#anon. i have... questions.

[benevolenterrancy]

Dumbass thought but shizun (sy) x Tony the tiger

The Tiger Demon Lord is here to negotiate with Junshang's empress (人❛▽^) ~ ☆✧˖° It's sure to go 𝔾ℝℝℝℝℝ𝔼𝔸𝕋 °˖✧`☆

[demaparbat-hp]

Smooch

[becca-e-barnes]

Bucky pinning you down so you can’t squirm and he’s just sitting inside you while he tortures your clit feeling you clench around him. He makes you cum over and over until he finally cums.

Overstimulation + super soldier stamina = …

- 🍯

Dear God, I know I just don't have it in me to behave during cock-warming. When it comes down to it, I genuinely have no patience at all 😵‍💫

"You..." Bucky begins, pressing you down onto the bed before gripping your ankles and forcing you to flip over onto your front. "Have a problem with control."

With your face turned away from him, you can't help but smile to yourself. No one has ever said it out loud but you know he's right.

Being in control is where you're most comfortable. No hands are safer than your own. Except maybe his. You know he won't fuck this up.

"And you..." He continues, gathering your wrists behind your back, holding them tightly with one hand. "Need to learn how it feels to have control taken from you. Do you understand?"

As soon as you begin to nod your head, you feel him start to tape around your wrists, holding them together behind your back. Once he's content they're secure, he sits on the edge of the bed, facing the mirror before he pulls you onto his lap.

"Legs spread over the top of mine." He orders and you do as you're told, not because you have to but because you want to.

You notice the way your cunt is already glistening in the mirror and you're almost embarrassed because he hasn't even touched you yet.

"Fuck, you're made for this." He groans, lining his cock up to your slick entrance and you wonder if he's holding his breath too while he slides into you, as deep as your bodies will allow.

You're obsessed with the sight in front of you; your own naked body, with your legs spread so far apart you can see how your cunt is stuffed full of him.

Being shorter though, your feet can't touch the ground like this. There's no way you'll get enough leverage to fuck yourself on him but as soon as you start to tell him that, he silences you with two thick fingers between your lips.

"I'm not letting you fuck me." His free hand roams over your body, squeezing your breasts, pinching your nipples and then settling between your spread thighs.

"I'm going to play with you. I'm going to see how much you can take. I'm going to work out exactly how you like your clit stroked and I'm going to do that until your legs are shaking and your body won't let you cum any more. Maybe then I'll fuck you but sweetheart, that will be hours from now." His breath is hot against the side of your face, his fingers slipping from your mouth to your waist while he starts to flick gently against your clit.

"I'm going to start slowly. I'm going to do everything I can to drag this out as long as possible. I can feel every clench and flutter of this pretty little cunt and I'm going to enjoy it until you're dripping over my balls." At this rate, it won't be long until you're dripping onto the carpet, never mind over him. You dreamed he'd want to take control like this but you never imagined the way your body would respond.

"And then, when you've cum more times than you can handle, I'm going to tell you that I love you while I fuck you like I don't."

Update: Part 2

[casscainmainly]

"My long-held belief that Duke and Luke should not get along" <- could you please elaborate on this? I'm fond of both and I collect your thoughts and analyses like they're rare trading cards so I'm ready to be all 👀🫳🍿

First of all anon this might be my favourite ask ever, I've been dying to write my thoughts on these two so THANK YOU. Secondly my belief that Duke + Luke wouldn't get along actually stemmed from WFA, I was super annoyed with Luke giving Duke the pep talk in ep 76 because they have no relationship!!! Then I started thinking harder and realised they are a really interesting pair. In case anyone hasn't noticed I'm fond of giving Duke relationships where he's annoyed with the other person so 😭 this is very on brand.

The thing about Duke + Luke is they are, on the surface, similar - they are Black members of the Batfam who operate mostly independently, 'separate' from a legacy as Signal/Batwing (though I will deconstruct this later), devoted to their family, have a strong sense of justice, and view crime-fighting as a business. But I believe at their cores they are fundamental opposites - and it's this hidden opposition that makes me think they wouldn't vibe with each other. I'm focusing on We Are Robin Duke and Batwing Luke, though I will also refer to Duke's Signal days + Luke in Detective Comics.

(This is going to be a long post because this is lowkey my Luke + Duke thesis 😭)

Introductions

Duke and Luke were both introduced in the New 52, actually in the same year (2013!). What's really cool about their intros is that you already see how different they are. We first meet Duke in Zero Year, where he's fishing in the subway and then attacked by a gang; we then get the famous scene of him solving crosswords by Bruce's unconscious body. When Bruce tells Duke and his family to leave, Duke refuses, telling him they can't leave Duke's grandma and that all it takes is one riddle to free the city from Riddler's influence.

By contrast, we first meet Luke in the spotlight as he's wrestling for MMA in Batwing #19. He's been wrestling to get Batman's attention, refusing all job offers from his dad to do so (and thus creating some juicy father-son tension). In Batwing #20, we see he has two degrees from MIT, lives in a fancy apartment, and is really tech-oriented; his cover story for Batwing is that he's travelling the world.

Already, there are a couple things that already firmly separate them:

Class: Duke is from the Narrows whereas Luke is rich

Connection to Batman: Duke stumbled across Batman and gained his attention quite organically, whereas Luke was actively begging for Batman to notice him

Agency: Duke's actions were motivated by the extreme circumstances of Zero Year and a desire to help rooted in his material environment, whereas Luke's is a more internal, abstract wish to help (pointing to their class differences again)

Gotham: Duke refuses to leave his city, whereas Luke immediately packs up and travels the world

Intelligence: Both of them are fiercely intelligent, but in different ways - Duke loves puzzles and riddles whereas Luke is more inclined towards engineering and technology

And these differences only grow as they get older!!

Maturity

Duke is 16 (in my head, canonically it's vague but he's between Damian and Tim so 14-17) and Luke is 23. This age gap is honestly not that big, but I think it would feel big to both of them. And what's worse is that Duke is quite mature, but Luke is said to be immature:

Batwing #23

I don't think Luke is actually immature, but it's a recurring theme that other characters perceive him as unwilling to grow up; and I genuinely do think Batwing, for him, is kind of an adventure at first. Now compare this to Duke, whose circumstances disallowed him being childish. He had to grow up because his parents weren't around anymore, and he became quite jaded as a result. Even after he's mellowed out in his Signal days, I still don't think he could tolerate working with someone who comes off as light-hearted as Luke does. Duke would be annoyed by how he perceives Luke doesn't take things seriously, and Luke in turn would be annoyed when Duke inevitably criticises him for it.

Arc

Following on from above, their arcs are actually in total opposite directions. We first meet Duke alone and disillusioned with everything, putting his whole being into finding his parents. Then, through We Are Robin and Robin War, he begins to understand what Robin means as a symbol and finds community, leading to his brighter personality in Signal comics. Luke, however, begins very light-hearted (as seen above), with a huge respect for Batman and the Bat symbol. Once his family starts being torn apart, though, he becomes increasingly aggressive, more isolated, and in a much darker place. Compare a narration box from the last issues of both:

Batwing #34 / We Are Robin #12

These encapsulate their journeys: Duke learns that he doesn't have to act alone, whereas Luke struggles with accepting all that has happened since he put on his suit. Being a vigilante improves Duke's life, whereas it essentially ruins Luke's. This is why I don't think that WFA ep made sense!!! They have nothing in common in terms of the vigilante experience, and I think they would frustrate each other because they have such different conceptions of what the vigilante life is!!!!!!!

Batman and Robin

Okay so I said that Luke + Duke aren't legacies; even though Batwing is one, Luke doesn't actually talk to David Zavimbe, and his Batwing is not spiritually connected to David's really. But Luke and Duke both do take inspiration from other Batfam members - Batman and Robin, respectively.

Batwing #25 / Batman (2011) #45

Luke is the rare Batfam member whose motivations don't spring from tragedy - he's inspired one night when Batman saves him and he jumps in to help. Luke's love for Batman is wrapped up in Bruce himself, as a person rather than a symbol; he genuinely thinks Batman is awesome and wants to help people under his name.

Duke is the exact opposite - Robin is not a person for him but a symbol, and a symbol that can be spread to many people. It's also intimately tied with Duke's relationship to Gotham, because Batman is "on the gargoyle" and Robin is "on the street". Importantly, Duke says to Darryl that "I know you work for him, but you're us". Working for a singular person is in opposition to this 'us' that Duke believes in.

Luke, though not exactly an employee, literally wanted to work for Batman, Inc. Batwing is in many ways a 'job', an alternative to the corporate life Lucius wanted for him. Duke would, I think, take huge problems with Luke's philosophy as a whole. Separated from Gotham, attached to Batman as a person rather than as a symbol, Duke just literally wouldn't understand where Luke is coming from. And Luke, too, doesn't seem to respect Robin as a mantle (this is after someone mistakes him for Batman in Batwing #34):

I think Luke views Robin as firmly a kids' role, a sidekick for Batman; that would annoy the STUFFING out of Duke. I actually could write a whole post in itself about this incident and Luke being mistaken for Batman but that's for another day. The point is they are attached to the Batman and Robin legacies which in themselves are already vastly different, but Duke is kind of anti-Batman and Luke is a little anti-Robin, so they would not mix.

Family

One thing they do have in common is a deep love for family. But even then, their familial relationships are extremely different: Duke has a wonderful relationship with his parents, bolstered by the fact he lost them for a while, whereas Luke has a contentious relationship with his. Duke in some ways idealises his mom and dad, while Luke is sharply aware of his parents' shortcomings.

Batwing #20

Now this wouldn't be an issue normally, but Duke canonically has, like, a problem with judging other people's families. It's a really consistent (and somewhat hilarious) trait of his:

We Are Robin #5 / We Are Robin #5 / Gotham Nights #8

The Dre comment ("you're a mob kid?") is particularly telling. Because Duke has such a good relationship with his parents, and because he's shaped so much by them, I think he sees children as reflections of their parents/families. It's hard for him to see someone completely divorced from their family - you even see this a bit in Batman & The Outsiders, where although Duke understood Cass' disagreements with Shiva, I don't think he really got the nuances of what that felt like for Cass.

Luke's relationship with his father is complex and contentious. They love each other, but Lucius' desires for Luke just don't match what Luke wants, and Luke can't tell him about Batwing either so it's a constant back-and-forth. This secrecy is another thing Duke wouldn't get - I've made posts before about Duke and honesty, and it's a huge value of his. It's significant that as soon as his mom is healed she finds out about Signal; dishonesty is not really a factor in Duke's life, whereas it is Luke's central conflict. Luke's entire thing with his dad and his alter ego is something Duke has never had to deal with, and I think Duke would just be like 'tell him?? and make up??' and Luke would sigh so loud and hard.

Personality and Authority

But all of that aside, I just think their personalities wouldn't mix! Duke is a jaded teenager whose overt honesty and resistance to authority often give off a bad first impression (see his first encounters with Black Lightning, We Are Robin, Damian, even the Bruce train scene...). People do warm up to Duke quick, and once you love him you adore him, but there's a hurdle to becoming close to him that you have to leap first.

Luke, on the other hand, is affable and immediately likable. He's popular in school (as Russell mentions in #25), has experienced college social life, and is open and friendly. I think in an initial meeting Luke would find Duke off-putting and rude, while Duke would find Luke shallow and annoying. Luke is an extremely confident person, as shown in both Batwing and Detective Comics (particularly the latter). I think Duke would take this confidence as him being stuck-up, especially because Luke is rich.

Their class differences also separate their reactions to authority. Luke doesn't take authority at face value - he disobeys Bruce basically as much as Duke does. However, given his upbringing he isn't that anti-authority. Compare Luke and Duke's attitudes to cops:

Batwing #25 / We Are Robin #2

The Luke narration box is after the cops shoot him and accidentally make him kill his best friend 😭😭😭 like if that had happened to Duke his inner voice would NOT say that. This is another example of how their different upbringings and personalities cause them to have DRASTICALLY different outlooks on things. Batwing also sides with Batwoman when she kills Clayface in Detective Comics, something I think Duke would not do (he would've sided with Cass) so their ideologies often put them on opposite sides.

FINALLY, and least importantly, Luke is not a reader. This is a recurring thing and it's so funny:

Batwing #21

That's Tam telling Luke to "read a book". I think this exact interaction would happen with Duke taking the place of Tam, where he'd just be super annoyed that Luke doesn't enjoy literature. Honestly I think Duke might remind Luke of Tam in a lot of ways, since Duke is Bruce's golden child just like Tam is Lucius'. And that would annoy Luke, like he can't escape annoying younger siblings even as Batwing?? Bruce liking Duke more than Luke, even when Duke doesn't even care for Bruce's approval, would send Luke's blood pressure through the ROOF.

Conclusion

Um anyway I'm so so sorry this was so long but that's why I think Luke and Duke wouldn't get along!! It's mostly that they have such different outlooks on literally everything and their personalities clash. Anyway, if anyone bothered to read til the end here's your reward!! A little edit of what SHOULD have happened in WFA ep 76:

[bloobydabloob]

Do you think being aware of the different elements in art or just ordinary objects can make the process of actually making art difficult? I get that it's about balance and unity of it all, but being introduced to so many concepts early on feels like too much. Almost feels like learning to make art digitally for the first time -> introduced to all these neat gadgets but no idea how to use them or where

This is a crazy good point anon & very important. YES I think it makes it exponentially harder

[yeyinde]

WIP WEDNESDAY.

a portrait of madness | oil on canvas (in the clumsy strokes of a child's fingerpainting)

JOHNNY MACTAVISH X READER

18+ | IMPLIED KIDNAPPING. NON-GRAPHIC SMUT. TRAUMA.

He burns incense on Sunday.

Catholic, he says with a slight roll of his shoulder, tone dipped in a thick coat of nonchalance that drips like hot wax over his words. Habit. 

It's piled together with other things, too—his life story eliding into a thickened paste, slurring over the edges until they're blurred and distorted. Nonsensical. Something he seems to realise by the pinch in your brow, and clicks his tongue in irritation, murmuring a jagged apology under his breath that makes you want to weep.

You won't, though. Crying just makes him frantic. Makes him gather you into his arms, holding you tight as he whispers it'll be okay and you fight the urge to tell him it's all your fault. 

Swallowing it down is easier than letting him pretend he's a hero, so you watch him instead. Voyeuristic. Riveted as he brings his hand to the mangled mess of his temple, fingers folding into a fist. Driving, digging, into the scarred tissue that frames his temple. Angry. Muttering under his breath as he grinds his knuckle into bone—

It's episodic. These little spells of torment last several minutes where he digs and you fight both the urge to be sick all over the sheets and to cry, beg him to stop. Don't hurt yourself. 

A farce. 

It shouldn't matter that he's chiselling into tissue, raking claws through grey matter; playing Dies Irae over coiling gyri. Orchestral condemnation that makes you feel like you should be relishing in his torment. Conducting madness with barbed words and caustic accusations. But—

You derive no pleasure from his suffering, and spend the day choking on the heady plume of incense as it fills the small room he keeps you locked inside, begging him to stop.

(Please, god, stop—)

He won't, though. Not until he's satiated some indivisible need to hurt himself—righting a phantom wrong with the push of his fingers into torn tissue; trephination costumed as self-flagellation. And it's only when this urge is quelled will he climb into the lumpy mattress with you, eyes glazed over and blood dripping from the scratchmarks on his temple, and gather you into his arms. Shackling you to his heaving, sweat-slicked chest as he mutters insanity into your ear, and runs his sticky, blood-damp hands over your body. 

"Mine," he'll bite out, and it'll be the only thing he says that'll make sense for the rest of the night. Everything else is the scrape of iron over lodestone; grunts and whimpers and ragged breath. 

He'll take you apart with teeth and tongue, nipping at your skin as he laughs into the hollow of your throat, dazed and dizzy with the split of your thighs bracketed around his waist. A perfect feckin' fit, pretty doe. 

In these moments, you'll forget yourself. Clean slate. Blank canvas. You'll pull him closer and whine when he pushes himself inside of you—a perfect fit, just like he said. A missing piece, just like he is. 

You've never realised how empty you felt until he rolls his hips, sinking deep inside of you. Filling the space that aches like a bruise when he pulls out. Yearning. 

And it's such an ugly thing, isn't it? To find that missing part of yourself in the thick split of his cock as he gasps about stolen ribs and figs and how he remembers you from a past life. 

It'll make you sick in the morning when you feel him—sticky and thick between your thighs; cum dribbling out of your bruised, tender cunt (already aching)—but you'll beg for it as he buries his teeth into slope of your breast, grunting into the wound like you've gutted him. 

And maybe you have. In a past life. A different time. Took a blade to his firm, trim belly and sliced through the tangle of thick, black hair until a line of red grinned up at you; a vicious twist of its lips, mocking and cruel. Flensed maw gaping wide enough to swallow you whole—

The worn bible on his desk, kept next to the dogtags and locket they sent him home with, speak of murder as a mortal sin. He laments this in mutable sermons sometimes, spinning reviled lies of death and destruction. Penance in pounds of flesh. 

He talks about that a lot. 

Penance. 

Whispered out between feverish mutterings of nonsensical things too ground up in his thick patois for you to discern. To make sense of. Everything is blurred under heavy brogue, except—

"Are ye finally gonna confess today, doe? 

He asks this with his legs spread wide, knees far apart. Bible resting on the top of his thick, muscular thigh. Rosary clenched tight in his fist. The cross on his chest swings like pendulum when he leads forward, eyes wide. Wild. Peering into the heart of you as he asks the question again. Softer this time. Slower. A caress. Sweet in your ear. 

Enticing. 

You like him better when he's drenching his fingers in grey matter and screaming at the ghosts to stop hiding things inside his closet. 

So, you evade. You look away. Pretend he isn't real. Doesn't exist. That he's a ghost. A phantom. A bad dream—

"look'it me, doe—"

A shadow in a hallway. A noise in the dark. 

"Look'it me—!"

Whispers at midnight. The ocean in a seashell. Creaking floorboards in an empty house. Something in the corner of your eye. 

"don't do this tae me, doe! Ye cannae—"

Immaterial. Something you made up inside your head—

"why'd ye dae this tae me, doe? Why'd ye do this tae us?" 

Not real. Not real. Not real—

Until his hands are around your throat. Teeth bared, lips cocked in a snarl. 

"oh, ahm real, doe. Ahm very real—" madness drips in the back of his eyes like condensation down a glass. He tugs you closer until his blood-stained teeth pinch at the soft skin of your cheek. "An' don't ye forget that, doe. Ahm just as real as ye are. Ahm just as—"

Sometimes you think it's a little strange how you can still breathe even when his hands are tight like a noose around your neck. Even stranger, maybe, that you like it. The way it feels. The sight of him breaking apart, unravelling. Coming undone. Unmoored as you turn your head away from him, drawing those fevered eyes to the slope of your throat—

He bites down until skin breaks, tears. Buries his canines into you first, gasping at the puddle of blood that wells beneath his teeth. Slurping. Sucking. Groaning into your neck as your warm blood soaks his tongue, almost choking himself on the flood of it. His front teeth follow, slicing through tissue. Punishing. 

Feeding. 

Vampiric. You knot your fists into his shorn, messy hair, pulling him closer, nearer to your vein. The ridge of your jugular. Just get on with it. 

End me, you demand. Make it worth it. 

He closes his palm around your fingers when you go to push him away when he refuses your plea, wrenching your hand down to his side, his ribs, and moaning low in his throat—the sound wet, gurgling; sticky—when your nails catch his skin. Tearing. More blood between you than air in your lungs. 

He presses them hard into his muscle until it yields against bone. 

"feel th'?" He slurs, iron drenching his words. Sodden chin jutting into the hollow of your throat as he heaves with an airy, pluming laugh. "S'missin', ain't it, doe?" 

The hand gripping your fingers tightens until they go numb. Your dizzy gasp swallowed up into the ragged spill of his breath as he slides the tips of your fingers down to bottom of his ribcage with a grunt. 

He asks again—feel th', doe?—and you offer a feeble nod in response. 

"what'd ye do wi' it, doe?" 

You don't have an answer. You don't know. 

His growls, this low, dangerous thing, and pushes your knuckles harder into his skin until it sinks against tissue—

"S’not there, is it?" He laughs with his tongue against your neck, lapping at the blood. The scorching puff of humid air against the wounds hurts like a sunburn. You bear your neck a little more. "Where'd ye put it?" 

Your head hurts. Swaying like a loose pendulum on your neck—a teetotum—and you wonder if he bit too deep this time. All the way through until it clings to your body by a thin piece of tissue—

You drop forward, slumping against him. Forehead pressing into his cheekbone, lips dragging against stubble. 

"You're crazy," you slur into skin, and he laughs, a muffled rumble buried in the makeshift cage of your throat. 

"ahm no' crazy," he grunts, pushing you down until your back is flat against the mattress, his body boxing you in. Heavy on yours. Smothering. His head is still buried in your neck. Tongue lapping at the last drops of blood that weep from the wounds you can't feel anymore. 

Not crazy. You think about this room. These four walls. Concrete. Stone slabs. Gothic revival. A bed that smells of sweat, sex, and incense. Old paper. Dusty books. 

Blood.

The hollowness of his ribcage. The missing door—

He mutters things as you lull between lucidity. Talking about a man named John. Someone named Simon. How they warned him this would happen. 

"aye," he concludes as you sink deeper into sleep, clinging by a loose, fraying thread as he buries himself inside of you once again. "Sift me as wheat—"

On the dredges of sleep, he'll murmur, soft and sorrowful: why'd ye dae it, doe? Why'd ye—

You don't know. 

But in the back of your head, a memory dredges up from the bowels of your subconscious, spat up like vomit. Regurgitated madness. It festers, writhing like a parasite. A worm in your brain you can't control. 

Ribs between your fingers. bury the bone in the backyard. But no—

Hung on a spit, blackening in the flames. Charred marrow crushed between your teeth like stale, hard bread. Chew, swallow—

You think you might have killed him. Devoured him whole. 

Metaphorically speaking, that is—

(in dreams. in the empty vacuum of your mind. a different time, a different place;)

—because the thing in your memory isn't you. 

[raceweek]

hello. alexalblondo's rude anon coming here to humbly and politely beg for galex primer because i dont understand their history. george said he lived at alex's family's house at one point? how - weren't they already racing? sorry thank you humble thank you 🙏🙏

hello!!! thanks chris for the referral FKFJDKD

i have overwhelmed my alex and george tags so much that i fear i could never capture all of it but my galex key moment anthology is under the cut!!

karting/early single seaters

Alex thinks they met in 2011 but the footage in georges flip phone says he knew alex back in 2009.

Their first actual interaction (so far as they've told the world) was when alex was world champion with the intrepid karting team and bc he was their reference driver he was asked to help pick the drivers who were quick to replace him when he moved up and he picked george (and charles) so they were then part of that same intrepid driver programme for a while. Interestingly, alex was always at least one year above him bc of their ages and george says the fact they didn't really race directly against each other before 2016 was probably why they became such good friends.

They did a deep dive of their camera rolls from this time on twitch a couple years back and talked about the oldest pictures they have of each other in their camera rolls (1:25:36) which was cute.

2017

2017 is the year george basically lived with alex. They were also sharing a trainer whilst alex was competing in gp2 and george was in gp3. George was doing mercedes sim work at their factory so rented a flat in milton keynes near where alex lived but according to alex that rent was wasted money bc george had more meals at alexs' house than he did that year. Also as detailed in those links, the Great Mountain Biking Incident of 2017 occurred at this time so we have the fun mental image of george literally wheeling alex into a&e on a wheelchair bc that is an actual event that happened.

2018

George and alex both in f2 fighting for the title year wooooo!! They never really fought on track but we did get fun tidbits like when alex pipped george to the win at silverstone bc george had a slow pit stop and giggled about it in parc ferme (5:42) & these post session interviews.

also some incredible photoshoots.

2019

Promotion to f1!!! We started the year at winter testing and this nugget that they have both accepted that they are actually tied together by the strings of fate. They're doing fun media stuff like karting and bullying each other over percentage of apexs hit at the skypad (video). 2019 also the start of the umbrella sharing. They were just together a lot… more skypad analysis!!!

2019 also has MY personal favourite galex moment which was hockenheim 2019 and the 45 minute phone call galex had on the way home after george missed out on scoring what would have been his first point in f1 and only point of the season.

There was also the summer break and enjoying a training camp together, exchanging infections etc. Alex also took george to meet lily for the first time, bc that’s a normal thing to do.

There was also the rookie of the year vid, and the rookie season review vid at the end of the year. Much was happening.

2020

The year started with f1 trying to race during a global pandemic. Fun! On the singular media day before everyone realised just how stupid that was they were being annoying. The lockdowns did give us the twitch streams. George was initially so bad at virtual racing he had to secretly consult alex's brother for help behind alexs back. George was also actively seeking alex out like a missile at any given opportunity and at one point felt necessary to declare that he wasn't alexs boyfriend when someone asked if alex was going to be streaming that day. Anyway my lockdown twitchscapades tag has a post with a playlist of all the streams that haven't been lost or deleted if you want to feel joy and have a spare million hours.

Racing resumed in July with the covid team bubbles and within two races and one qualifying session george was defending alexs honour to sky sports and the world in a truly remarkable fashion.

At the end of the year alex was unemployed....even more tragic than this loss was that alexs career difficulties were so extreme he started ghosting george, which devastated him to the extent he needed to publicly drag him for it.

There was also george asking lily to post alexs n*des on instagram and lily responding with if anyone has them it would be you which was perhaps the last time george had access to his own social media password.

Despite george not liking it they celebrated alexs first podium by going golfing! and reverse! George was also gifted an alex albon signed autograph card for christmas and said that he'll put it somewhere special x

2021

The beginning of 2021 was during lockdown and there was more fun virtual gps except the only two drivers doing it were george and alex so they were just bitching and gossiping and threatening to steal strategies and abu dhabi 2016 each other. Particular shoutout to the time they had a virtual race on valentines day and alex put a suit on for it and george was baffled. Immediately after valentines day was georges birthday which lily used to thank george for letting her borrow his boyfriend from time to time.

Then the season started with george enduring the season alexless and not letting anyone forget about it. Alex was turning up to races after being locked in the simulator until the early hours posting stuff like this on instagram and otherwise stumbling over his words after getting whipped on the ass.

Perhaps the defining moment of the galex 2021 season was george pushing the williams board to sign alex so heavily that they had to actively shut him out of proceedings. Also at this time there was this cute congrats from alexs family and one from alex to georgie about the mercedes seat.

anyway here's some more random 2021 nuggets:

i've seen him topless a few times

george getting alex a good deal on a merc x

yet More golf

the handover

georges driver room

2022

They truly lost every inch of personal space in 2022 like. Hello. Hello. Hello. Hello. Hello. Hello. The back signing Hello.

2022 had alex having his appendix out, nearly dying and alexs family updating george whilst alex was in the icu and then when alex returned for the next race in signapore a couple weeks later (insane behaviour) george was like mmm audacious of him to be here.

Elsewhere alex discovered georges photoshoot and was making screensavers about it. Alex also discovered hair dye and george was making instagram stories about it.

other random 2022 nuggets:

george is alexs fave f1 driver excluding himself

this skit williams did of lily finding a huge picture of george in alexs driver room

whatever this image is of lily george and alex

private plane carpool

double date

2023

@onadarklingplain covers the whole year for you much MUCH better than i ever could here!!!!!

and that brings us to present where they're just as weird and freaky with each other as ever!!!

[adyophene]

Huskie is part birdie, so maybe the 'no balls' thing means he got a cloaca like stolas from helluvaboss??

I got quite a few asks while I was on my little burnout hiatus but this one definitely takes the cake. I know that's you, Angeldust.

[sawxwhxrex]

join me?

[frownyalfred]

Hi,

Would you do a break down of Batman's identity crisis? Because he's got layers, and most of them are exaggeration of certain aspects of his normal self, or wildly different.

Like, everyone in the league has a few layers to their secret identity, but they have a civilian identity to fall back on and be normal or themselves or whatever. Even Oliver Queen can say he's comfortable and genuine being Ollie.

Bruce's sense of identity has layers the same way that taco dip has layers, which is to say, those layers are all extremely different, there's no one key standout, and every time you scoop a chip into it, you get a different combination of flavors.

I generally stay away from the "Bruce Wayne is the mask" stuff the reddit bros love. I don't think Bruce Wayne is the mask, so much as we (and Bruce) have a hard time putting our finger on who exactly Bruce Wayne is, actually. Batman and Brucie, Matches, all of those other faces, they're not not him -- especially Batman -- but they're facets, large facets of who he is, but not wholly encompassing Bruce.

I think I've mentioned before that I hc that Bruce envies Ollie, like you mentioned, because he doesn't struggle (as much) with his sense of identity. He's Green Arrow, he's Ollie, and he's Oliver Queen -- and for the most part, those are separate, discrete people. Deep down, though, he thinks of himself as Ollie. His default is Ollie. Bruce's problem, in many ways, is that he has no set default -- just a rapidly shifting set of identities that serve him best in that moment.

I think it's easier to decide who Bruce is via isolated moments that don't fit into the other identities. Things that aren't Batman or Brucie or even Matches, etc. Fatherhood is a good vein to look at -- so is grief. The order than Bruce imposes on his life, the Justice League, his friendships, etc -- do those actually serve those other identities? Or are they also related to that possible default?

[tunemyart]

So I've just watched the finale and I'm feeling... Weird. I think part of it is because this show started with everything I like in a story (cool badass ladies, a queer romance, found family, redemption, etc etc) and ended up being... Not all that (most characters die, the romance is doomed, and I guess the redemption mostly happened but wasn't entirely satisfactory to me). Also, I'm someone who as Trauma (tm) with death so, I guess my brain's first reaction is "fuck that I just want them all happy and safe" and it takes me a while to accept when stories take these paths, however well written they might be.

Still, I thought it all went a bit fast in the last 2 eps, with parts of the show ringing just a little bit more hollow than I would have expected? I'm left feeling like the characters of Alice, Mrs Hart and Jen were treated a bit superficially (Lillia's story felt more complete). I also wished we had seen more of Agatha's past because spending centuries just conning witches then killing them is... a bit boring? (maybe we learn more about her in WandaVision, I haven't seen it). And obviously I wished we had seen more of Agatha and Rio. It's like the show couldn't decide if it was about Agatha or about Billy (partly because, I'm guessing it's setting up a 3rd show about him?), and with this short format we ended losing a bit on Agatha's part.

Anyway, curious of what you think of all that because your analysis are always super interesting, and like I said my own brain might be a bit biased towards resistance with this one. And obviously would love to read your fanfic(s) should you write any!

So, I've started and restarted a reply to this a few times, but I think what my answer boils down to is: we're meant to have multilayered responses to this finale. We're meant to sit with it. It's meant to change our experience of the show we've had to this point.

I think the best metaphor for this is the fact the revelation that Rio is Death. Bear with me, because I know this got spoiled for us way early on and we all knew it and were all just waiting for the revelation to drop - but imagine for a second that we didn't know that Rio, Agatha's ex-girlfriend and spooky fun vaguely-a-psychopath as played by the delightful Aubrey Plaza, is death. Your perception of Rio would have been turned on its head. Your perception of Agatha would have been turned on its head. Your perception of the Witches' Road and what we're even doing here with Death walking alongside us as a tourist would have been turned on its head.

Now, we all had an incredibly fun time even with the knowledge that Rio is death before we should have had it. But I think some of the power for what it meant for the story - and our perception of what was really happening - was muted.

Jen, at the beginning of 1.08, says, "She told us who she was from the very beginning."

Sit with that - because the same is true of this story.

---

It turns out that the Road is a metaphor for death. This isn't fully illustrated for us until Nicky, the author of the Ballad, walks down the road with Death's hand in his, and we go, oh. Oh.

Agatha tells us in the beginning that the Road doesn't exist, a rare instance of her giving anyone unbridled truth. And sure - the Road that our coven walked down doesn't exist. The Road that all the witches Agatha lured to the deaths believed in doesn't exist. It's a fiction. But it's significant that Agatha lured them all to the Road and killed them. They wanted to walk the Road. They died. Not "they died instead" - it's a two-fold statement. They wanted to walk the Road and they died. In a gruesome way, Agatha's been taking witches on the Witches' Road since the 1750s.

I don't think the significance of that is lost on Agatha, either, especially where we pick up at the beginning of 1.08. Lilia's dead, and everybody's reeling.

Perhaps Agatha more than anybody.

---

I also want to quickly take a look at Rio's accusation of Agatha regarding Billy.

"The bodies are really piling up." "Did you doubt me?" "Yeah, I did. I thought there'd be a trick in there somewhere. And there was! You were distracting me from him."

Because this is a revelation about Agatha's actions toward not just Rio, but any audience watching her - i.e., us the viewers. She's been distracting us! Not from who Billy is, we know that of course, but with regard to what the Road itself is. Agatha's known the Road isn't real the entire time. She's been protecting Billy from that knowledge. She's been protecting Billy from Rio. She's been protecting the coven itself from disintegrating. And, the biggest con woman move of them all, she's been distracting us - with less and less success as the show goes on - from the fact that she is not even the slightest bit in control.

---

So I definitely want to circle back to what you said about how the show started out with everything you like in a story, because oof, yeah, I felt that. I felt that hard in the finale. Coming off the impact of the incredible storytelling in 1.07, and the queer jokes and campy Wicked cosplay balancing out the sad, I think many of us spent the next week expecting some kind of emotional resolution that probably involved the remaining coven banding together in some more of that found family we've felt them becoming along the way.

Here's where things starts going wrong, right off the bat: they don't. Instead, they splinter. Not only are you aware of just how few of them are left (Jen, Billy, Agatha), but Jen and Agatha can't handle Lilia's death. Jen's distraught. The close up on Agatha running away out of the trial and back onto the Road, alone, shows her looking hunted and wild in her guilt. Everything that follows has its seeds in that moment of rending that began with Lilia's death.

From the beginning, the point has been that Agatha Harkness is a covenless witch. It's something we've seen her revel in - maybe simply because she has no choice but to own it. But the fact is that here, for the first time in centuries, she had a coven. She didn't intend to have one - she intended to kill them all in her basement and not think twice about them again. But events transpired the way they did. They became her coven. And one by one, they all died on the Road.

Rio, of course, has the words to cut right to the quick: "Your coven is shrinking," she teases Agatha cruelly. Agatha looks wild - because she's right. The worst thing is that she killed Alice - and she didn't mean to. She didn't want to. But she did, and in exactly the same way she'd intended to kill her at the beginning, the same way she's been killing witches for hundreds of years. "Your coven is shrinking," and it's Agatha's fault. It's Agatha's coven. It's Agatha's coven.

Hold on to that, too.

---

One of the things that I've been mulling over most is Agatha's character. She's so much fun in the beginning. We're all fucking charmed by her. We also don't have the full context of just how much of a serial killer she is.

So for me, at least, watching 1.08 and not only not getting found family, but getting an Agatha so far away from a "redemption" story that she only just barely is willing to not sacrifice Billy for herself, was kind of a rude awakening. Agatha's a lot more of a villain that I was prepared for. Surprise!

Agatha's so far away from "redemption", in fact, that she's only just barely starting to feel empathy for other witches. She's just starting to be affected by people who aren't #1. And that's a trauma response. And it's so, so, so deeply rooted in her that she's only just starting to be able to conceive of the idea of people who care for her. Of the possibility of being able to live in community. She's not ready for a redemption arc. There was no way that the kind of redemption arc she'd need could fit into nine episodes, because so much of it would for her be predicated on a mental shift that Agatha just hasn't arrived at yet. She's still so angry. She's still so traumatized. She's done almost none of the work. And even at the end, even with the final gesture of sacrificing herself for Billy, that's not a final act of redemption, oh Agatha's now a good person/forgiven/insert word frame of choice.

What this show did in terms of redemption for Agatha was set her up to be in a place where she might want it - where she might want to do and be better for Billy, and someday, for Nicky.

And it's significant that that point comes for Agatha in dying… and after death.

---

This show is about death. The Road is about death. Death is a character on the show.

Like, okay, you're saying. Fine. But what about my gay fun times? What about my queer romance, my found family?

And please know that I'm there with you.

I'm not hugely in touch with what the larger fandom is saying and how they're reacting because I have my little echo chamber here on tumblr and a few friends who have actual social media, but even here I get the sense that we're all kind of :/ for fairly similar reasons. What happened to the show I fell in love with?

And for me, the last few days, I think it's been important to realize that the fact that the show I fell in love with didn't suddenly become a different show. It didn't pull a bait and switch. No twists were in bad faith. Everything has been right here in the text of the show from the very beginning.

And I think it's important to see the story that Jac Schaeffer et al. were actually telling vs. our expectations of what they were telling, or worse, what we wanted them to tell. For just one example, I was convinced we were going to see Alice again - maybe Lorna Wu, too. I wasn't expecting it to be for the sole purpose of recognizing that not only is she dead, but to give Alice herself the space to say that it wasn't fair, that she wasn't ready, that she'd just broken her family's curse, that now she can really do something with her life! Because, ugh, yeah! It's not fair, for all those reasons! But that's also death. Likewise, Sharon's just dead, and worse, her death was pretty much meaningless. Lilia rediscovered herself again, and she chose her death to save everyone else - extremely meaningful. But at the end - she's just dead. We don't see her again. She's gone. She, like the others, walked the Road and away with Death.

I loved these covenless witches. I loved them finding themselves together. I loved them bonding around the campfire and discovering community. I miss them all, so so much. But they told us from the beginning how haunted by death all of them were: Alice and her mom, Lilia and her coven in Sicily, Billy and William Kaplan, Agatha and her son and her ex-lover. And of course, Death herself. Forget haunting these individuals - she came to actually join the temporary coven. Like, fuck. They told us what this show was about.

---

This show is about death, but it's more complicated than that: we'll take our cue from Rio again, who, in being Death, is also the original Green Witch. In short, this show is about Green Craft, "growth and decay in constant flow."

So yes - almost every single witch in the coven dies. Yes, it's permanent. No, the queer romance isn't resolved happily. No, Agatha doesn't have a redemption, satisfying or otherwise. And no, none of it follows what we've come to expect from found family story trajectories.

But the focus shouldn't be solely on the decay. There's a whole cycle of growth coming up after it, even now, and it's being made possible by the death and decay that we just witnessed. And most importantly, it's confirmed that this isn't the end of the story - just the end of "Agatha All Along."

---

I'll finish by actually answering your question - I've been sitting with the finale for a few days, because I also felt weird about it. And I think that's the right word: "Weird." Very spooky season-esque, but also not tipping all the way right into "bad".

The first thing to acknowledge is that no story is perfect - they were limited by nine episodes by what they had the space to show, and finales are really hard to get just right. The second is that you're allowed to not like any or all of it, especially when something happens that asks you to change your entire understanding of the story thus far, i.e. the Road isn't real, or when you have a particular trauma around death and it turns out that that's what the whole show is about in ways we hadn't fully realized. The third is that it's worth sitting with stories sometimes and seeing how they marinate and develop in your brain and your soul over time. All of these things can and should coexist.

This isn't my first go-round with a series finale that initially made me ???, so I was fortunate in that I felt like I had a cheat sheet. I've still got some marinating to do to see how this continues to change for me. But it's helped me to realize that my ??? reaction is what the story wanted me to have - that the characters are reeling right along with me. Not just Alice in shock about her death, but also Billy at the implications of his creation of the Road regarding his responsiblity for what happened on it. We're meant to feel this way… and then we're meant to reconsider the journey we've been on, the Road we've walked with all of them and the death we've died alongside them, and see it anew for what it really is.

[itsmespicaa]

Augh the way you draw the Lambo twins... augh my heart... they are so precious...

Got any headcanons on what you think cogged Sunstreaker looks like?

omg anon i was legit about to post my attempt at drawing cogged Sunstreaker...your timing is impeccable

but yea here's my attempt at designing him!! I'm very proud of the helm design, but the chassis....not so much lol. I'll probably replace the window for something more "cybertronian-like", but er (as you can see) I put waaay more thought into his helm ahaha

I wanted to make sure it still reads as a design evolution of his cogless design while still retaining his iconic features (his earfins!!), and most importantly, that it complements SIdeswipe's design as well.

I definitely want to keep the iconic black square/trapezium on the top of his chassis as an homage to his original toy and G1 design, but everything else about his chassis is subject to change :D

as for headcanons...I'm borrowing heavily from his original toy description here: "Tough polymer-steel skin resists artillery" so he'll have a bit more bulk than Sideswipe even though their frames are near-identical and they have the same height.

I just love the idea of Sunny being able to tank more compared to his twin who's more agile. I know this concept isn't foreign because I've read a few fics that alluded to this too so that's nice!

Honestly tho I hope we get to see his actual cogged design in the sequel (PLEASEPLEASEPLEASPLEPLPEAPLS--)....✊😔 here's to manifesting

[lazylittledragon]

I've been loving ur mombin comics, but where is the other mom? what trans hottie is not paying her child support out here? (this is said with a lot of love and affection, im very curious abt how she got into that situation, if you have thoughts abt it <3)

ajsjhsdfh i wasn't going to answer this because it's explained in the next comic but kudos to you for being the only person to say 'who's the other mom' instead of 'WHO'S THE DAD'

also the way this is worded made me laugh for like 5 minutes thank you so much xx

[all-purpose-dish-soap]

Ohhhh ho ho ho. How I would rizz up a cod man lol I apologize in advance if this is long 😅

So my typical going-out outfit is all black; usually black booty shorts and a black tank top with either converse or thigh-high demonias (the 2.5 inch platforms, I’m not too crazy). My makeup is somewhat darker and my hair is usually up in a ponytail. If I’m feeling cute though I’ll wear a short black dress with long sleeves and lacy tights/fishnets.

I like to try and catch their eye multiple times to see if they’ll come to me first, but in this case I would most likely go for the interesting drink order, either a nicer whiskey on the rocks or a stout (both of which I like so it wouldn’t be like I was struggling to drink lol). Something that’s a conversation starter hopefully.

I’ve actually got background with the military; I come from a heavily military family and I was also a civilian contractor for a few years at a local base so I have enough knowledge to hold my own in a conversation. I love dark humor and puns too, so I would try to work those into the conversation slowly at first to get their feel for it and then keep going based on that, but after that I’ll offer to buy their next drink and will give them subtle compliments while showing genuine interest in what they���re saying, giving them my full attention and being engaging, smiling and flirting more as the night goes on.

Honestly my tactics would differ depending on who I was trying to pick up but this would be a general thing 😂

booty shorts gang!!!  (👉゜ω゜)👉

i see you holding good conversation with Price and Ghost, given that drink order and the military family.

ultimately you could have your pick of the two, y'know? Ghost would love a lady who's willing to talk and show genuine interest. one of those conversations where he can let his guard down a little. not much (ever; dude is sitting with his back to the wall at all times, exits mapped) but you do at least seem agreeable. enough.

probably thinks you're just trying to get into his pants. like... listening a little too well. a little too kind. a little too interested in the dumb shit he's saying about the weather or whatever.

it's actually when Price cuts in and laughs at one of your jokes that you earn Ghost's interest back. Price tees him up for a particular dark joke (what else has two legs and bleeds) and Ghost utters the punchline (half a dog), and to his muted surprise, you laugh. Price sees the mild shift of expression on Ghost's face and chuckles.

says something about gruff old military men harassing a pretty bird likes you, and of course, you take the compliment with such grace.

you could even take them both home if you wanted ;)

[genericpuff]

I love how capitalism is a term that the gods are aware of and know hades started

Hades: "Zeus, you told me that I wouldn't be disgraced by my role as ruler of the dead - so why do the mortals refuse to even speak my name?"

Zeus: "I would hardly call that disgrace - it's respect, in its purest form. You have an entire realm of subjects who kiss the ground you walk on, out of fear for your judgment if they should wrong you."

Hades: "Dead subjects, kissing cold and infertile ground, who have nowhere else to go and nothing to offer. My kingdom is as shallow as the graves they were buried in."

Zeus: "You think too small, brother! You receive their everything when all their lasts are spent - when all the food is eaten, their wine drunk, their final breath heaved from their lips, and their heartbeat has performed its final rhythm. You are their eternal dream - their King forevermore. In that way, have I not given you everything? More than what even I could lay claim over?"

Hades: "You didn't make me into their King - you made me into their life sentence. If they aren't ever to worship me, revere me, and celebrate me as they do the rest of this cursed family... I'll give them something to worship."

[nothorses]

What do you think gay men are attracted to in men that they can’t be attracted to in women?

It can’t be anything about femininity or masculinity obviously. That’s both sexist, and cultural so can’t be what drives men-only attraction.

It can’t be anything about stated identity because someone could lie just as easily as they could tell the truth in such a statement, and it makes no sense because homosexuality and heterosexuality exists in other species with no stated identities. It’s not like other animals without gender are all pan.

Saying idk it’s the vibes or some indescribable trait men have that women can’t but “I can’t explain” is a nonanswer.

Soooooooo what is it? Or do you think any sexuality but bi/pan is just cultural performance or an identity rather than an inborn orientation?

- [ ]

I think trying to find one perfect answer that applies universally is the critical mistake here. I mean, I am a gay man. I say this because as of yet, that's the clearest answer I have for myself personally; maybe there's a possibility I experience attraction to a woman at some point (maybe I already have???), but I don't really have clarity on that right now, and it doesn't serve me to shape or explain my identity around "maybe"s.

Trying to pinpoint exactly what it is that attracts me to other men, specifically, is also like... not that useful. I used to find myself really attracted to feminine men specifically; not feminine women, not masculine women, not masculine men, not androgynous anyone, but feminine men. Specifically, men who were feminine in a very particular, long-hair-certain-attitude kind of way.

Recently, I have found myself appreciating, more and more, a certain kind of masculine body type and gay masculinity that I was never really interested in before. I find it incredibly hot. A lot of that coincides with things I appreciate about my partner, too, and things I find myself appreciating more about my partner as time goes on- as well as things my partner expresses appreciation for about me!

And I haven't even touched on attraction to nonbinary folks here because, like, it's a massive spectrum. "Nonbinary" means something different for every individual nonbinary person. To my mind, of course there's a possibility I experience attraction to a nonbinary person; how they identity, present, and what attracts me to them are all even more impossible to know for certain than the "maybe"s and the "why"s around my attraction (or lack thereof) to men and women.

My relationship to my own orientation was vastly different pre-testosterone versus post-testosterone, too. I was much more reserved and uncomfortable with relationships and attraction before I started T, and the only dynamic I ever felt was even a little bit tolerable was one where I was the "masculine woman" in a lesbian relationship. I didn't realize until very shortly after starting T that, actually, I like men. A lot. I felt comfortable with my body and my masculinity in a way I never had been before, and I felt comfortable in relationships with men; I no longer felt like I was The Woman By Default in contrast.

And that's all just me! This is my personal, specific, individual relationship to attraction, and how gender- both others' and my own- factors into my relationship with orientation.

I don't think it's necessarily inborn, or completely unchanging for everyone. I also don't think the same factors apply for everyone. I think a lot of different things can be true for different people, all at once, and it's not really useful to try to pinpoint a specific, universal explanation for orientation.

Everyone has a different relationship to orientation and gender; everyone will be influenced differently by cultural factors, by their own ways of processing and understanding the world around them, by the ways different aspects of their culture, identity, personality, and inborn traits and how they all interact with one another, and sure, maybe even by biological factors and tendencies.

Trying to solve this puzzle for the entire world of diverse human beings isn't going to make it any easier to understand yourself. Focus on what this all means for you, personally, and accept that you will never, can never, fully and perfectly understand anyone else's internal world and workings. Things get a lot easier when you can let go of that & just appreciate the diversity of human experiences, y'know?