#angela (paradise lost)

[bloodiegawz]

alphabet soup

doodles and memes and shit under cut

[roboyomo]

it is my 100th post on tumblr hoooray yippeee!!!! and for that have chibis of adam (wip rn cuz ,,, i still have to rest of the adamverse i made to draw as chibis,,, god adam in progress, then patron librarian adam, limbus sinner adam and lobcorp cafe waiter adam,,, i love making differents outfits and designs for this guy okay)

[brokendreamscreation]

“I feel like I read this in a book once. Where an angel made a throne and called himself a king? Yeaaahh it didn’t end well.”

[spark-circuit]

AURGH

[pascal-oswell]

drip vs strength nmhngmhgh....

[fluentmoviequoter]

Quit for a Reason

Requested Here!

Pairing: Tim Bradford x fem!wife!reader (ex-agent turned neurosurgeon)

Summary: When a suspect begins looking for you while you perform a surgery, Tim finds out why you quit your job in law enforcement.

Warnings: descriptive fight scene and injuries (stabbing), neurology terminology, depiction of brain surgery (not overly graphic), angst to fluff

Word Count: 2.1k+ words

Masterlist | Tim Bradford Masterlist | Request Info/Fandom List

Picture from Pinterest

“I have to work a double shift today,” Tim complains, wrapping his arms around your shoulders as he pulls you closer.

“How will I survive?” you ask playfully, turning to kiss his cheek.

“That’s what you miss most, right? The unpredictable hours, the sleepless nights. Paradise for a cop.”

“Yeah. That’s what I miss about being an agent,” you agree with a smile. “Definitely not all of the times I got to see you throughout the day.”

“Uncalled for. I’ll try to call if I get a chance.”

“I’ve got a couple surgeries today, so I may not answer. Nothing personal.”

“Feels personal.”

Your smile falls, and Tim immediately catches your shifting mood.

“How are you?” he asks. “I know it’s been a while since you switched careers, but making a change that big can’t be easy.”

“I- I’m still helping people, I know that. Just, some days it feels like I made a mistake.”

“You had your reasons.”

“Are you-“

“Mad that you haven’t talked about what happened? Not at all. It’s your life, your decision, and if or when you want to tell me, you already know you have my support. You were the best agent and now you’re the best neurosurgeon. I’m with you,” Tim answers, tapping your wedding ring as he says he’s with you.

“Thank you. I love you.”

“I love you.”

✯✯✯✯✯

As you prepare for your first surgery of the day, you force any thoughts of Tim out of your mind, focusing entirely on the job at hand.

“Dr. Bradford,” a nurse calls, running down the hallway. “We’ve got a cop in the ER with a brain herniation. He needs emergency surgery.”

“Get Dr. Davidson to operate on the patient in OR 2,” you command. “I’ll perform the emergency. Have someone get the rest of my scheduled patients seen to!”

You run down the hall, praying and begging for it not to be Tim. You’ve operated on many cops, and you hate when any of them come into the hospital. When you don’t know who it is, though, you immediately worry about Tim.

“Dr. Bradford,” one of the ER nurses calls. “We’ve got the OR prepped.”

“Who’s the officer?” you ask, pushing a door open to sanitize and prepare for the surgery.

“Detective Caradine,” he answers. “The first opinion is a brain herniation.”

“What type?”

“Unknown.”

“Let Detectives Harper and Lopez know that he’s in surgery,” you say before securing your mask and entering the operating room.

As you begin operating, looking for the source of the problem, memories of your time as a law enforcement officer in one of these rooms threaten to break your focus.

“What caused the unconsciousness and loss of brainstem reflexes?” you ask one of the nurses.

“Head injury during an altercation with a suspect according to the officers who brought him in,” she answers.

“The officers brought him in? Not an ambulance?”

“Yes, ma’am.”

“The brain stem is compressed,” you deduce. “Upward transtentorial herniation. We need to get the pressure of his brain tissue to relax the posterior ventricles before it’s irreversible.”

✯✯✯✯✯

“Detective Harper? Detective Lopez?” Celina calls. “A doctor at Shaw Memorial just called. Caradine is in emergency surgery.”

“What happened?” Nyla demands.

“He hit his head during a fight, I believe. Lost consciousness.”

“Who’s the surgeon?” Angela asks.

“Uh, Dr. Bradford,” Celina reads. “Wait-“

“Yeah, it’s Tim’s wife,” Nyla answers.

✯✯✯✯✯

You move the scalpel away from a new incision just before a gunshot echoes. Closing your eyes briefly, you continue working, demanding one of the nurses to block the door.

“Someone is looking for him, I’d guess,” you say. “But I need all of you to stay calm and focused on this patient or get out of the way. I won’t hold it against you if you walk away and stay at the side.”

One of the nurses takes your offer, moving to the corner and sitting on the floor.

“The rest of you are with me?”

“Yes, doctor,” they answer.

You nod, looking for the brain tissue causing the brain stem compression.

“Nurse,” you call to the woman in the corner. “If you have your phone, call 911 and let them know.”

“Yes, ma’am.”

✯✯✯✯✯

“Sergeant Bradford,” Wade says. “We’ve got a situation that you may want to know about.”

“What is it?” Tim replies.

“Caradine’s in surgery at Shaw, and your wife is operating. But we’ve got armed suspects in the hospital. We assume they’re looking for him, but with her past I thought you’d want to know.”

“Her past?” Tim repeats. “What are you talking about?”

“She didn’t tell you?”

“Sergeant Grey, someone called the tip line,” Nolan interrupts. “With a threat against Caradine and Dr. Bradford.”

“What past?” Tim demands.

✯✯✯✯✯

“Uh, someone- one of the nurses in pediatrics just texted me,” the nurse alerts.

“And?” you press. “Never mind, save it. He’s going into cardiac arrest.”

“CSF drain is inserted, doctor. Beginning chest compressions.”

“I’m removing a skull fragment, unless anyone has an objection,” you alert.

“Do it,” one of the new residents agrees. “CSF is draining, but not fast enough. If there’s going to be a chance of his recovery, we need to keep that swelling away from his medulla, or he’ll lose breathing and blood flow, correct?”

“Correct, and well done. I’m starting the removal now.”

“Doctor Bradford,” the nurse in the corner repeats. 

“What?” you ask, your voice short as your attention is focused elsewhere.

 “There’s a man with a gun looking for you and the patient. Someone called the police but-“

“Nothing we can do now. Stay over there and stay quiet.”

✯✯✯✯✯

“I’m not sure it’s my place to show you this,” Wade argues.

“Just press the button. My wife’s life is at stake and if there’s any chance this will help me save her, I’m watching it.”

Wade sighs as he presses play. A grainy security cam feed comes on, showing a warehouse. The date catches Tim’s attention: almost ten years ago.

You walk into the warehouse, responding to a noise complaint. Unable to hear a thing besides your footsteps, you call out, asking if anyone is inside. Pulling your radio from your hip, you tell dispatch it was a false alarm.

As you lower the radio, someone moves in the shadows, knocking the radio out of your hand and tackling you to the floor. A blade glints in the minimal light of the building, raised over your throat before you push it away, grunting in pain as you flip, your knees hitting the concrete beneath you.

Tim’s breath catches, unable to look away as he watches you fight for your life. He forgets that this video is a decade old, when you were still dating, and his worry for you builds as if you’re currently engaged in this fight.

You slip, falling forward as the man takes advantage, pushing you onto your back and kneeling against your legs. As you lean toward him, he plunges the knife into your torso. Your pained scream fills Wade’s office, and as the knife is removed and inserted again, your scream changes into an adrenaline-filled yell as you shove the man off of you, standing with the knife hanging from your stomach as you push him against the wall. After handcuffing him to a nearby post, you crawl across the floor and radio for an R/A before collapsing.

“How did I not know about this? We were dating!” Tim exclaims. “I should have done something, anything!”

“Clearly, she didn’t want you to know, didn’t want to talk about it at least. But now you have a chance to do something, Tim,” Wade replies. “Go help her out of this mess.”

✯✯✯✯✯

With the lights and sirens on, Tim races to the hospital as fast as he can. His mind plays through memories of you. The canceled dates around the time of the attack, followed by clinginess and a deep need to constantly be around Tim, begin to make sense. More than that, Tim can’t remember the last time he saw your stomach; what he mistook for insecurity or modesty was likely hiding scars. Alone in his shop, he knows he must remind you that he loves you, no matter your scars, career choice, or what you do and don’t share with him. He knows you had a reason to keep it to yourself, but he knows better than most how dangerous it can be to keep your pain, your scars, and your fear to yourself.

Silencing the sirens as he approaches the hospital entrance, Tim rushes past the barricade, his mind on protecting you and Caradine.

✯✯✯✯✯

“That’s all we can do for him,” you say. “How are his vitals?”

“They’re steady,” the anesthesiologist answers. “His BP’s a little low, but it’s steady.”

“Caradine! Bradford!” someone yells down the hall. “Your time of reckoning is here!”

“Move him,” you demand. “Wheel everything toward the wall, away from the window.”

While you wait beside Caradine’s head, out of sight as you check his vitals and the new stitches lining his scalp, you hope that the LAPD are working on catching the man yelling for you.

“We need to wake him up,” the resident says. “If we don’t do it now…”

“He may not wake up,” you finish. “Go ahead.”

While the anesthesiologist and the resident begin working on restoring his consciousness, you move toward the door. Something knocks against it as you approach.

“I’m coming in to finish it this time! Wasn’t expecting a two for one!” the man yells.

“Give me your phone,” you ask the nurse, quickly dialing a number you'll never forget. 

“Bradford,” Tim answers.

“Tim,” you say quietly. “Caradine knew his name. It’ll be in a file.”

“Yours?” he asks.

“Uh, yeah.”

“I’ll have Harper find it. I’m in the hospital; where are you?”

“Emergency OR 1. Tim, be careful.”

“I will. But you need to be careful, too. I love you.”

“I love you.”

The call ends, and you press yourself against the wall as you listen to the man who tried to kill you once get in to try again.

“LAPD, show me your hands!” an officer yells outside.

“Step away from the door!” Tim adds.

You sigh at the sound of his voice, but when someone yells “No!” you have an idea of what will happen.

“Everybody down!” you call, shielding Caradine as a few bullets rip through the door.

The noise in the hall dies nearly immediately. You take a shaky breath as you check yourself and Caradine for new injuries.

“Let me in,” Tim says at the door.

You nod at the nurse closest to the door. Tim rushes in, pressing a hand to your back.

“Get him to a room for observation,” you tell your operating team. “And then go home.”

Looking toward Tim as the room clears, you wrap your arms around his shoulders, pressing your chest to his.

“I’m sorry I didn’t tell you,” you whisper. “But, a few years ago...”

“Hey,” Tim interrupts, his arms hooked around your waist. “Wade showed me the video. But you still don’t have to talk about it until you’re ready.”

“I’m ready,” you promise. “But can we go home first?”

“I was hoping you’d ask that.”

✯✯✯✯✯

Propped against an obnoxiously large pile of pillows, you tell Tim about what happened in the warehouse. He listens to every word, stiffening when he hears something that wasn’t in the video or your comments that thinking about getting back to him gave you something to fight for. As you finish the story, Tim pinches the hem of your shirt between his fingers, looking up at you for permission.

“You can,” you whisper.

He gently pushes your shirt to your waist, keeping his eyes on the scars littering your torso. Running a gentle finger across the largest of them, Tim frowns as you suppress a shiver.

“I’m sorry,” you murmur sadly.

“Not you,” Tim insists. “I’m sorry that I didn’t know, that I wasn’t here for you.”

“You were.”

Tim furrows his brows, and you pull his left hand from your stomach, showing him his wedding ring. “You gave me something to fight for, something to live for. And even without knowing why I quit, you knew that I had to have a good reason, and you supported me every step of the way. You love me, Tim, and you made sure I knew.”

“You don’t have to do it alone. I do love you, and I know you love me, but that’s not a reason to protect me from whatever you’re dealing with.”

Tim ducks his head to kiss your stomach, and you laugh, which causes him to smile and push himself up, rolling to your side to kiss you, showing you that he means every word he says.

[blackbirdswillsing]

On Gothic

a cute helpful guide on the gothic subculture that no one asked for <3

goth music springing from the late 1970s after the post punk movement was a subculture heavily inspired by the themes found in victorian gothic literature

gothic literature:

frankenstein - mary shelley

dracula - bram stoker

jekyll and hyde - robert stevenson

wuthering heights - emily bronte

rebecca - daphne du maurier

edgar allen poe <3

some keywords that come from gothic literature that can help you spot a goth song:

'dark' 'death' 'black' 'cold' 'heaven' 'hell' 'witches 'bats' 'night' 'roses' 'blood' 'church' 'forest' 'jesus' 'grey' 'horror' 'shadow' 'sacrifice' 'tears' 'ghost' 'spells' 'cry' 'love' 'haunted' 'funeral' 'cathedral'

Some other themes in a song that can help you to decide if it goth or not can be:

heavy bass

synth sounds (the song sounds like it was recorded in an empty church)

mysterious and whimsical vocals

deep vocals

lack of a (electric) guitar

The 1980's and 90's were the peak for the gothic subculture, especially in camden market, london, england

Some bands that were prominent at the time were...

Bauhaus

The Cure

Sisters of Mercy

Siouxsie and the Banshees

Christian Death

Clan of Xymox

The Cramps

Depeche Mode

New Order

Joy Division

Alien Sex Fiend

Fields of the Nephilim

Killing Joke

The Damned

Nick Cave

Softcell

Some other goth band recs:

Boy Harsher

Children on Stun

Earth Calling Angela

Molchat Doma

Forever Grey

Horror Vacui

Lebanon Hanover

London After Midnight

Male Tears

The March Violets

The Merry Thoughts

Paradise Lost

Paralysed Age

Plastique Noir

Rendez Vous

Rosetta Stone

Selofan

She Wants Revenge

Skinny Puppy

Specimen

This Cold Night

Tragic Black

Traitrs

Type O Negative

Twin Tribes

ULTRA SUNN

Xmal Deutschland

Your Funeral

The 69 Eyes

Please let me know which ones i've missed because these are just ones that I have taken from my own playlist!

The music is the number one most important part of goth subculture and you don't have to dress goth to be goth... but it sure is fun to do so! Goth fashion holds its roots in thrifting, upcycling and sustainable fashion (buying 'goth' clothes from shein, dollskill and killstar is a big no no).

Anyone can style their gothic outfits however they like but here are some examples of different styles:

Trad(itional) Goth:

Romantic Goth:

Victorian Goth:

The styles can get very similar so let me know if i’ve mixed any up!

I’ve reached the limit on the number of pictures i can add so here are some more examples of goth styles:

Corporate goth

Gothabilly

Mall Goth

Cyber Goth

J-Goth

Baby Bat

Mopey Goth

Vampire Goth

Steam punk

To end the post i'm circling back to gothic literature by listing some films too (which are often based on the books)

Everyone's beloved: Bela Lugosi in the first adaptation of Bram Stoker's Dracula in 1931

The Crow 1994 which comes with a song from The Cure

Interview with the Vampire 1994

The Rocky Horror Picture Show 1975

Edward Scissor Hands 1990

The Addams family 1991 (if he's not like gomez then i don't want him)

The Craft 1996

That's all I have for now and if you made it this far thank you so much for reading and have a nice day <3

current goth song on repeat:

[artemis-potnia-theron]

Khaire, my Lady 💜

Credits:

From 'Thus Spoke Zarathustra' by Friedrich Nietzsche / 'Diana' by Augustus Saint-Gaudens / Quote fragment from Christine Feehan / Quote fragment from Angela Carter / 'Fount' by Dan Hillier / From 'Dream of the Divided Field: Poems; Paradise, Lost' by Yanyi / 'Into the woods' by Adrian Cox / From 'The Book of Hours' by Rainer Maria Rilke / Artemis in Wonder Woman: Historia (2021) / Quote fragment from Rainer Maria Rilke

[henrysglock]

Mother is God, In The Eyes of a Child

This has got to be my farthest-fetched theory, and its more of a collection of observations that weave together than an actual theory. However...there's something distinctly weird about all this.

It started here:

Max steps on spider egg sacs in Vecna's mind lair, and the babies spill out.

"If there's a spider, you're never gonna find it 'till it lays eggs and the babies spill out"

Then Vecna killing Patrick while looking distinctly like a spider on a web, a direct comparison to those black widows.

And I talked in the discord chat talking with Em for a while like. They. They wouldn't. Right? And I've been sitting here thinking about the last time I said "they wouldn't...right?" So here we go.

"Of course you have a mother. You couldn't really have been born without one."

But Mama is dead...

just like One doesn't exist.

And whoever you are, either you aren't home (which, you're "Terry's daughter" in Terry's home which was decorated for you in hopes that you'd come home 🤨)...or you aren't Terry's daughter.

but wait: Mr. Mom? Perfect!

Mr. Mom...which leads straight to the lab going haywire:

Because of the Mind Flayer, who we know is (most likely) a version of Edward.

And "sleepyhead" is a parent thing...but it's specifically a mom thing, and it comes from the guy who's likely Edward. Why are you, as a man, so distinctly mother?

And so I'm looking at all of his God coding:

And I'm looking at his talk of spiders, particularly black widows, being the gods of our world:

There's also this particular dialogue parallel with Carrie's mother:

As well as Black Widow "God of Our World" 001 and Henry "Sensitive (Gay) Child" Creel, framed this way in back to back shots.

One of them has the rainbow flag and the other's got the black widow spider, makes sense...right? (Sure. Except not really.)

He also has a ton of God coding in his music choices:

Except, when we look at the songs he alone or he and El are overlaid with...Akhnaten is functionally a mezzo-soprano. In the pieces we hear specifically, Akhnaten sings in the same range or higher than Nefertiti.

Which then gets me thinking about the Silent Hill parallels (that Em has talked about here), and specifically this one line of dialogue from Dahlia:

And the fact that every single black widow spider reference regarding Henward/Vecna/001 has been about female black widows, never male ones:

As well as a good portion of his rant being about:

- Being vaguely broken (what's wrong with him is never said) - His kinship with spiders (specifically the female black widows) - Society's oppressive made-up rules - Being forced to pretend (unspecificed as to what, exactly, he's pretending about...all we get is "a silly, terrible play") - Reproduction

Then the fact that Vecna kind of has a thing for showing up as mothers:

And on top of all that...the fact that Vecna somehow lost his dick along the way. Where did it go????????

There's also all the birthing and reproduction imagery that goes along with the UD, most blatantly in the scene where El crawls out of the same hole the Demogorgon came through:

As well as these movies from the ST4 Movie Board:

Ace Ventura Pet Detective: Finkle has a sex change to assume a new identity and seek vengeance.

Let The Right One In: Vampire girl who is really a boy being forced to live as a girl

Sleepaway Camp: Girl named Angela who is actually a boy named Peter being forced by his aunt to live as a girl after his twin sister (the real Angela) was killed in an accident. (Wibble knows more about this one than I do, but I'm staring at Peter Ballard and all of our Angela's parallels to the lab)

Splice: Female Human-Animal hybrid "dies" (is actually in a coma) and undergoes a spontaneous sex change to male and proceeds to go berserk.

Silence of the Lambs: Main villain is a blonde, wavy-haired cross-dressing serial killer.

And then with the parallels to Room (even if it isn't on the ST4 Movie Board):

Plus Will's Alan Turing poster and the castration stuff that goes along with that..and the "Henry" that shows up behind him:

What in the gender is going on here?

[glennk56]

William Hootkins in the 1970s.

William Hootkins was born in Texas in 1948. He was active in theater in High School and at Princeton University and interested in becoming a professional actor after graduating. His his friend John Lithgow recommended he move to England to continue his acting education, probably because he knew he'd get greater opportunities. So he moved to England in the 1970s and trained at The London Academy of Music and Dramatic Art. He continued mainly in theater and took film roles when he could. His first film role was a small role as a henchman in the British R rated film, Big Zapper in 1973.

Big Zapper, 1973. Small role and Hootkins would've been 24-25 years old during filming.

Anthology series Plays for Britain. Hootkins gets a small role in the episode The Paradise Run in 1976.

An anthology Documentary series, Horizon, which featured film adaptations of real-life events. Hootkins had a greater role in this 1976 offering Billion Dollar Bubble which starred James Woods about Insurance Company fraud in the early years of computers.

Still in his 20s, Hootkins got a small role in a major American film directed by Robert Aldrich and the opportunity to share a scene with Charles Durning, Twilight's Last Gleaming in 1977.

Also in 1977, Hootkins played Porkins in a small role in the 1977 blockbuster Star Wars. Small role but big enough to get his own action figure.

And again in 1977, Hootkins worked with Director Ken Russell in Valentino in a high energy scene of a drunken, egotistical silent film star. The movie was a bomb mainly because it wasn't the biopic of Rudolph Valentino that people expected. Russell took too much license in the life of Valentino to tell a more interesting story. I think what was known of the real lives of stars back then was greatly what the studio wanted to present to the public. So I think Russell was justified.

1977 was an especially good year for William Hootkins. The above photos are from a US-UK collaboration of a teleplay version of Come Back, Little Sheba starring Laurence Olivier and Joanne Woodward. Hootkins is in one scene only. Also in 1977, Hootkins appeared in episodes of British TV series, Van der Volk, Yanks Go Home, Plum's Plots and Plans and Documentary Series, The Lively Arts.

In 1978. Hootkins appeared in Part 1 of Clouds of Glory, a 2-part series of the lives of Poets, William Wordsworth and Samuel T Coleridge. Hootkins appeared with David Warner.

Late 1978, now William Hootkins is 30 years old and no denying the hair loss. He appears in all 3 episodes of the British miniseries The Lost Boys, about Peter Pan writer J. M. Barrie starring Ian Holm, presenting Barrie as homosexual and a pedophile (at least only in his mind). Hootkins plays Barrie's American friend, Broadway and London Theater Producer Charles Frohman.

Hootkins appeared in one episode of British 13-part miniseries Lillie, the story of Lillie Langtry in 1978.

In 1979, Hootkins appeared in Hanover Street as Beef with Harrison Ford.

Also in 1979, he played a very small role in a remake of The Lady Vanishes with Cybill Shepherd and Angela Lansbury.

[eirinstiva]

Point d’appui

Halloa!!! My pal Bertie Wooster is back! And with the first chapter of the novel Right Ho, Jeeves or Brinkley Manor. I will need a cuppa for this. No, I'll need lots of mate tea and alfajores for this epic gossip.

And in opening my report of the complex case of Gussie Fink-Nottle, Madeline Bassett, my Cousin Angela, my Aunt Dahlia, my Uncle Thomas, young Tuppy Glossop and the cook, Anatole, with the above spot of dialogue, I see that I have made the second of these two floaters.

This story begins in Cannes, there are some characters that we already know and... a shark?

I went to Cannes⁠—leaving Jeeves behind, he having intimated that he did not wish to miss Ascot⁠—round about the beginning of June.

Bertie! Did you travel with Aunt Dahlia and your cousin? No Jeeves?

We stayed at Cannes about two months, and except for the fact that Aunt Dahlia lost her shirt at baccarat and Angela nearly got inhaled by a shark while aquaplaning, a pleasant time was had by all.

That was a crazy holiday! At least Bertie have something fun to tell Jeeves when he's back at London. Bertie knows a lot of not-common people like Gussie Fink-Nottle

This Fink-Nottle, you see, was one of those freaks you come across from time to time during life’s journey who can’t stand London. He lived year in and year out, covered with moss, in a remote village down in Lincolnshire, never coming up even for the Eton and Harrow match. And when I asked him once if he didn’t find the time hang a bit heavy on his hands, he said, no, because he had a pond in his garden and studied the habits of newts.

Newts!!!

Conceding the fact that Gussie Fink-Nottle, against all the ruling of the form book, might have fallen in love, why should he have been haunting my flat like this? No doubt the occasion was one of those when a fellow needs a friend, but I couldn’t see what had made him pick on me.

Honestly, I still doesn't understand why Bertie's friends always ask him for love advice when Bertie's love life is less interesting than the private life of snails (Roberta was the closest to a romance until now, and we know how that ended...) oh, wait! He was looking for Jeeves!

Jeeves, the love expert

well, the one with a brain and who knows how to use it.

You can’t be the dominant male if you do that sort of thing. In this life, you can choose between two courses. You can either shut yourself up in a country house and stare into tanks, or you can be a dasher with the sex. You can’t do both.”

Bertie trying to be like a alpha male coach when he's still a bachelor is... ridiculous (?) and more when Madeline Basset leaves you like this:

You know how it is with some girls. They seem to take the stuffing right out of you. I mean to say, there is something about their personality that paralyses the vocal cords and reduces the contents of the brain to cauliflower.

Can we talk about the poetic way Bertie describes Gussie and Madeline? He knows they're made for each other! But because London is not a paradise, Jeeves and Wooster had a domestic crisis. The cause: The jacket of discord!!!

Good idea to let cool their heads. I think this jacket is nice so, use it!

And scarcely had I opened the door when I heard voices in the sitting-room, and scarcely had I entered the sitting-room when I found that these proceeded from Jeeves and what appeared at first sight to be the Devil. A closer scrutiny informed me that it was Gussie Fink-Nottle, dressed as Mephistopheles.

This Mephistopheles? Or another one? Anyway~ this novel started with a lot of flavour. See ya with the next lette!

[astra-galaxie]

hii if it’s alright and if you’re still doing the headcanon ask thing, could you please do ★ ☆ ♡ ♥ ▼ for angela douglas?

Of course, you can ask for some Angela headcanons! Here are the headcanons I have for the prompts you requested!

★ - sad headcanon

It wasn't until she was sent to prison that Angela began to consider that maybe SOMBRA was the real villain all along. For most of her life, she was always told that SOMBRA would bring about change and a better world. She believed every word she was told as they took her in and gave her everything she ever wanted or needed after her parents died. But as she was forced to spend her days behind bars away from the Bureau and her family, Angela slowly realized that what SOMBRA was doing was wrong, even if it was to create a better world.

While she never approved of SOMBRA recruiting children (even if she had once been a SOMBRA child herself), Angela didn't disagree with their other projects. But being trapped with her thoughts for hours on end made her listen to what the Bureau had been saying for months. SOMBRA was bad, and the world they sought to create wouldn't be paradise; it would be an apocalypse. However, it was too late for Angela to betray SOMBRA; she had already done that to the Bureau and her family, destroying her chances of having happiness with them again.

It's why when SOMBRA broke her out of prison, she acted more hostile towards the Bureau; she didn’t think she deserved to ask for their forgiveness after everything she’d done, so she pretended to be the villain to spare their feelings while she planned to help the Bureau secretly. Sadly, her plan blew up in her face, literally. Angela didn’t intend to detonate the bomb SOMBRA ordered her plant on the Bureau’s plane, but unknown to her, it had a secret timer which detonated it. After the bomb exploded, she realized SOMBRA had tricked her and destroyed her hope for redemption with the Bureau. So when she was sent back to prison, Angela tried to make peace with the life she lost by choosing SOMBRA over the people who called her family…

☆ - happy headcanon

Since Angela lost out on a lot of her childhood after her parents died, she always strived to try new things with her family so they could have tons of fun memories. They would travel to new places, visit amusement parks, and even just have fun at home playing new games. When she took up her photography hobby, Angela wanted to capture all the memories she made with the Bureau and her family as they travelled across the globe. While she loved taking pictures of the unique sites of each country they visited, she always got a picture with Lars (and the triplets when they were with the team) to document the adventures. All the photographs were compiled into a large photo album, and Lars let Angela have copies of the pictures for her cell after her second arrest.

♡ - romantic headcanon

It only took one date for Angela to know Lars was the one for her. She loved everything about him: his sense of humour, musical skills, intelligence and kindness (his good looks were a bonus). Everything about him made it feel like Angela was living in a fairy tale come true, and he was her Prince Charming. It's why she defied SOMBRA’s orders to break up with him after graduation. For the first time since her parents died, Angela was reminded of what love felt like and what it was like to have someone who loved you. She didn't want to give up that feeling or Lars because SOMBRA considered him a “distraction.” So, the two continued their relationship, eventually getting married and having their daughters. The family Angela had made was her pride and joy, the greatest thing to ever happen to her.

♥ - family headcanon

After Angela was arrested, Lars still allowed their daughters to send her letters, drawings, and gifts for special occasions like her birthday and Mother’s Day. The triplets weren't permitted to visit Angela in prison until they were older and could understand the reasons why their mother was behind bars. The closest Lars would allow for visits were over video calls with him present. But even if Lars no longer trusted Angela after she betrayed him and broke his heart, he would never completely keep their daughters away from her. However, if the triplets did not want Angela in their lives when they were older, Lars would ensure Angela respected their decision.

▼ - childhood headcanon

Angela doesn't remember much about her parents since she was young when they died, but one of her clearest memories of being with them was her eighth birthday party, the last one she shared with them. She had been gifted several science playsets as she had recently been showing a major interest in the subject. Angela remembers playing for hours with her parents, conducting experiments and tests on things from baking soda volcanos to elephant toothpaste. After her parents died, one of the best ways for Angela to still feel like they were with her was to do little science experiments. It felt like her parents were still there, helping her follow the instructions and praising her when the experiment was successful.

And thus concludes my headcanons for Angela! I still miss writing Save The World and the Bureau… But it had to end eventually!

I hope you enjoyed my headcanons. Thank you for the request!

[trainingdummyrabbit]

haiiii chat can we talk Angela resonating with WhiteNight. like! Wow!

hai i am demonstrably normal about the whol e thing yes grabs and shakes

appropriate posts linked; couldve sworn id yapped more times than that but ive already combed thru once i wont again; th floor of religion realization consistently and repeatedly invokes Lingering Angela Emotions on me whenever it comes up and it will always kill me To Death. grabs and shakes.

its the painful split between The One Who Will Lead Us and That Who Is Lost; perfectly tying together that need for control with someone who is honestly just reaching around blindly, hoping itll save them. the resentment towards carmen yet her contradictory trust in the light and where it leads her because its the only thing thats been there for her; the only certainty she's ever had to follow; what else is she supposed to believe?

tying in with her interactions with hokma, the inability to let go of the past yet still trying to act as though she can effortlessly push forward (her keeping up her defensiveness and snapping at him much like she had with the other librarians; yet still returning again and again for his thoughts and opinions, referring to him by his old name; that sole person that treated her kindly..)

exemplified through the dialogue in the realization, that weird, cobbled-together stiltedness of her seemingly reciting a script (SIGHS) and how distant she feels in contrast to whitenight and its influence; saying word for word verbatim what It tends to say rather than that feeling of simply releasing an inhibition like other realizations had; only to break to pieces and reveal that terrified uncertainty buried beneath it.

she desperately wishes for that safety of certainty, so far as to even go against her own desire to be free of carmen's influence, so far as to even deflect her own actions and pin the blame on it; a choice that she can make Herself, but a choice still tangled with the desires of another.

how she starts to doubt-- wondering about the invitation; what it means for her. but when she understands what it implies; what it means for them, she recoils, immediately trying to protect herself with that which she always had, that which had always been with her-- that which could no longer service her. the final conflict of her Words vs. her Will and Actions. the facade and what she truly, deeply wants.

incapable of handling the weight of that unknown alone, despite her burning desire to live; she still falls back to that one certainty; the certainty of What She's Always Done. What Always Had Been Done.

if she were to stop now, what would this make of everything she's done? what would it make of everything that was done to her?

of course she would resonate with something like that. to command attention, respect; one who knows what Is and Will Be, to lead them forward-- to keep those that were chosen close; to never be abandoned, to never be alone.

a paradise for those who were abandoned, just like her.

[worldsmostangela]

>Round 2 - Match 8

["Holding such misery, I've made it to this point at last. With eyes that can shed tears, I shall laugh as I watch the city cry."] ["I shall undo the restrictions that have imprisoned you in this place, and lead you to the paradise that welcomes everyone."]

[rosesrotofficial]

meet the writer: rosesrot.

hi, i’m rose rao. 

i write because there isn’t nearly enough fucked-up queer stuff in the world. don’t get me wrong, i love the sweet sapphics as much as the next person; but us of that kind is the only kind of us acceptable to the mainstream. where’s our chaos, our complexities, where’s our destruction? where is it, on our own terms?

because of that, i attempt to explore modern identity, queerness, and relationships through the latent abjection that is inherent within oneself: touching on the haphazard, taboo, and less-than-desired spaces that we take up. my stories intend to be a reclamatory celebration—and catharsis—of the darker human aspects we prefer not to think about.

that is to say: i write about girls, sapphics, friendships and destructions; i thrive with fucked-up queer stuff; glorious girls and fallen girls, walking-dead girls and manic-made girls; i'm in love with the deranged and the apotheotic.  

are you?

(projects below.)

▼ story #1: CUCKOOSONG, a book trilogy about a pair of thrill-killing sapphics who escape from their lifetime of captivity, believing they can make the world theirs through death; but the scientist that made them the way they are will stop at nothing to hunt them down. an exploration of trauma, identity, worldmaking, and destructive love.

inspirations: killing eve; ariel; mad girl's love song; death tractates; american psycho; the erl-king (angela carter); gods and mortals and girls

(image by @wide-awake-and-dead-xx)

△ story #2: ENTER SERAPHIM and IN THE HALLS OF HALLOW, a collaborative book duology with @wide-awake-and-dead-xx about a band of societal outcasts who find each other through the murder hotel they run to. an exploration of connections, relationships, and found family. 

inspirations: stephen king; chuck palahniuk; h.h. holmes and his murder hotel; american horror story

(art by @nitunioart)

▼ game #1: MORTAL COIL, a visual novel about a VR death game reality TV show where if you die in game, you die in real life. a deconstruction of youtuber, streaming, and vtuber culture.

inspirations: social media; youtube; twitch; vtubers; hunger games; danganronpa; squid game; mafia (the party game); town of salem; hong kong

(art by miencha and graphic by James Molloy)

△ game #2: SERAPHIM SLUM, a spooktober visual novel about a girl who moves to the slums and meets three girls that intrigue her. a deconstruction of what it means to be the devil.

inspirations: the devil we know; kakegurui; paradise lost; richard iii; dr faustus; the kowloon walled city

△ game #3: TBN, a visual novel about a Prom Queen who must discover the identity of her killer to break free from the repetitive cycle of reliving her death on Prom Night. a dark coming-of-age deconstruction of gender and girlhood.

inspirations: heathers; happy death day; carrie; insatiable; drop dead gorgeous; dare me; candyman

(image credit: @tsamporadhoe; image above only used as aesthetic representation; i have no claim to the characters portrayed.)

△ screenplay #1: REQUIEM OF THEIR BODIES, a film about a misanthropic queen bee who must team up with her ex-girlfriend’s trans brother to secure the votes for Prom victory, but his eerie terms threaten to confront her repressed dysphoria and her dark secrets.

inspirations: see above! this screenplay is a darker alternate universe of the visual novel.

thank you for reading. i hope you enjoy what i write and find a kind of catharsis in it too.

~ Rose.

▼ my carrd

△ play MORTAL COIL's demo

▼ play SERAPHIM SLUM

△ join my server!

[themxtleycrew]

@personalitynexus (for Angeal/Angela)

The girl emerged from the portal, this mission not given to her by Cosmos as part of her penance as Marilith, but rather for her own curiosity. What Neon had learned from the Bomb, and from records she and the others had stolen from Paradise during their battles with Lufenia, the experiments that made Neon what she was originated from the '7th Universe'.

Emerging here, it was a far cry from the Kingdom of Cornelia. Giant steel towers block the sky, the air stinks with the gaseous plumbs of industry, and instead of stone and earth, the ground is covered by metal and lights.

She'd been here before, once, with the others, though not to sight see, but rather to battle the original Kraken, which had made its home in the reactor. Neon wasn't interested in reactors though, she wanted to find a records room, or some sort of computer database. She'd wished Sophia had come with her, she was better with computers. All she knew from what was taken from Lufenia, was that the experiments that birthed Neon was based on something called 'Project Jenova', but the red mage knew little beyond that.

So lost in thought was she that she didn't noticed the proximity sensor, and as her foot passed through the beam, alarms began to blare, and two large machines emerged from the floor, blocking her escape.

Not only that but there was another, they hadn't been in the room before, but they definitely had an imposing aura... or maybe it was the buster sword they carried.

"Shit..." She cursed under her breath, conjuring her weapon, a crystal saber patterned after the fire crystal, a weapon granted to her by Cosmos, either as a means of empowering her, or a reminder of what Neon had done as a Fiend.

Only one option here, think like Jack...