢  -  𝔄 𝔊𝔬𝔬𝔡 𝔇𝔞𝔶 𝔗𝔬 𝔇𝔦𝔢

[p0rchc0ll4ps3]

too much coffee now im going to go fucking blow up somewhere

[eternallys]

.

[buckttommy]

If there would be a tommy begins episode, what would you like to see?

I have waited... my entire life for this moment.

Sorry, I'm about to answer this question in the most Jack way possible. Strap in, I'm about to enter my director era. Okay, let's get to it.

Tommy Begins (Jack's Version)

Opening scene: We see a kid (8yo) playing with Legos on his bedroom floor. His room is very much so a boy's room—there are dinosaurs and dragons and a soccer ball in the corner—but it's very sparse. This family is not wealthy by any stretch of the imagination. He's building a car, and beyond his closed bedroom door, you can hear muffled shouting. It's his mom and dad. The boy stops playing with his toys and listens as a door slams downstairs (his mom leaving) and heavy footsteps come up the stairs. He's already scooting backwards when the door opens and his father stands in the doorway. He's visibly drunk, and the camera is angled at Tommy's height so that the man in the doorway looks scary and imposing. (We're really leaning into the visuals here). So his dad looks at him and says, "Tommy, were you eavesdropping?" He wasn't, of course, but it doesn't matter because his dad is already undoing his belt (to beat him, not for anything else!!). Little Tommy continues to scoot backwards as his father comes into the room, and closes the door behind him. Before the door closes and the light from the hallway is shut out, we get a shot of the man's shirt—his father is an auto mechanic and the name Kinard is stitched into his clothing.

Similar to 5x17, where Jonah is introduced as a random little boy before the narrative makes the connection as to who he really is, this is the point where the audience realizes, oh, this isn't just any Tommy, this is our Tommy. And he's about to get his ass beaten.

Oh shit.

And then the 9-1-1 title card appears.

Now, all the begins episodes parallel past with present, so in my head, Tommy is off-work. Buck is moving in that day (this isn't a Buck/Tommy focused episode at all, but Buck is the vehicle for this episode to happen) and Tommy needs to finish going through his stuff to make room for him. He comes across a large box in the back of his closet that's stuffed with all his random keepsakes. He reaches into the box and pulls out a small Rubik's cube on a keychain.

The next scene flashes back to the past. We see Tommy as a teenager, getting into trouble with his idiot friends. They're all high as kites, and one of his friends overdoses on [drug]. He notices—he's the only one that notices, actually—and tells one of his other friends to call 9-1-1. They don't because they're kids, there are drugs involved, and they're stupid, so Tommy calls 9-1-1. He follows the operator's instructions and stays on the line until the paramedics get there. He accompanies his friend to the hospital and someone—a cop who is familiar with him, from having plucked him out of trouble a handful of times—waits with him. He tosses Tommy a Rubik's cube (the same one from the box) so that he can keep his mind occupied. His friend is okay, but the cop is like, "Listen, kid. One day, that's going to be you and one day, it's not going to turn out so well. You've got to straighten up or end up dead." Basically, the whole thing is kind of a wake up call. Before the scene changes, we see Tommy look up and look toward a container of pamphlets on the hospital wall. One of the pamphlets has a soldier on it. In his hand, the Rubik's cube has been completed.

In the present, Tommy continues going through his belongings. This is a dense episode, so we're not going to linger too much on what's happening in the present because it's secondary to what's going on in the past, but Buck and Tommy are texting. Buck is excited and has no idea the turmoil that is going on in his boyfriend's head. Tommy matches his enthusiasm (and it's genuine) but also takes a lot of effort at the moment. Still he smiles a little before he puts the phone down and continues digging through the box. Next, he withdraws his dog tags (and if it isn't obvious by now, the items in the box parallel with the next flashback because these are memories that are actively being triggered while the audience watches).

So, the next scene is obviously back to Tommy's time in the Army. Now, ideally, this would be a ninety-minute episode and I'd have the time to explore all the layers of Tommy's time in the service, but, alas, the boundaries of network television. In my head, most of Tommy's trauma comes from his childhood rather than his time in the Army anyway (which isn't to say it doesn't exist, just that it's not at the forefront of his issues) so we're going to have to gloss over that a bit. When we see him again, he's already in the Army, already well into his career, and the audience can see that he's shaped up and matured quite well. He's well-liked and good at what he does.

He's doing repairs on a helicopter when his CO approaches him and asks where he's going and what he's going to do after he's discharged. Tommy looks across the [hangar] and the camera pans to a a young man. He's in his 20s. Handsome in a boyish way. He's already looking at Tommy, but he looks sad and guilty and hesitant. They meet each others eyes and stare just a bit too long to be casual, and there is a lot of unspoken feeling between the two of them. Their relationship, such as it was during the DADT era, is heavily implied and it does not have a happy ending. Tommy looks back at his CO and says he's headed back home to Los Angeles. As for the rest, he doesn't know what he'll do after he leaves, but he'll figure it out as it comes to him. When he looks up at the guy, he's already gone. It's kind of a metaphor for the way the things he wants always seem to slip away.

In the present, Tommy is still going through his stuff. He unearths an old Academy shirt, so the next scene is his first day at the 118.

Tommy doesn't know it yet, but this is the first day of the rest of his life. Immediately, seeing those walls and doors fills the viewer with a sense of peace. Finally he's where he's supposed to be. He learns on his first day what type of boys club the 118 is under Gerrard. He's visibly uncomfortable (visibly to the viewer, who knows him well enough by now to read his face, but not to the old guard) the first time someone makes a homophobic joke. But he laughs and joins in, aware of but refusing to acknowledge the fact that they are making jokes at his expense. Just like that, he's accepted.

We see him assimilate quickly; the 118 goes on several calls. Not necessarily a montage, but we don't linger on the calls either except for a big fire. He saves Sal DeLuca and is rewarded with lots of accolades and praise. Tommy is one of the "in-crowd" and things are going well. But then Chimney shows up and Hen shows up shortly after. We all know how this plays in canon, so we don't linger too long on the times when Tommy is a dickhead but we do understand, from his perspective, that he has disdain for Hen and Chim—not because he's racist but because their existences threaten to dismantle this bubble of safety he's built around himself at the 118. The goal isn't to make the audience dismiss his complicity, but rather make them understand why he made the choices he made.

Because I am self-indulgent, there is one additional scene right before Tommy leaves for Harbor, where he and Hen are sitting in the locker room. She asks if he's going to miss it. He says he doesn't know, then he pauses and says "Kind of." There are lots of mixed feelings here. He suffocated himself in the closet within these walls and became someone he did not recognize, someone who went along with things rather than fight against the status quo, but he also learned how to breathe and exist a little freely once Gerrard left and Bobby took his place. He got his first taste of what it looks like to be Queer and proud within these walls, and that means something to him.

He looks at Hen and there are so many things he'd like to say to her that he doesn't know how to articulate, mostly because he cannot yet articulate them to himself. He's getting to that point but he's not there yet, so when she asks why he's looking at her like that, he just says "Thank you." "For what?" "For showing me another way." (This, of course, has a double meaning: first, referencing the idea that Hen/Chim showed him another way to be a firefighter, to be a family, to be a human being, and second, referencing the fact that Hen showed him another way to be Queer—showed him that Queerness doesn't have to be filled with self-hatred and pain. It can just... be... and people can either accept it, or they don't). Hen gets the sense that there's a lot he's not saying, a lot under the surface that she's not privy to, but she says "You're welcome."

The next scene is Tommy at Harbor, and the moment he gets there, the viewer can see a weight slip off his shoulders. He's back where he belongs—back with the mechanics, back with the big toys that make him feel at ease. It's a direct parallel to Buck's first meeting with the 118 (not for any Buck/Tommy purposes, just because I love a good narrative parallel) where Bobby pranks him. But Tommy smiles when they bust his balls, and settles into himself, and the viewer can see that he's okay. Things might not be perfect—he might not be perfect—but he's on the right track to being the person the audience will know and love in a few short seasons.

Back in the present, Tommy is pulled out of his walk down memory lane by the sound of his front door opening. Buck is standing on the other side with an overly large box in his hands. Tommy helps him carry it in, and offers to get the rest of his stuff from the Jeep, but Buck waves him off. He studies his face for a long moment, and asks if Tommy is alright. Tommy opens his mouth to answer and discovers, almost shockingly, that he is. He is alright. Maybe he wasn't a couple minutes ago. Maybe those items from the past dredged up memories that were best left forgotten. But he's here now, in this moment with his boyfriend, and he's fine. He's survived a lot. He's grown a lot. He's happy. So he smiles and he says yes, yes he's alright, and he kisses Buck, who also smiles, deeply. The doors close, implying sexytimes and Tommy closing the door on all the chapters of his life that have led him to this place, where he's now ready to embrace and walk into his future.

aaaaand SCENE :) the end.

[secretlystephaniebrown]

I Read Nearly Every Appearance of the Lazarus Pit Before Flashpoint and All I Got Was A Headache: A Meta Commentary

So! The Lazarus Pit!

The Lazarus Pit is obviously an iconic part of the Batman Franchise. We encounter it everywhere, from the Under the Red Hood movie, to the Lazarus Planet event which just ended.

But has the Lazarus Pit always been this way?

It's comics. Of course not.

Very long comic rant with citations below!

The Nu52 and following reboots obviously overhauled Lazarus Lore so completely they're functionally a different thing, so I'm not talking about them. Today, instead, we're talking about post-crisis/pre-Flashpoint Lazarus Pits, their contradictions, and what we can make of them.

The Lazarus Pits have been around nearly as long as Ra's and Talia have been, and even before they appeared, it was clear that Ra's had some method of extending his life.

Batman (1940-2011) #235

The first Lazarus Pit itself seems to be in a chalet in Switzerland, and it's very different than what we will later associate it as. It is instead, a mortuary slab that lowers itself into a pit of "bubbling liquid"

Batman (1940-2011) #243

In these early versions, the Lazarus Pit is portrayed as a medical invention that Ra's has used to extend his life.

It is shown to have consequences, which fandom has, of course, latched onto.

Batman (1940-2011) #244

Here, we see the Lazarus Madness described as including "the strength of ten men", and he is able to be able to resist nearly all attacks from Batman and Lo Ling.

In addition, Ra's claims that he has used the pit too often, which is shown to be the driving force behind his interest in Bruce and his legacy.

Batman (1940-2011) #244

Later appearances of Ra's and the pit throughout this era add a few more interesting tidbits.

He claims that only he can use the Lazarus Pit... but puts Talia in it in that same issue, claiming that it's okay if it's just a quick dip.

Batman (1940-2011) #335

Is Ra's lying about no one else being able to use the pit? Almost certainly. He will start putting anyone he wants into the pit soon enough.

Those with a keen eye might notice that the Lazarus Pit is already going through some aesthetic changes: we're still seeing a slab being lowered into a small pit, but now the liquid within is orange! This will come up a lot!

Next up we have the storyline Grant Morrison refused to read: Son of the Demon.

In Son of the Demon, Ra's claims that there was an earlier version of the Pit, before the final version Bruce has already encountered. In this version, he claims that Mellisande, Talia's mother, was pushed into this proto-pit, and it killed her.

Batman: Son of the Demon (1987)

Denny O'Neil will later retcon this in 1993, claiming that Talia's mother died of a drug overdose, and Ra's refused to bring her back.

But it is consistent in early versions of the story that Lazarus Pits, if not entered with proper care and with the right preparations, can be dangerous.

Bride of the Demon is the next storyline, and Ra's BRINGS the Lazarus Pits in this one. Ra's finds himself a hot MILF girlfriend and puts her in the Pit to make her younger so she can give him kids.

Batman: Bride of the Demon (1990)

This Lazarus Pit is shown to be more experimental than past versions, with Ra's and Dr. Weltmann attempting to prevent the Lazarus Madness factor.

Ra's later puts a child in the pit as a bribe to his father, but the kid had possibly been dead too long, and it was hinted there were going to be long-term consequences for the actions... which were dropped. As was the wife, who was supposedly pregnant at the end of this story. Comics!

This is the first time that limits on the Lazarus Pit are presented, but it is certainly not the last. This idea that there's an upper limit on how long someone can be dead for before a Lazarus Pit doesn't do anything will come back again.

Batman: Birth of the Demon finally brings in a more mystical aspect to the Lazarus Pits, which so far have been vaguely scientific. In this story, we are introduced to the fact that Lazarus Pits are located on the convergence points of leylines (which in-universe have something to do with the electro-magnetic field). Ra's's approximate age is revealed, and it is shown that Bruce and Ra's have been fighting a real-estate battle over sites where Lazarus Pits can be built.

Batman: Birth of the Demon (1992)

In flashbacks, we learn that Ra's figured out how to build a Lazarus Pit, and was not actually the first person to use it. Instead, it was for the son of the Sultan Ra's worked for as a physician.

After the Sultan's son went mad, killed Sora, and blamed Ra's for it, Ra's had his vengeance... by putting the son in a false Lazarus Pit.

This pit was sabotaged by not being built on a Leyline. So uh... be careful with those, I guess!

So in short: by the end of this era of Denny O'Neil/Mike Barr Lazarus Lore, we know that anyone can use a Lazarus Pit, but Ra's controls them with his knowledge of how to create them. Bruce can find where they should be by tracking leylines, and will pass this knowledge on to others over time.

We then enter a new era! The Chuck Dixon era, to be specific.

Chuck Dixon has surprisingly few retcons for us. We first really encounter his take on Lazarus Lore in his mini series Bane of the Demon, where Bane works with Ra's and co.

We get a brief recap of the lore here:

Batman: Bane of the Demon #3 (1998)

We are now introduced to an interesting new layer: the Lazarus Pits can be predicted, not just detected. Ra's has headquarters set up all over the world, in places where Lazarus Pits not only are, but will be. Some pit locations appear to remain the same throughout the years (Ra's has built numerous pits on the location of the first site: at least three that we know of), but generally, Lazarus Pits seem to be a one-time deal.

Ra's clearly has dedicated most of his life to these pits; to acquiring their locations, to predicting where they will be, experimenting with how to make them better... so obviously, he guards the formula for how to make them extremely closely, right?

Well. Not according to Chuck.

Batman: Legends of the Dark Knight (1989-2007) #145

And if you've noticed that head of green hair on the ground there, that's right folks! BRUCE WAYNE PUT A DEAD JOKER IN A LAZARUS PIT HE MADE HIMSELF.

Bruce justifies it by telling Alfred that if he does this, it means Ra's can't use it later. However, it does not change the fact that Bruce put the Joker in a Lazarus Pit. No I'm not going to be over this ever. Jason might have a point, actually.

Ra's decides, after this, that he wants another wife. And he picks Dinah Lance! But whoops, as it happens, Dinah was tortured and can't have kids (also lost her Canary Cry), way back in Green Arrow, before Ollie died! So Ra's decides to throw her in a Lazarus Pit. It... doesn't go well. Lazarus Madness + Restored Canary Cry = one destroyed building.

Birds of Prey (1999-2009) #33

Oh look! We've got locations! And of course every other Lazarus Pit we've seen or will see except Birth of the Demon is nowhere near any of these convergence points!

So! To recap the current state of the lore: Lazarus Pits are a combination of science and magic. They are an alchemical creation, built on leyline nodes. Generally, they are one-use only, or at least they require centuries to be re-usable. They can resurrect the newly-dead, but but Ra's is very cautious about letting other people use them, probably because he's a control freak, and he doesn't have too many of them left.

We depart the Dixon era and enter... the Nyssa Raatko era.

Nyssa is introduced in Death and the Maidens, with Greg Rucka, who is a huge fan of Denny O'Neil, still sticking pretty close to the original lore.

Here, we see that Bruce has still been on his kick of preventing Ra's from building more Lazarus Pits by buying up real estate where they could be. This forced Ra's to try to reconcile with his daughter Nyssa, who he gave a Lazarus Pit to sometime in the 1700s.

Batman: Death and the Maidens (2003-2004) #1

"But hey!" I can hear you say. "Isn't part of the thing that you mentioned earlier is that they're one-use?"

Well they are! For Ra's.

Nyssa, however, is a smart lady.

Nyssa, at some point in her life, figured out how to make a Lazarus Pit reusable. So she's been getting a lot of mileage out of this baby, and has been since the 1700s.

This story also presents an explanation for why the Lazarus Pit is sometimes green and sometimes orange: Nyssa's is orange and Ra's has green ones. I guess maybe the earlier orange pits that Ra's had were him trying to make them reusable like Nyssa? Hmm.

Batman: Death and the Maidens (2003-2004) #4

When questioned about it, Nyssa tells Talia that there used to be more pits, so he was less protective of them when he gave her this one.

Batman: Death and the Maidens (2003-2004) #6

At the end of this storyline, Ra's is dead, Nyssa is the new Ra's al Ghul, and according to Bruce, she has the only Lazarus Pit left.

Batman: Death and the Maidens (2003-2004) #9

Nyssa pops up again in Batgirl, facing off against Cass, and brags about her special pit again. Cass and Shiva both get dips in it. Fun times!

Batgirl (2000-2006) #69

Yes, the torture hooks are a reoccurring feature of Nyssa's pit. I don't know why.

But wait! A brief interlude!

Jason Todd came back to comics in a storyline: Under the Hood, in 2005, which wrapped up in 2006. We weren't told how Jason came back in the story itself, but a few months after Under the Hood ended, we get Batman Annual #25, which shows Talia shoving Jason into a Lazarus Pit while Ra's was using it.

Batman Annual #25 (2006)

There's no discussion about if this is a weird dip. He's got brain activity again though!

This is revisited again in Red Hood: The Lost Days, but it doesn't really add anything from the point of Lazarus Lore, except that Ra's posits that Jason, having already been resurrected, could have suffered some long-term consequences, unlike literally anyone else who had a dip.

Red Hood: The Lost Days (2010-2011) #2

Anyways, enough Jason! Nyssa gets killed off-page in OYL, so she's gone now, Talia's running the show and oh fuck it's Morrison-era. And Morrison never bothered to read any other Ra's or Talia story because it wasn't Silver Age or something. So... retcon time!

The Resurrection of Ra's al Ghul attempts to retell Birth of the Demon, but with a few retcons. The pits were discovered, not made, being the official point in which the Lazarus Pits become purely magical phenomena, rather than a work of alchemy.

Batman Annual #26 (2007)

Bruce also mentions that the Pits are connected to actual waterways, which is a massive difference from the shallow pits from earlier eras.

This era does however confirm the concept that older bodies, further along in the decay process, probably shouldn't be dipped in the Lazarus Pit. At least, Dick convinced Tim of this fact after a little while.

(Also White Ghost wants a perfectly healthy, alive Tim to bathe in the Lazarus Pit, and this is never explained. Maybe it was a distraction?)

Nightwing (1996-2009) #139

In this era, and the Batman: Reborn era following it, the Lazarus Pits are pretty absent, but the few references we do get from this point forward (including in Red Hood: The Lost Days, which are published in 2010-2011), tend to use the Morrison-era canon that the pits are natural. And also we're back to having a lot of them, instead of just Nyssa's singular one in the Balkans, and, since Ra's has a new young(er) body, there's no sense of urgency to buy up/prevent him from making new pits. Potentially, Dusan/White Ghost took advantage of the fact that the Bats thought Ra's was dead to buy back the real-estate and make new pits, but that's using the pre-Morrison lore. I guess in Morrison era, the Bats just... don't know where Pits are until they find one, and then they blow it up.

We also no longer see any one-time-use limitations. One could assume that Talia figured out the formula Nyssa used to keep the pits reusable and told Ra's, if we're trying to merge the canons.

And that's not even counting whatever is happening in the post-Flashpoint era. Lazarus Planet gives me a headache. Let's not talk about it just now.

Anyways, in short: I think the artificial, single-use Lazarus Pits are way more fun. But anyways, here's the citations to help you decide what YOU think Lazarus Lore should be!

[qiankunnies]

Baekhyun in Every Era 05.06.1992 🐶🍓 HAPPY BAEKHYUN DAY!! 🤍

MAMA ✦ Wolf ✦ Growl ✦ Miracles in December ✦ Overdose ✦ Call Me Baby ✦ Love Me Right ✦ Sing For You ✦ Lucky One ✦ Monster ✦ Lotto ✦ Hey Mama! ✦ For Life ✦ Ka-CHING! ✦ Ko Ko Bop ✦ Power ✦ Universe ✦ Electric Kiss ✦ Blooming Days ✦ Horololo ✦ Tempo ✦ Love Shot ✦ UN Village ✦ Jopping ✦ Obsession ✦ Candy ✦ 100 ✦ Tiger Inside ✦ One (Monster & Infinity) ✦ Get You Alone ✦ Bambi ✦ Don't Fight The Feeling ✦ Let Me In ✦ Hear Me Out ✦ Cream Soda ✦ BONUS: Lonsdaleite

(get you alone era scan from galaxy--supernova-scans)

[unwilling-exo-stan]

What if the Overdose MV were warm toned instead of cool toned.... Thinking thoughts.

The first two sets just give them like. A skin tone. The second two make it almost have a sepia filter? But either way. Warm toned lover.

[duckytree]

for those curious about the roy and dick party era…

yeah poor boys. after a point, it wasn’t about taking it for fun anymore. roy realized he fucked up when dick stopped going to parties and started doing it on his own.

he wasn’t rlly thinking when he took dick on the first few parties, but if he were the mindset would’ve been like “he isn’t as messed up as me. he’s the boy wonder. a few new friends wont hurt” and then of course that turned out to be the worst decision he could’ve made.

they did eventually go to bruce after a close call with an accidental overdose. white christmas by @kachwoww is how i pictured it

[sincericida]

ANDREW GARFIELD, Cory Michael Smith, Chris Pine and Mads Mikkelsen at the Zegna Spring/Summer 2024 Fashion Show during the Milan Fashion Week menswear.

[breakyourbox]

DRUMMER BOY @ THE LOST PLANET IN SEOUL

🍒 54 days until Chanyeol’s discharge 🍒

bonus: exhausted but happy drummer boy

[spopsalt]

You wanna know who handled dead sinners from different eras better than Hazbin Hotel?

Ghosts. (The US version lol)

Those in the back are all different people who died and ended up in an eternal purgatory of sorts; each of them having died in a different era.

You want to know WHY I say they handle the characters better than whatever Vivziepop is doing?

Because they KEEP ASPECTS FROM THEIR ERAS.

The woman in the blue dress (Hetty) was a robber baron who died in the 1800s.

The black woman (Alberta) was a jazz singer who was allegedly murdered from the 1920s.

The guy with an arrow in his neck (Pete) was a boy scout troop leader who died in 1985.

The fancily dressed man (Issac) was a captain in the army who died during the Revolutionary War.

The guy in the suit (Trevor) was a stockbroker who died during the late 1990s.

The woman in the glasses (Flower) was a hippie and a member of the counter-culture revolution who died in the 1960s.

The Native American (Sasappis/goes by Sas) was basically from a tribe who died in the 1500s.

And lastly, the viking (Thorfinn) was a guy who ended up dying in the early 1000s.

You can TELL which era each of these characters are from solely from how they are dressed along with how they speak, though given how long they have been stuck in purgatory in the same location the ones who died earlier LEARN about modern things from the ones who died more later than they did.

They all didn't just die and suddenly start cursing and talking about sex and drugs (an exception to Hetty because she has confirmed herself to use cocaine while Trevor talks about sex frequently and died due to a drug overdose. But he mainly talks about sex because he was a frat/playboy in life, so it makes sense he hadn't matured before his death.) along with suddenly knowing modern lingo from eras they didn't even live long enough to BE in.

This show only confirms that it's not that hard to have different characters from different eras in one room interacting as friends, AND that sex and such isn't needed all the time to make your show 'good'.

Wow, I never watched that show, but yeah! It sounds like they handle dead sinners MUCH better than Hazbin Hotel, I mean, is it really that difficult to just do some research? Viv seriously couldn't of like, searched some fashion trends or like slang from that time period? Seriously how hard would that be?