#The only trope ever

[browngurl99]

Uzui going full on screaming crying throwing up mode cuz his wife is about to get hurt. So true of him.

[akanemnon]

Something tells me this isn't Flowey...

FIRST - PREVIOUS - NEXT

MASTERPOST (for the full series / FAQ / reference sheets)

[afterthelambs]

Ann's confidant wins the most sapphic confidant award in the game. Obviously there's rank 9 with Shiho saying "I love you" but there's also whatever the hell Ann has going on with Mika? Mika spends the entire confidant being rude and mean and underhanded, and Ann just goes "ugh she's amazing"

and in the end when you find out Mika has been sabotaging other people to get jobs this is Ann's response:

GIRL GET UP??? Beautiful girls make her weak asf. This is why Ann being supportive over Joker dating his assassin is in-character, she knows what it's like to fawn over a mean hottie

[ghostdrinkssoup]

nbc hannibal is a romcom purely because the central conflict results from hannibal not understanding his feelings for will and being a total loser about it because he’s never had a friend or been in love before which makes him act so silly and do the most insane things that will interprets being framed for murder as hannibal having something against him (as anyone would), and this series of misunderstandings is not resolved until hannibal’s ex girlfriend and former psychiatrist tells will that hannibal is so in love with him it makes him look stupid. after that will does not hesitate to break hannibal out of jail and douse himself in blood which is this show’s equivalent to the protagonist running to the airport to stop their love interest from leaving the country and marrying someone else before they’ve had the chance to confess that they’ve loved them ever since they’ve known them

[tryingonametaphor]

thinking about this again

[thisiswhereikeepdcthings]

Fic things I will never have enough of/get over:

“Oh no, they’re hot.”

“Great, now there’s two of them.”

See above but with more swearing and feelings of dread and impending doom

BAMFs with swords

Old wise person causing 90% of the chaos

“They’ve never met in canon.” “Actually, they’re dating.”

“They’re mortal enemies.” “Actually, they’re married.”

The keeper of the braincell

Sharing one braincell but they lost it

The cinnamon roll goes feral

Tiny feral child and their supportive, enabling, non-parental background adults

“I’m your problem now”

“Welp, guess I’m a parent now”

Accidental world domination

Competence

Competence kink

Calmly sipping tea while everything behind them is on fire

Trying to be a good, supportive adult but you have no point of reference so you end up giving a sword to a ten-year-old

Time travel

Person A and person B start dating and when they tell everyone persons C-Q are confused because haven’t they been dating for like three years now and persons R-Z thought they were already married

*does something previously thought to be impossible* “What, like it’s hard?”

Platonic besties that will help hide the bodies

Fake dating

Accidental baby acquisition

Accidental baby acquisition but they’re a middle-aged to senior adult with like five thirty-something-year-olds that are now their children

Crossovers that shouldn’t work but do

“I need help” “I’ll grab the shovel” “Not that kind of help”

“I didn’t know where else to go.”

Well-written non-canon pairings for characters that have other firmly established canon pairings. Like, fully alters the entire story line non-canon pairings. But done in a way that feels like a reasonable possible outcome.

A protagonist with a million problems to solve still taking the time to be kind

Forehead kisses

Time traveller going apeshit and fixing everything preferably in as Mary-Sue a way as possible

OP character who is oblivious to the fact that they are indeed OP

Character who spouts off increasingly concerning details of their life while not realizing everyone else’s growing concern or the fact that they’re probably about to be mother-henned for the next decade

Character who chooses a parental figure and informs said parental figure of this new development with little to no forewarning

Strong, stoic character is actually the most chaotic one there

Everything in the chaotic portion of the alignment chart

Getting back at a bad guy in as petty a way as possible

Time travel with two or more time travellers who don’t realize they’re not the only time traveller

The guy everyone thinks is going to beat up all the bad guys sitting back and watching the person previously believed to be as strong as an uncooked noodle absolutely demolish them

Any situation where characters play hot potato with a position of great power. “Congrats, you’re king now.” “Not if you can’t catch me, I’m not.”

Unexpected language skills

Unexpected skills in general, particularly if they’re as niche as hell

Two extremely competent individuals who lose all brain cells when within a close proximity of each other

Fixing problems on accident

Fixing problems on accident while actively trying to cause problems on purpose

Surviving primarily due to spite

[lasagoofs]

rewatching to prepare for the new season

[dollypopup]

I get why people would think it but

Colin is NOT a rake. Colin is a young man trying to figure out his identity and what he likes sexually and trying to understand what the men of his society talk about and do. He's not out here messing around with women just to string them along and then leave them. He's trying to fit in and has been made fun of for being a virgin so yeah, he rectifies that by having sex, but just because he slept with a few women, that doesn't make him a rake? You wanna know who an actual rake in the series is?

Fife.

Because what the fuck happened to Miss Goring? I think about her sometimes and my heart aches for her. Her first season out, she's an 18 year old woman, and an older, titled man of her society who she assumes to be a proper gentleman makes her believe their relationship can actually be something, messes around with her the entire season, and then fucks her in a linen closet at a ball only to....what? Come back the next year with absolutely no mention of her whatsoever. Did she get pregnant? Was sent off in disgrace? Have to marry someone else?

Fife is a 30 year old man who has a bad habit of hounding after young, vulnerable women in his society. He fucks them and leaves them. He's a rake. Colin? Colin is not even close to that. Say what you will about the brothel scenes, but that IS the responsible place for a man of his time to go to for sex. Please stop demonizing sex work. Yes, many of these women are in that line of work because of less than savory reasons, but Colin is not taking advantage of them. He is paying for a service and they are providing that service. It is transactional, and he is the LEAST of their concerns in terms of clientele. A kind, handsome man who pays well and is discrete? Yeah, they're fine with him.

Colin has a history of respecting women. He respected Marina all throughout their courtship, and even after. I know some people sneer at him coming to see Marina, but please keep in mind she is a woman on her own who married a stranger far away from ANYONE who knew her. Colin was worried about Daphne when she came to him, asking if anything happened when she was away and clearly ready to fight for her, so of course he's worried about Marina. Partly he visits her for his own closure, but also like....y'all that's a WELLNESS visit. He's concerned that she's unhappy, but ultimately leaves because she's not hurt and that she tells him to. Colin listens to 'no' from the women around him. He asks for permission from them. He waited for Penelope's consent sexually, but he also didn't even get into the carriage until she allowed him. He even asks "Please, let me in".

Colin lives in a time when women do not have many rights, and he listens to the women around him even more than the men. He is the only one of his siblings to ask for his mum's advice and immediately takes it and takes action. He brings Eloise back a feminist text from his travels, even after she's besmirched as a radical, because he supports her pursuits. In season 2, he also knew of her going to the printers and didn't say anything. He has always respected and cared for Penelope. He hasn't insulted a single woman in his vicinity. He doesn't make the women he flirts with feel bad about themselves, or feel less, but compliments them, all whilst keeping respectable distance so as not to make them think he's interested in marrying them. He doesn't dance with any woman but Penelope in that season.

Colin isn't a rake. He's not a fuckboy. He's trying to act like he is, emulating the circle of his society, but that doesn't mean he is. I swear people just WANT to misinterpret him because that's the easiest way, but Colin is a character who doesn't lend well to surface level readings. He's a nuanced, gentle hearted character who has been looked down on for his sensitivity. He's a deeply relatable person because who of us haven't pretended to be accepted? Especially if we've been bullied or excluded. I know I have. Put on a persona for the sake of survival. And he does so for what? A few weeks? That does not a fuckboy make.

Just say you don't want to understand him and move along because those of us who get him GET HIM. And I'm grateful for a character like Colin.

He's the best man in the series by an entire mile and you can't change my mind about that.

[s0fter-sin]

vampire bats share mouthfuls of blood to other bats they’re close to if they weren’t able to feed and now i need old vampire!ghost sharing a bloody kiss with fledgling!soap, giving him mouthfuls of blood bc his fresh fangs are too sensitive to bite with

it’s been so long since he was turned that ghost’s forgotten the deep ache that comes with growing fangs and he almost worries when johnny goes to bite into the meal he’s brought him only to whimper and pull back; only the slightest pinpricks of a bite left in the man’s neck, barely enough to bring blood to the surface

it’s only when johnny whines and massages at his gums that ghost realises his oversight; crooning at his sweet mate in reassurance. he’s not upset that he couldn’t feed, at the unintentional rejection of his offering. he’ll make the pain stop

ghost pulls the man to his mouth and sinks in his fangs, sucking in a heavy mouthful and drops the now paralysed prey back to his feet; his throat steadily gushing with blood and spilling over his body

he cups johnny’s face, looking into his eyes, teary with pain and hunger, and purses his lips to carefully drip the blood into his mouth. the pain immediately vanishes from his eyes, replaced with pure bliss as he opens his mouth wide; curling his tongue to catch every drop. ghost presses his mouth to his in a hungry, blood-filled kiss; tongues twining together as they share the taste

johnny sucks the last of it from his lips and ghost guides him down to lap at the prey’s neck; licking up the blood he was too weak to draw himself. he’s ravenous with it, his whole face covered in red as he licks up the spill and suckles at ghost’s bite

ghost’s filled with an overwhelming pride at having provided for his mate in an even deeper way than just hunting for him. he spilled the blood johnny’s drinking; fed him in the most intimate way their kind knows and he’ll do it a hundred times over for his love

[darqx]

Fellas, is it scandalous to ask your bodyguard for a dance at your coronation?

It was Izm's prescribed bday yesterday (April 2) so I redrew an old Royal!AU doodle from 2022 (which I never posted here) °˖✧◝(⁰▿⁰)◜✧˖°

[crybaby-bkg]

cw: Bakugou dies but comes back to life, “comes back wrong” trope, implied fighting, angst

When Bakugou died, you’re not sure how you went on living. Grief had taken over your life, sat you in the passenger side while it cruised off the highway into icy waters. And even then, you couldn’t find the energy to drown.

It’s why there’s a sudden uptick of energy when you’re promised to have him back. Some top scientists contact you months after his death, tell you to hurry down to the headquarters labs, come and rejoice for what you’re about to witness. And you’re horrified, to say the least.

“This isn’t my husband.” Are your first words when you walk in, watch the figure on the other side of the glass examine its own hands. It looks like your husband but—but his hair isn’t the right shade of blond all over. His nose bridge had a slight bump after a scuffle with a villain. He had a scar on his hand but—but it never looked like it was to sew a pinky beside the other fingers.

“Is that really my husband?” You ask next in disbelief, slowly entering the room. Bakugou’s head snaps up, his eyes a little brighter than you remember but—they hold so much emotion. So much memory, so much panic, so much guilt.

“I left you.” He mutters, his voice raspy and ragged, and you wonder if it’ll always be like this now. It makes you cry a little harder than it should, but you only embrace each other. He’s cold and his shoulders don’t hold the same mass and his back doesn’t carry the same scars. There’s one, jagged and rough, running down his back, and you think, you think that’s where they slipped a new spine in.

“Welcome back home.” You tell him, weeks after meeting him again, new and not totally—Katsuki. He’s stiff and he doesn’t immediately take off his boots when he enters, and it worries you. Makes you think if you’ve just let a stranger into your home, one that has stolen your dead husbands face. Makes you wonder if he’ll be as loving as Katsuki once was, or if he’ll become your monster looming over you with the guilt of not being able to rest anymore.

“I’ve missed you so much.” You whisper against his mouth one night, a little while after he’s moved back. You don’t know why you lay under him, why you let him nestle himself inside of you, why you let him hold you against his chest. Katsuki always ran his hands over your cheeks and neck whenever he held you like this, but this…man, only holds himself up with his hands resting beside your head. It’s alien, how he looks at you, how his hips are methodically measured with every thrust, how he kisses you every 8 seconds. You wonder if he’s more robot than Frankenstein monster.

“Why did you come back to me like this?” You ask him one night, barricaded in the bathroom away from him. You can hear his sobs on the other side, his pleading to be let in. He tells you he never wanted to come back if he had to be like this, that he’s sorry, please let him in, he misses the warmth of your skin, he’s never been so cold before, he’s never liked the cold.

“Is this considered cheating?” You ask yourself aloud one night, when Bakugou is forced back to the lab when he becomes too…un-Bakugou. To sleep with a man that is your husband in every way but? Your husband has been dead for a year now, and yet you stroke the chin of the man that tries so hard to be him everyday, but fails so miserably at it every time.

“I’ll come back to you right this time.” Bakugou promises to you when he’s strapped down to leave for the lab and before he’s sedated. But you don’t believe him—you never did. Your husband is dead, and this animated corpse has been nothing but a cheap mockery of everything you’ve lost and something you will never truly get back.

[atopvisenyashill]

i was thinking more about characters Performing Gender, but not necessarily Transgressing Gender. I wound up focusing on Ned and Sansa bc I feel like I understand them the most but-

Sansa as a hostage is imo the most obvious (bc it’s so well done) moment of someone clearly Performing Gender but not being transgressive in that performance. Which isn’t to say it’s not a complicated performance; it’s a fine line Sansa walks between weaponizing her gender to protect herself without seeming too fake. She’s trying to placate the Lannisters by playing the perfect, dedicated, air headed betrothed because it’s the only defense she has - if she outwardly rebels, she will be punished in a likely violent and/or sexual way (which isn’t even conjecture - when she says “or maybe he’ll give me yours” Joffrey has her struck with an armored hand). She’s not quite successful in being convincing but that’s because it’s a rather extreme situation; despite no one believing her, she does make herself seem meek and stupid enough that no one suspects she’s plotting to escape with Dontos until she’s well away from KL. The fact that she even has Dontos to confide in is because of Sansa’s relationship with gender! When she saves him, she covers her rebellious slip by playing up Joffrey’s intelligence & his role as King; she reaches for “tools” of her gender AND of ~proper manhood~ to save a life and herself from another beating. Her retreats into the godswood and silence are very much Sansa attempting to recharge from these draining interactions, the same way a knight would need to stop and eat and rest after a fight. She is fighting, constantly, by forcing herself to stay within the narrow confines of a specific type of gender performance as a way of shielding herself from harm.

Ned yelling at Cat is another big one, and I’ve seen the scene referred to as Ned using his patriarchal power to scare Cat, which is a great description. It feels like a Performance because Ned is putting on this terrifying Lord Stark mask in an attempt to get Catelyn to stop asking about Jon (and Lyanna). This is not how he usually acts with those he loves! When Ned is with His People, he is welcoming of questions, curiosity, emotion, even transgressive thought (to a point! the idea that Ned is a feminist because he lets Arya learn to fight is Not accurate but you can’t deny he allows significantly more flexibility wrt gender expression than most of the fathers we meet in this series. the bar is in hell tho). Yet when Cat asks him about Jon’s mother, Ned scares her so well she stops asking & still remembers the moment bitterly over a decade later. And if that snippet we see through Bran’s eyes of Ned praying that Cat will forgive him does come after she asks (like it’s suspected), it’s clear not only that this is a performance he’s putting on & weaponizing against Cat, it’s one he does not like using as a weapon against someone he is close to. After using the power his gender gives him to cause harm, he retreats to the godswood and silence to pray and rest, much like Sansa. A spiritual cleanse, the way a soldier may pray after battle, to reset and reconnect Being A Proper Man to Being A Kind Man.

I think there’s something interesting in that two of the characters most widely defined by how well they adhere to Westerosi gender norms both dislike feeling like they had to weaponize their gender. They are exhausted by the performance, because it’s a performance. This isn’t Sansa getting excited over tourneys, or Ned teaching his sons to fight; it’s toxic masculinity, it’s structural misogyny. It’s something they’re good at, excel at, and connected to something they enjoy but when it’s paired with violence, whether done by Ned or done to Sansa, it crosses over in their minds from an innate part of themselves (The Gender) to a performance necessary due to survival (The Gender Role). And that after these performances, both retreat to nature & god as a way of resting and cleansing from the experience.

[shinynewmemories]

"Gale says I never smile except in the woods."

Well that's strange, considering Peeta can make Katniss smile/laugh-

- on the train to the Capitol:

"Peeta unexpectedly laughs. 'He was drunk,' says Peeta. 'He’s drunk every year.'

'Every day,' I add. I can’t help smirking a little."

- while waiting to be paraded around like livestock:

"'Where is Haymitch, anyway? Isn’t he supposed to protect us from this sort of thing?' says Peeta.

'With all that alcohol in him, it’s probably not advisable to have him around an open flame,' I say.

And suddenly we’re both laughing."

- in the training center:

"When we finally escape to bed on the second night, Peeta mumbles, 'Someone ought to get Haymitch a drink.'

I make a sound that is somewhere between a snort and a laugh."

- at the dinner table:

"'I hope that’s how people interpret the four I’ll probably get,' says Peeta. 'If that. Really, is anything less impressive than watching a person pick up a heavy ball and throw it a couple of yards. One almost landed on my foot.'

I grin at him and realize that I’m starving."

- in the Arena:

"Peeta, it turns out, has never been a danger to me. The thought makes me smile."

- in the Arena:

"I lean over and put my good ear to his lips, which tickle as he whispers. 'Remember, we’re madly in love, so it’s all right to kiss me anytime you feel like it.'

I jerk my head back but end up laughing."

- in the Arena:

"'Katniss?' Peeta says. I meet his eyes, knowing my face must be some shade of green. He mouths the words. 'How about that kiss?'

I burst out laughing because the whole thing is so revolting I can’t stand it."

- in the Arena:

"Peeta’s struggling to get up when I reach the cave. 'I woke up and you were gone,' he says. 'I was worried about you.'

I have to laugh as I ease him back down."

- in the Arena:

"'So that day, in music assembly, the teacher asked who knew the valley song. Your hand shot right up in the air. She stood you up on a stool and had you sing it for us. And I swear, every bird outside the windows fell silent,' Peeta says.

'Oh, please,' I say, laughing."

- in the Arena:

"'Hey, Effie, watch this!' says Peeta. He tosses his fork over his shoulder and literally licks his plate clean with his tongue making loud, satisfied sounds. Then he blows a kiss out to her in general and calls, 'We miss you, Effie!'

I cover his mouth with my hand, but I’m laughing."

- during the Victory Tour:

"'Isn’t it strange that I know you’d risk your life to save mine . . . but I don’t know what your favorite color is?' [Peeta] says.

A smile creeps onto my lips."

- all the way from the Capitol when she's in District 13:

"'You’re alive,' I whisper, pressing my palms against my cheeks, feeling the smile that’s so wide it must look like a grimace. Peeta’s alive."

[butterflysonnets]

yes i'm rooting for m*leven breakup because byler is neat but mostly? i'm rooting for m*leven breakup for the sake of el and mike.

to me, their romance was always a puppy love born out of a combination of social pressures, naïve curiosity, and a lack of true understanding regarding intimacy and romantic love and what it really is. it was real in that they do truly, deeply care about each other and they are close friends, maybe even shared an attraction, but a maturing romance is so much more than that. they've grown up and out of being boyfriend/girlfriend, and that's okay! i think television/film needs to show more often that most of us don't have definite "soulmates" or first childhood loves that we spend our whole lives with. it doesn't mean these relationships meant nothing and didn't impact us, it just means they've run their course and that something else is in the cards, and this is part of life!

i've always felt el was at her best and most confident self when broken up with mike, discovering who she was and what she liked alongside another girl her age instead of just relying on mike for mentorship on how to live in the real world. she deserves more of an opportunity to find herself, her autonomy, and her independence, and to love who she is, and she's made it clear she's felt insecure in the relationship with mike because she isn't being loved and understood the way she wants, needs, and deserves from someone who is her partner.

also, it's okay if mike doesn't love her in "the way he should". he is not obligated to love her romantically and stay in a relationship with her just because she's a girl, because she "needed someone", or because he cares about her a lot. he shouldn't be pressured into a romance if it's not truly coming from his heart. he deserves freedom to find out and honour who he is, too, instead of just staying in his non-functional first relationship — one he got into as a child, essentially — and defining himself that way because it's what's expected when a boy and a girl are close. he loves her in some way, yes, but it's okay if he doesn't feel comfortable or secure being her boyfriend anymore, for whatever reason that is. he's felt insecure too, and that's valid and it matters.

they are their own people and are steadily growing and changing every day. they need time to figure out who those people are, and it's become clear (at least in my opinion) that those people aren't meant to be a couple at this stage.

they deserve freedom. they deserve to grow up and be authentic to themselves and not feel like they need to lie for the sake of a relationship. they deserve to move on from this version of their relationship that isn't making them happy and rekindle the best part of their bond: their strong, beautiful friendship. they don't have to be a couple if it doesn't make them stronger and better and happier people.

i think it would be healthy and wonderful for a show, especially one consumed frequently by young adults, to show a relationship starting, progressing, and ending on good terms in this way. sometimes things don't work out, and that is okay.

[tigergendermoved2tigergender]

I love krusie but I don't think they would do normal "couple's" stuff even if shipped romantically. Susie chomps Kris's head every day in the lunch room and huffs their apple hair all day during class and brawls them in the hallways and nobody knows they're dating until 6 months in when Toriel makes some remark about "Kris's girlfriend" and everybody loses their shit

[mainalias]

thinking about compiling screenshots of golden/silver age batman exclusively calling dick his ward to combat the allegations that it was “initially a father-child relationship”