#able to keep talking

[kokodrawings]

Role reversal AU: Naruto as the ambassador of the shinobi nations

[ninja-knox-ur-sox-off]

I’m having an absolute blast with how everyone’s dubbed the cans of beans Carl keeps giving him “Sonic’s Emotional Support Beans”

[Edit: fic link - Observant Carl and The Blue Devil]

[letsplaythermalnuclearwar]

Homer!Odysseus and Epic!Odysseus would try to kill each other if they ever met

[lemongogo]

env practice ft the reunion scene

[turtleblogatlast]

AU where Leo is trapped in the Prison Dimension for months instead of minutes and the only way he gets by with his sanity intact is through recording himself talking to his wrist comm.

When they finally manage to get Leo back and make him rest up to heal, Donnie can’t help but listen to the recordings left behind.

He’s not sure what exactly he’s expecting, only that his subconscious is screaming at him that it has to be heartbreaking, that it has to be torturous.

Instead, what Donnie is subject to is a full thousand hours’ worth of Jupiter Jim and Lou Jitsu crossover fanfiction. More than one part in the series. Spanning well over a million words.

(The worst part is that it’s actually good.)

[apricustar]

there’s been a lot of talk about the kitchen scene—a lot of people calling eddie abusive, cruel, and emotionally volatile. but i think what that completely misses—what it refuses to see—is the truth about grief:

grief is not gentle or pretty. it is often an angry, twisting, acridic beast that refuses to leave you. it comes out in sharpness, in silence; in saying exactly the wrong thing to the person you love most because you don't know how else to make them hear you.

that is what we see in 8x17.

eddie wasn't being abusive; YOU are completely misunderstanding that scene—and eddie himself; buck, too.

buck is psychologically self-referential. not selfish, exactly—more self-centered, but not in the egotistical sense—in the trauma-informed sense. it's an adaptive behavior that helped him survive a childhood where love had terms and affection and prerequisites. he learned to monitor every mood shift, every silence, every closed door—because if something went wrong, it had to be his fault. and this was reinforced by his parents' behavior towards him!!!

so now? everything still feels like it's about him. because it had to be. because that was the only way to feel safe. buck internalizes everything. when something goes wrong, his first thoughts are: what did i do? what did i miss? that's not ego, that's fear.

but eddie deals with emotion like a live wire. he bottles it up, he locks it down. he was taught growing up that's what it takes to be a man—don't cry. don't ask for help, grit your teeth and keep moving. he waits. he stews. and when it finally breaks through? it comes out like it did last night—sharp, reactive, a ribbon of hurt tying everything together.

and this is not new! eddie does this when he feels powerless. when something big is shifting inside of him and he feels helpless—when he doesn't know how admit the true feelings inside of him. so instead we get things like the grocery store fight during the lawsuit, accusing buck of sabotaging the showings earlier this season, and the kitchen scene.

same structure. same rupture. same desperate attempt to push back because he doesn't know how to pull in.

when eddie says these things to buck—you're exhausting, you're making it all about you—he's poking where it hurts, on purpose. all of it—every jab, every flare of anger—comes from a place of not knowing how to properly articulate the truth underneath.

eddie expresses his needs rarely, if ever. he doesn't ask for closeness—he tests for it. more than anything, in that kitchen, i think he was trying to provoke buck into something—a reaction, a fight, anything.

because buck has been so shut down, largely unreachable, and imagine being eddie—watching the one person you always turn to drift out of orbit. being physically closer than you've been to him in months, and still, he feels further away than when you were in texas.

how do you ask for someone back when you don't know how to ask for anything at all?

this is all that people keep missing when they reduce eddie to 'abusive' or buck to 'selfish'. they see the surface of their words, but not the wounds they're coming from.

on a fundamental level, buck and eddie are incompatible in how they handle emotion, communicate, and cope, but they are unshakably bound in how they love. because underneath all the misfires and misunderstandings, they are two people shaped by trauma and silence—by never being taught how to ask for what they need.

and still—somehow—they keep trying. with each other.

so when buck apologizes for being sad bobby’s dead and eddie snaps—he isn't rejecting buck's grief. he's rejecting the idea that buck's pain is somehow exceptional; he's saying: why aren't you here you haven't talked to me you haven't asked me how its been for me you're right in front of me and i can't reach you i want to do this together—

the scene wasn't abuse—it was human; a very raw representation of the way grief twists its way into every corner of your love, your relationships, your voice. it was love—sharp-edged and realistic in its imperfection and messiness, ever fighting to be seen.

eddie's feeling invisible and alone inside his grief; he's seeking connection. he wants buck to react, to be present, to talk to him.

the beauty of all of this is that after everything, eddie brings christopher for buck. its not just an apology. it's a gesture of reclamation. because eddie knows buck has been feeling isolated—not just from him, but from the entire team. buck himself expresses that everyone's been walking on eggshells, treating him like something fragile, like grief made him untouchable.

so eddie does the one thing he knows how to do: he acts. he brings buck his (their) son. he brings pepa. he brings family.

regardless of how eddie responded in the kitchen, he walks it back in the way he always does: through action. and wordlessly, he's saying: you belong you're ours you are wanted.

and no one gets to make buck feel otherwise. no one gets to be mean to buck.

not the team, and certainly not eddie himself.

buck and eddie are able to hurt each other as acutely as they do because they know one another. that is the risk of love: you open yourself to the possibility of pain; to be loved is to be known, changed, and vulnerable in ways you can’t take back.

eddie is able to be mad and feel these emotions and express them in these ways because he knows he—in his entirety—is safe with buck. even the ugly stuff. take note of this fight vs. how gentle eddie was with taking chris back from his parents. he can feel and act without filtering it first with buck. he can just be.

both buck and eddie keep choosing one another in a variety of ways—keep showing up, keep staying. even when they’re being harsh, even when they’re being unfair—even when they’re at their worst. they keep going, keep trying. love is persistence, dedication, devotion; buddie is all that and more.

[peace-hunter]

tfone au where OP is created as the last of the primes but way after them, a sparkling born at what were thought to be the last days of the war against the quintessons, the beginning of a new generation of peace after eons of war. a child meant to be loved and raised knowing nothing of war nor sacrifice.

he's kept mostly out of the spotlight by his siblings, who don't wish to expose him to everyone's optics so young, and want to wait until the war is done and over to properly introduce him to their people.

except of course the primes are betrayed and murdered by sentinel, the war is lost and everyone who knows and cared for the truth is either banished or outright killed in order to suppress it.

and the high guard, the ones the primes trusted the most, the ones that were supposed to protect them, the ones who failed in their most important duty, have to make a choice. to take the last prime, their last hope, with them to the surface, a hostile environment where there's little to no supplies and where they'll be hunted down by both sentinel and the quintessons as the biggest threat to their regimen.

or hide him in plain sight. place him where sentinel won't think to look for him. one more sparkling among many. and hope it will be enough to keep him alive. pray to primus that he'll protect his last child long enough for them to come back for him when it's safer (even if most of them have already lost their faith on him when he allowed the rest of his children to be massacred like that)

they almost lose their resolve when they realize they will have to take the little one's cog away in order to make him blend in with the rest of the newborns (and oh do they burn with murderous intent when they see what sentinel has done to their people but it's not the time yet-) but in the end they decide an impaired little prime is better than a dead one.

and so in the chaos of thirteen dead primes and a sudden energon crisis, a little sparkling who very few mechs really knew about and even fewer had seen completely vanishes. and in the depths of iacon a mech in charge of a new batch of newborns scratches their helm in confusion as they realize they must have miscounted the first time.

optimus prime is quietly erased from any official records by sentinel, written off as dead when they find a sparkling's frame mangled beyond recognition after an attack on the base of those rebels that insist on being a thorn on his side. killing the sparkling hadn't been precisely in his plans, he probably could've found some use for it after all, but he's not particularly upset about it either.

and orion pax grows up with an ache on his spark that tells him he's missing something far more important than a t-cog and dreams of gentle and loving hands, cradling him against the frames of mechs he cannot recall the faces of.

[bluerosefox]

Glowing Green Puppy, Tiny Tots, and Damian 'I am not turning into my Father' Wayne.

I've been seeing a few DPxDC Dad!Damian ideas so I'd like to toss my idea into the void of the internet.

Damian is on a lead about a glowing green puppy, that can apparently change size and go through walls, and finally manages to track it down before even his father hears about it. The puppy seemed to be stealing random things too.

He was fully ready to use all the tricks in the book to get the puppy to trust him... and after a few days/weeks he manages to gain its trust.

He just wasn't expecting the puppy to drag him to abandoned warehouse and drop him in front of a few kids that were hiding out in it.

"Oh! Cujo you finally brought your new person over!" says the only red-haired one in the group, and she was holding a baby, as two almost identical toddlers ran over to the excited pupper that began to run around them.

[evercelle]

2024 art summary! it sure has been a year

[bloodbroox]

Oh, you fool, there are rules, I am coming for you

(You can run but you can't escape)

Darkness brings evil things, oh, the reckoning begins

(You will open the yawning grave)

[noodles-and-tea]

About that one Sherlock podcast you’ve drawn art of, do I need to listen to it in any particular order or is it like the books where it’s episodic in format?

I would say it’s similar to the books where they have adventures with multiple parts that are technically contained stories you can definitely enjoy! However I would recommend listening in order (or at least starting with the first case for intro reasons)! Definitely give it a listen if you have the time though!!! It’s a lot of fun :)

[hotdrinks]

"Tumblr is great for artists!" I say, gripping the sink "The reblog function keeps art alive long after it's posted! Not like Twitter and Instagram where old art is left to die in obscurity. And that's great! That's so great!" Somebody reblogs one of my years old drawings and I crush the sink into dust with my bare hands

[gayalienwilde]

That's me!

This scene is essentially the core of the movie. I think it perfectly depicts the excitement as a teen of beginning to understand who you are, seeing the part of you that always made you feel different being celebrated by a rockstar on tv (especially since in the uk homosexuality was decriminalised in 1967, so probably sometime during Arthur's early teens) is something very important.

This interview confirms that the scene is in fact imagined by Arthur, and also adds the other important part of this scene, yes there is the excitement of finding representation but also the shame that comes with being yourself when you're different. Arthur's parents are not amused by Brian's boldness, of course Arthur wishes to be open with them, share the joy of being himself, but he knows he can't.

One of the first things you learn when you're different is to hide, it's a survival strategy sure, but one with a great cost, hiding yourself requires energy, lying, and makes you lonely, you can't let others know the real you because of shame and the fear of the consequences, you have to be a stranger to your own family and yourself, which is why there is no greater joy as a lonely teen than being able to find people you can freely be yourself around.

We see this with Arthur yearning to connect with the other glam kids, but he can't quite bring himself to, it takes a lot of courage and strength to be yourself, and it can be scary. The one thing that saves Arthur a bit from this loneliness is music, in his room between the posters on the walls and records on the floor he's made a space for himself to be free, and thanks to the glam movement he can enjoy some aspects of queerness even behind that locked door. Still, it cannot replace community, ultimately that is what Arthur's in need of, a connection with other queer people, other fans, or at least people interested in him as a person, something he doesn't get from his family since his brother makes fun of his interests and shames him, as does his father, his mother seems to be the only person that somewhat cares for him but still not enough, and ultimately Arthur leaving for London is what helps him find friends and community. Until we see adult Arthur in the 80s, once again lonely and in hiding, but ironically enough it's still Brian on a screen that makes it so he can find his way back to Curt.

Otherness makes you lonely, being able to recognize yourself through other people is the solution. Velvet Goldmine is a movie about connecting with people, be it through shared human experiences, queerness, love, being fans of the same musicians or 27 years old movie, whatever it may be, it's important to remember that there are people out there like you, that know how you feel and you must seek them out to be happy, there is no shame in being yourself.

[idanit]

solidarity

[rationales]

Chelsie Baham wins BB26 7-0, making history as the first unanimous female winner, the second black female winner, the third black winner, and the first black winner to play a perfect game!

[arimiadev]

Umitober Day 8 - Gold