#but no matter! what's done is done!

[allsassnoclass]

hello, Hazel!

how about "let's go out for a cheap dinner" ft. mashton for the prompts?<3

hi ana! thanks for requesting!

mashton: "Let's go out for a cheap dinner"

Michael covers his face with his hands and groans, as loud as he can. It echoes slightly in the empty theater, or maybe he just thinks it does because his hands are creating an echo chamber, but either way it's equally as satisfying as it isn't.

"Mood," Luke says. Michael turns his head to look at him, sitting in the second row of the audience with his feet propped up on the chair in front of him, Sierra nodding sagely beside him. It looks like an uncomfortable position for someone of his size, but laying on his back on the hard, disgusting wooden stage isn't as comfortable for Michael as it could be, so he's not going to say anything.

"They should've done Beauty and the Beast," Calum repeats for the fiftieth time since they all began working on this production nearly two months ago.

"Or Shrek. Or Spongebob. Or Sound of Music. Or literally any other family-friendly musical besides fucking Mary Poppins," Michael agrees, just like he has every other time.

When he applied for the job to direct Mary Poppins at a community theater this summer, it had seemed like a good idea. Being partially-funded through Community Education, he was told that they would have full access to the theater, scene shop, and costume shop at the high school, as well as some additional rehearsal spaces there. The board of directors seemed really excited to dive into a family show after producing some more mature musicals in the previous years, and he got to hire the production staff, meaning he could ensure that he works with his friends this summer. He knew that Mary Poppins is a difficult show from basically every standpoint: the music is complex, the dance numbers are big, there's an inconvenient amount of settings, and Mary Poppins does magic at about 12 different points in the script, including flying across the stage. Still, Michael had been optimistic.

Michael had been a fucking idiot.

This has been, to put it plainly, the most frustrating directing experience Michael has ever had. The theater was a new build from five years ago, but apparently the blueprints have since been lost and no one at the school knows the measurements of the space. He keeps trying to negotiate with different flight companies so they can rent equipment, hire a trainer, and have Mary actually fly across the stage, but most of them are appalled at the quick turnaround and all of them need some sort of measurement of the space, not to mention that Michael has to wait for permission from Community Education before he can solidify a deal. Every time he thinks they have it, the school finds some sort of issue that takes him three days to smooth over, at which point they find another one, then later another one.

Administration doesn't seem to understand anything about urgency, because the production staff didn't get their contracts until a month after rehearsals began, so now everyone is scrambling to get things done, and they still don't know what the set will look like because they don't know if Mary will be flying or if they have to find some other way to imply that she is.

That doesn't even scratch the surface. The stage has dried gum on it but the custodians won't let them mop, let alone paint the stage so it actually looks nice and fresh instead of ugly and chipped. They don't have keys to the catwalk. They only just got keys to the booth tonight, and Matt and Roy spent all rehearsal up there trying to figure out how the sound and lights are set up, because it doesn't follow logic. The electrics aren't weighted, which could kill someone, but the weight station is a floor above and the door is padlocked. Michael has already requested a key, but he requested a key to the catwalk two months ago and still doesn't have it.

There's no dressing rooms, no backstage space, and no hallway behind the stage to cross from one side to the other unseen. Michael figures all of those are problems for tech week, but tech week is very quickly approaching, which is why Michael is currently laying on the stage having a mental breakdown two hours after rehearsal ended.

His phone buzzes. He checks it, exhaling when he sees who is texting him.

"Can someone let Ashton in?" he requests.

Someone, probably Roy, heaves a sigh and gets up. Michael stares up at the electrics and wonders if he can sue the school if one of the lights falls and lands on him.

"Well, this is pitiful," Ashton says a few moments later. Michael holds up his middle finger. Ashton probably looks lovely, even for this late at night, and looking at him will probably make Michael feel incrementally better, but he's decided to let himself wallow and therefore refuses to so much as glance at him.

"Come on, what was your win of the day?" Ashton asks. He started asking this after the second week, when Michael came home and told him that every day with this production feels like getting one win, then fifteen losses. The win is usually that the actors have learned something new. The losses are typically everything else.

"We got access to the booth," Matt offers. "Nothing in there is set up, but we have access, so Roy and I can actually start our jobs."

Michael gives a thumbs up.

"Hey, that's great! Is there anything else that you need to solve here tonight, or can I take your fearless leader home?"

Michael holds up his middle finger again. There's a beat of silence, then Calum's voice, holding all of the authority he needs as a stage manager.

"There's nothing else we can do tonight. Let's all go home."

Michael listens to everyone gather their things and put the theater back to some semblance of order. Something blocks the lights overhead, and Michael squints until the silhouette solidifies into Ashton, looking down at him. He really looks good, even when Michael is looking at him from the most unfortunate angle. He's wearing a bandana to keep his curls contained, something which he started doing again this summer, and his shirt is sleeveless, giving Michael a fantastic view of his arms. Michael really likes those arms.

Ashton holds out a hand. Michael drags a sigh up from the depths of his soul and takes it.

"What do you want to eat?" Ashton asks as he's hauling him up and Michael is doing his best imitation of a rag doll.

"We have no food at home. I do not want peanut butter and jelly."

"Let's go out for a cheap dinner," Ashton suggests. Michael rolls his eyes and slumps against him.

"I do not want McDonald's for the third time this week, and there's no where else near us open this late."

"I was researching and found a 24/7 diner about half an hour away. That'll give you enough time to vent and relax, and you'll probably get to sleep just as early as you would if we went home and you watched Netflix."

Michael considers, enjoying the feeling of Ashton's arm around him, supporting his weight. Ashton is always a fantastic combination of solid and soft, which makes him the perfect person to hug.

"I have a playlist ready," Ashton says. "No Mary Poppins on it at all."

"Twist my arm, why don't you," Michael concedes. Ashton ushers him off the stage to gather his backpack, script, and numerous writing utensils that have escaped their case. Calum has already stolen his keys to lock up, and by the time he turns out the lights and the group heads to the parking lot, Michael is feeling marginally more like a functional person.

"Come on, in you go," Ashton says after they call goodbyes to the rest of the staff, holding Michael's door open for him. The show must be taking a noticeable toll on him tonight if Ashton is babying him this much, but Michael is pretty lazy and isn't going to look a gift horse in the mouth right now.

Michael doesn't know what he'd do without Ashton, honestly. Between juggling his day job, rehearsals, production meetings, and all of the administrative bullshit that has unexpectedly come with this show, Michael barely finds time to exist, let alone eat and sleep and drink water. Ashton is the one who ensures that those needs are met, picking him up from production meetings once he deems that they've gone on long enough if Michael doesn't call before then, making meals that will be good reheated when he has time and scoping out places for them to get food when everything else is closed. He offers a patient ear when Michael needs to rant and practical solutions when he can, and Michael is man enough to admit that he would have fallen apart by now without the knowledge that there is someone who is in his corner and who will still love him if the production goes to shit.

"Hey," he says once Ashton starts the engine, his phone already hooked up to the car and an acoustic pop punk song beginning to play over the speakers. "I love you."

Ashton smiles at him, reaching out and tucking a lock of Michael's hair back, letting his fingers trail down Michael's cheek after. Michael closes his eyes, savoring the sensation.

"I love you, too," Ashton says warmly. "Now let's get some food in you. You can tell me all about the school's latest bullshit on the way there."

Michael sighs and presses back against his seat, looking out the window at the dark. quiet town around them. He starts talking, and Ashton listens attentively the entire time, even when Michael can tell from his clenched jaw and furrowed brow that he's angry on his behalf. Once Michael has gotten it all out of his system, he lets Ashton distract him with talk about his own day over a plate of pancakes and some bacon.

With Ashton's ankle hooked around his under the table, it's the most relaxed Michael has felt all day.

"Thank you," Michael says before they pay the bill. He means it for more than just the food, Ashton understands. He always does.

"I love you," Ashton says in reply, like it's an explanation.

Michael takes the last bite of his pancakes from the tiny diner that Ashton found to ensure that Michael eats well, and knows with certainty that he can make it through anything with Ashton by his side.

[21stcenturyschizoidfag]

please check out my The nefarious anglerfish tribute video i am such a big fan

[allysketches]

"I loathe him. And, despite myself, I respect a worthy opponent...Which he isn't because he's a demon and I cannot respect a demon. Or like one."

decided to draw a small part of the bookshop opening deleted scene bc not one day goes by where I don't think about it 🥺 we lost so bad by not getting this one 😭😭 especially bc it contrasts the season 2 finale so well… I could write entire dissertations about it 🤧

[reds-skull]

My mom named one of the street cats she feeds Tommy, so I thought to myself, "what if..."

[raepliica]

they're down to their last cigarette so they're sharing✨️✨️

[carnivalcarriondiscarded]

world's longest staring contest GO-

[bananonbinary]

it somewhat frustrates me when people talk about biden funding genocide, because it's not not true, but it's also like. not really a biden-specific problem. the united states, as a whole, is very pro-genocide. i have never in my life seen a presidential candidate that thinks we should pull back from all the fucked up shit we do internationally.

that is bad. don't get me wrong. you should protest, and make your voices heard, and better yet, actually do things that support the people in danger, but talking about it like it's a unique wrong that biden has done really obfuscates the fact that he is one of the better politicians we've had in office. i'm not saying i'd be his best friend, i don't know or care about him as a person. but as a man doing a job, he IS doing it better than anyone else who could realistically hold the position. it's a low bar, but i'll be damned if we don't clear it just because people think small improvement doesn't matter.

[limesade]

summer in southern maine miku

[demapatto-art]

Change

Metamy Week 2024

All | (Part 1 out of 4) The rest of the parts are WIPs.

[gnawgag]

it’s their’s to burn

sharing a cigarette with joan of arc - dante émile ( @orpheuslament ) // photography by brendon burton

[vurelly]

been a little busy so i forgot to post these sooner, but i am so supremely happy with them i can't not share them: all my updated/new character references for art fight this year!

[ryllen]

hanging around sebastian is automatic code to become a mom friend

[luna-loveboop]

'I've never been in a dungeon before' and 'Who's Ganon?' have literally made some of the BEST reaction panels in Lu I just-

They are very similar conversations- where a Link is pointing out/asking about something that the others have experienced and they haven't. Which is really cool to compare and contrast but they all just freak out about it

Genuinely some of the best conversations in Lu

The lesson here is that apparently the Links will always be freaked out when one of them has missed out on one of the Zelda Fundamentals™

.

Art by Jojo @linkeduniverse au :)

[yuwuta]

WHEREVER YOU WANNA GO, THAT’S FINE WITH ME — MEGUMI FUSHIGURO 

cw mentioned/talks about death but not like… in a serious way 😭 this whole thing is very unserious and stupid it’s just a thought i couldn’t get out of my head, megumi being… megumi, f2l but what’s new, also inspired by some clip from a tv show i’ve seen on tt but idk the name of it, if you do pls let me know

you ask megumi you make one of those marriage pacts with you—that if neither of you are married by thirty-five, you two will get married to each other—and he just hums for a moment before asking, “do you think i’ll be better suited for marriage at thirty-five?”

“what? n—i don’t know? maybe? it just seems like an appropriate age to get married if you’re not already, that’s all,” you explain.

more humming. he blinks, “i don’t think i’ll be all that different at thirty-five.”

“well, that’s concerning,” you joke, “you’re supposed to change—grow a little bit as a person and all that, megumi. even you are capable of it.”

“i won’t want anything different out of a marriage at thirty-five than i would right now,” he corrects you, then turns to you, and with all seriousness demands, “so, state your stipulations. what do you want from me, let’s figure out of this is gonna work now.” 

you scoff, and cross your arms. “what do i want from you? that’s not how a marriage works.” 

“that’s how this friendship already works.” 

you say, megumi does; he pushes it than he should have, you say to stop, and eventually he does, and the cycle continues. he’s always stubborn, and sacrificing himself beyond necessity, and you’re always pulling his ear for it. 

“okay. fine,” you settle, straightening your posture, “i want a house. three bedrooms, so nobara and yuuji don’t have to bicker about sharing when they stay over.” 

megumi considers it, then counters with, “four. gojo needs a bedroom, too. one floor, i don’t like stairs.” 

“where the fuck are we going to find a one-level four-bedroom house? i don’t want to live in the middle of butt-fuck nowhere.” 

“we’ll find one,” he shrugs, doesn’t flinch when he promises: “or i’ll have one made for us. next: vacations.” 

“twice per year. somewhere tropical, and somewhere metropolitan.” 

“i don’t like the beach.” 

“then you don’t have to go on the beach.” 

“you’re responsible for me if i burn.” 

“i’m responsible for you either way, i’m your wife,” you taunt, “pets, next. i want dogs. two. maybe three. and a bunny.” 

“no bunnies, they’re too much work.”

“but i want a bunny, megumi.” 

“you won’t have time for a bunny,” he rolls his eyes, “and you’re gonna get pissed when it chews up the expensive couch you’re gonna make me buy, and takes a shit in the expensive fruit bowl you’re gonna con gojo out of. no bunnies.” 

you pout and frown, but megumi doesn’t budge: “no bunnies.” 

you sigh, “no bunnies, but i want the dogs.” 

“i didn’t say no to the dogs. unless you want a golden, then i’m not raising that.” 

“why not? we already have yuuji.” 

“exactly, we already have yuuji.” 

“fine. i want a king sized bed. the really big, oversized ones you get in america.” 

“done. children?” 

“you want children?”

megumi shrugs, but you swear there’s a dust of pink on his cheeks, “maybe. maybe not. if i did, no more than two.” 

and suddenly you can’t help but feel heat in your own face, hot with the image of two tiny megumis running around. 

“that’s fine with me. maybe kids, but no more than two,” you cough, “i want one of those heated driveways for the house.”

“i’ll have it built. i’ll clean and do laundry and take out the trash if you cook.”

“what about days i don’t cook?”

“then i’ll do that, too,” megumi nods, “anything else?”

“yes. if i die first, you can remarry, but you visit my grave at least twice a year, and bring peonies. and that picture of me from prom where i look really good.” 

“no.” 

you stop. you blink. “what do you mean ‘no?’ you wouldn’t visit my grave?—kinda cruel considering i birthed your up-to-two future children and raised your dogs.” 

“i won’t remarry. and i don’t want you to if i die first,” he corrects you, again, “and there’s no dying first and leaving me behind, i’m going with you.”

he doesn’t leave room for debate in his declarations: won’t, don’t; not wouldn’t, shouldn’t, couldn’t—you have to pinch yourself to stop chasing the rabbit of temptation running through your mind. 

“i don’t… think you get to decide that,” you chuckle. 

“of course i do,” megumi grins, uncrosses his legs and leans over. he reaches a hand to the back of your head and pushes it forward until your foreheads meet gently; and as if the affection wasn’t shocking enough, he continues, “where you go, i go. that’s marriage, right?” 

he widens his smile a bit, before letting you go, leaning back into his seat again with crossed arms like nothing happened, and you’re left staring, blinking, breathing shallowly like prey that narrowly escaped being caught.

you don’t speak, so megumi does, “i have one more thing.” 

and slowly, you unthaw enough to let out a questioning hum. megumi tilts his head before telling you, “i want your last name.” 

“what? you—you would change your name?” you stutter, “but fushiguro is so pretty! and it’s your mom’s name, so few people get their mother’s names.” 

“yeah. this way, our up-to-two children get their mother’s names, too.” 

“i—okay… yeah, i guess they do,” you gape, then pout, “wait, what if i wanted to be mrs. fushiguro?” 

“tough luck,” he grins, “you get everything else.” 

you get me, instead, is what’s left unsaid. 

“okay, fine. sounds like a deal to me.” 

“great. we can’t have a spring wedding because gojo and toji will sneeze obnoxiously loudly, and we can’t have a summer wedding because the anniversary will conflict with our tropical vacation, and nobara will kill us if it’s too close to her birthday,” he says, standing up from the couch to head to the kitchen, “so i’ll see you at the courthouse in september.” 

you nod reflexively, sinking back into the couch with a satisfied smile. it’s a while before your brain processes his words, and when it finally does, you spring up in a fluster, “september? megumi, i said when when we’re thirty-five and if neither of us are already married! megumi? megumi fushiguro, come back here!” 

[nelkcats]

False Identity

Danny knew that if he wanted to escape Amity and all the chaos that was his life he needed to get a fake identity, move and go as far away as possible. He could probably ask Tucker or Technus, but he felt it was something he had to do on his own.

He made arrangements, destroyed the portal, said goodbye and ended up moving to Gotham. However his hacking job wasn't so good and he was discovered in an instant by the bats.

They decided to investigate him instead of confronting him directly, following Jim's advice that not everyone was running because of something malicious, Danny didn't do anything out of the ordinary.

He seemed to be adjusting to Gotham which was weird on it's own but the strangest thing he did was get a job in Penguin's Iceberg Lounge but that was more because of his job search than anything else.

His past records also showed nothing more than a child with poor grades and troubling injuries, probably caused by neglectful parents.

Damian began to fear the worst and hid the adoption papers.

[radical-emo]

Misgendering someone is always wrong, even if its a bad person.

Misgendering a bad trans person implies that trans identity is conditional.

Misgendering Chris Chan and Ava Chris Tyson (who are both bad people) is transphobia.

Misgendering a theoretical trans hitler would be transphobic.