#feelings without plot

[afrenchaugurey]

New OS on my AO3 : a blue coat on the docks

I wrote that when I had covid last month and posted it last week just because... I miss NewTina too much.

It’s a 100% self indulgent first kiss short story, from my blue universe (but can be read alone). Self-indulgence also means, I'm afraid, almost no dialogs. A short snippet for you :

It felt like a dream. A gentle haze full of sparkles. As in slow motion, they ran to meet in the middle. The sound produced by the case, when it hit the ground, could have –almost– provoked an earthquake in their world as the moment seemed so strong, intense, expected. Perfect. 

Their bodies, their hearts, slowly, tuned to fuse with the other, beating in unison, the stress fading drop by drop, replaced by a soft felicity, a steady certainty. The charleston, bit by bit, turned into a repetitive, reliable, anchored clinking from a well-adjusted clock. 

Motionless in the middle of the hurried people's incoming tide, they looked at each other, for a long time, their eyes misted as if they still saw –and tasted– the sea, their smiles gleaming.

“I missed you.”

And, just like that, they were wrapped one around the other, in a liberating cuddle. Mint answered to orange blossom, their respective heats making them forget about the winter’s biting cold, their breaths shortened by emotion, their hands stoking the coarse wool from their coats.

They wanted for it to last forever

[allegedly-human-uwu]

Existing on tumblr the past few weeks

[baldurspeen69420]

Tav: Thank you for trusting me with your vampirism, Astarion. I'm going to help you and make sure Cazador can't take you back no matter what :))

Astarion: "aw you're so sweet haha" (what a stupid fucking asshole, it's going to be so easy to manipulate this dumbass, I got this shit in the bag)

Astarion, a week later in his romance progression, staring at the ceiling of his tent: O h N o

[poorly-drawn-mdzs]

I'm not going back to Gusu with you.

[First] Prev <–-> Next

[collieii]

someone probably said this already but in spiderverse i think it's interesting how when pavitr was first introduced everyone thought something bad was gonna happen to him bc of how confident and optimistic he was. and then in the actual movie we see that something bad was supposed to happen to him (police chief dying!) but it doesn't! miles stops it! and miguel berates miles for this, says it's going to cause the universe to collapse or whatever.

there's this idea that tragedy is inherent to spidermans growth, and while it's true that some spiderpeople learn important lessons through loss, no one stops to ask, is it really necessary? yeah, maybe the chief was supposed to die. but why does spiderman have to be formed through tragedy? why do we (as heroes) have to let people die? pavitr didn't lose anyone, and he's still a good spiderman! maybe, if he doesn't suffer, he'll end up better off for it!

so while miguel is arguing for all this big picture stuff about saving the multiverse he's lost sight of what it really means to be a spiderman, he's not looking out for the real individual people. yeah it's just one person who would die, but that one person means something to someone. shrugging and saying "stuff just sucks sometimes, we can't do anything about it" is the opposite of what superheroes do. pretty obviously, miles arc is also a reflection of the struggles people face in real life, working within unequal systems, where it's easy to shrug and say "that's just the way it is" and not ask "but why does it need be this way? can't we do something about it?"

miguel is arguing that you can't have your cake and eat it too. presumably, miles and co. are going to find a way to get around that and change things for the better (and maybe that's why miles has that line about two cakes in the advisors office!)

[fallenclan]

in my notes for the 4th page i believe my exact wording was "feathersight is sweating so bad"

First Prev Next

[viarayy01-blog]

you just dont get it

[starscream-is-my-wife]

A bit more of the thunderfire story ‘post canon’, I think this should be around mid 2010s?

Jetfire and Thundercracker would be the duel income uncles with only fur babies, Skywarp is the actual breadwinner, Megatron is… there

Since the ex Decepticons no longer have to find energon and are no longer in war, they have so much free time.

(Rough outline here)

Text in the picture underneath the cut because it’s a bit small + Starscream

Jetfire

- changed his name in 2005 and is the only non neutral in the household

- the one who owns the house (used to be a lab) everyone lives in

- infamous in the science community for dropping a technological revelation every couple of years and then disappearing

- he and Megatron are the ones mostly taking care of the pets

- is the least online in the household, and goes outside the most

- has only gotten more unhinged ever since he was melted

Thundercracker

- likes to create all sorts of art, experiments a lot, currently into sewing, but who knows what’s next? Felting? Glass art?

- well liked with netizens because of his redemption story and loves the internet

- the bigger simp in the relationship, they got human married for fun in 2016 when gay marriage was legalized

- in charge of PR for everyone, including the Autobots sometimes

Skywarp

- Lives in Jetfire and TCs basement and is messy and loud

- twitch streamer, problematic due to him being kind of dumb (gets tricked by chat a lot)

- tricked Megatron into signing marriage papers because he felt left out when TC got married (and then forgot about this)

- used to live in the attic but was so loud during streaming he was forced to swap with Megatron in the basement

- is actually filthy rich, paid the entire mortgage

- the pets least favorite bot :((

Megatron

- misses fighting in the war but living in the attic is… ok

- edits for Thundercracker when he writes

- all of the pets favorite, no one is happy about this (except Megatron)

- is mostly unknown to the public, is under house arrest because of his war crimes for now. Does not feel too guilty about his crimes

- due to him being unemployed he is the household maid

- on the internet the most, cyberbullies Optimus Prime with alt accounts

- doesn’t know he’s legally married

[afrenchaugurey]

Chapter 7 from "a new blue horizon" is posted.

I hope it isn’t too much of a mess... and I hope you'll enjoy anyway

(Sorry, I didn’t have the energy to make a picture)

Summary : Tina and Newt try to learn to communicate, and he follows Theseus’s advice.

[ganondoodle]

botw2 (totk rewritten) ganondorf design post 2.0

(the better, less rambly one, bc i shouldnt be allowed to write when its past midnight- not deleting the other one bc i am a little whimp and am getting so bad decision paralysis over it its made me cry, this one is more heavy on design and the basic plot of the game)

Basic plot summary (shorter version- longer version at the end):

sheikah in service of the ancient queen discover remnants of the past while excavating for luminous stones, these remnants were being defended/kept safe by the sonau (engl. zonai) little shy cave dwellers who have kept these last ruins save but secret bc they thought it could lead to disaster seemingly aware of the ever repeating cycle and believing it to be not divine but a self perpetuated one built on the one sided history of the past, which is a threat to hyrule and its golden legacy; these ruins speak of a world threatening evil being born as the king of the gerudo, the ancient queen thus plans to lure him into a trap to seal him away before he can realize his destiny, he learns of it however and is forced to confront the queen through breaking into the castle, she sees that as a confirmation of her fears and it escalates into a battle between them that kills everyone that was in the throne room except the young princess- the queen sealing ganondorf as the room and parts of the castle is destroyed and buried beneath the ground. (the game largely revolves around finding clues about it, especially in sealed off caves of the now long extinct sonau)

except for the scene in the throne room nothing is clearly shown of the past, but it is the background behind everything

(zeldas main struggle in this game will be having to come to terms with her families legacy, what she thought and was taught not being true, the dark secrets buried everywhere, and perhaps trying to be better, now that all of hyrules been destroyed and the lands and people yet survived)

Mummy version:

what you discover beneath hyrule castle after going to investigate the failing of shiekah tech all around, it is a clearly shiekah made system all around, though the chamber you find him in was built around him after the sealing, it being implied they used his spiritual power as the main energy source for all future tech, once disturbed the seal breaks and fuses to zelda (similar to the og trailer with link) he wakes up, the shock of suddendly being back in this broken body leading him to rather viciously attack them, the mastersword breaks and link loses his arm, the cave crumbles and zelda flees as she drags link behind her- the cataclysm happens and links gets his shiekah tech arm.

(in the little sketch there is a very roughly approximation to where ganondorf is located at the start and mid game fight, the arena you fought calamity ganon in is in reality a sphere with the lower half being an energy reserve for the royal family and further down the mechanism for the rising pillars from botw, its located between the castle and ganondorfs chamber, to quickly react when the malice build up has reached a critical point to detect immediately and start the defense programm- its all broken but still explorable after the mid point)

ganondorfs body is very damanged, the hole in his chest from the seal leads into an empty cavity, the ribs broken and bent in a swirling pattern like a gravitational pull, his right arm was desolved over time as he defensively grabbed the queens arm in his last moments; the face is more bone and there are no eyes, he does not move his jaw to speak, his hair is more like smoke after a certain amount of progression in the game the castle that fell into the underground (current hyrule castle) bc of the cataclysm is made accessible, as you venture in link is grabbed and pulled further in, seperated from zelda, she later rejoins you in the dungeon, acting all normal unless you are observant and see her using her left arm only and walking past things she normally wouldnt- at a certain point once the camera is not watching her, she suddendly starts to attack you viciously, as it was ganondorf in disguise- after the second half the real zelda breaks into the room with your friends in tow (yunobo, teba+tulin, riju, sidon) and he drops the disguise, the rest of the fight is against his mummy form, at the end of which is the cutscene of the confrontation with the queen, it is the only time you are given a direct window into the past. (plus its shown in that cutscene he has the ability to disguise himself as others, but only AFTER you have encountered it as to not ruin that moment..)

post revival/restored: this is how he appears at the end of the game, the last dungeon is within the forgotten plateau, there is a longer cutscene of zelda and him talking while tension builds until the fight begins once your friends arrive (sidenote, this is also only unlocked with more progression, including the koga and deku dungeon and the master sword restoration quest)

this design isnt fully how he was in the past but fit to the circumstances now, but restored to the best of his abilities; he is older (50+) with greying hair; i wanted to make him look both strong and a little worn out, but with a vibe of incredible power he is well aware of as well as warmth the outfit is elaborate but mostly aimed to be practical, its easy to see he used to be a proud king, and still is, even if no one remembers him anymore; he wears a little armguard on the left to for deflecting purposes, his belt is also switched around to how it was originally to make drawing his sword easier with the left arm; a little wooden boar figurine carved from the wood of long extinct trees hangs on his belt, a gift from one of his daughters perhaps he wields magic with ease and his moveset makes it clear just how good of a fighter he is, even after thousands and thousands of years without motion, his moves are controlled and practiced- the magic is also NOT just based on malice, malice might be what keeps him alive now but its not all he is, he wields lightning and simpler moves with other elements, perhaps implying that magic was more widely spread back in his day .. or he has learned to wield it in part to the repeated interactions with the other races (both in the past, and as calamity ganon- it is made clear that whatever the malice eyes saw he saw as well, (also explaining how he can speak their languages) though it is also implied that the calamity as such is not fully his own making, but something familiar reaching out to try and help him break free -NOT anythign demise related, leave the guy alone- but going with the idea of the calamity having been what remained of oot ganondorf after degrading over all this time- a kindred spirit reaching out to take revenge together in a way

Beast Ganon(dorf), normal

Beast Ganon(dorf), charging magic

phase 3 of the end fight, after phase two he takes out all your friends and tranforms, chasing you (link and zelda) through the ground until breaking through to the surface of the plateau where this battle takes place.

his design is loosely inspired by the smoke version of calamity ganon and twilight princess beast ganon, his face and teeth mostly from the calamity- his back is split open with a shiekah tech spine, given his connection to it via being its power source as well as overtaking it in botw, reddish smoke eminating from it, hes has 5 limbs as he is still missing his right arm, the big dark arms are made of malice and in phase 2 he takes one of those big arms to 'rebuild' his missing one, though it is not as well usable like a real one, his braids carry over thoguh now dark black, when charging magic it lights up in waves; the tail is flat and he moves not all that beast like, more draconic really, able to float for short periods of time and 'swim' through the ground reminiscent of moldoras his attack pattern is changed to fit this appearance, but he still uses magic in varying ways, thouhg swiping and biting after you as well, he will sometimes go for zelda directly but she will usually protect herself in a bubble of light- typical weak point is within the mouth though he makes sure to not give you alot of opportunities, typical staggers migth include destroying a front leg (since those are all made of goo)

my aim with this was to create a beast version both familiar and very different, with the vibe of, this is still him, just another appearance, though angered and more agressive he has not lost himself, perhaps even enjoying it a little, feeling a little more alive again, though he does not care for this world, he is a stranger here, this isnt his time and all that ever mattered to him is long gone, destroyed or forgotten, now all that matters to him is to end zeldas rotten family

Phase 2 and Phase 4 (out of order bc big boar lad wouldnt fit on here)

in phase 2 he 'rebuilds' his missing arm with one taken from the boar form, as it appears afterwards, he changes his sword into a larger one during the second half and can change its hilt length on the fly, making it both a big sword and a spear- the malice arm will be used to mimic some of links abilities, like the hookshot, grabbing onto you from afar, pulling you closer or flinging you around, while still being largely a swordfight with magic- he can aim lightning directly at you just as you can via the shiekah arm and rijus ability, if you are quick enough you can activate it at the same time as he does and catch the charge instead, either refilling your magic meter or deflecting it back at him (like the god ol back and forth)

phase 4 is the final phase after beast (phase 3) his design is a mix of all forms, he is larger than in 1 and 2, furry all over and although much more human again his hair is all smoke like, the armguard fused to his arm like golden scales and the wound in the chest now broken open again with malice eyes staring from within

after phase 3 it seems like the battle is over and zelda steps up to do just as she did at botw end, but before she can finish it a swordslash cuts off half her right hand, as ganondorf isnt done yet and changed from phase 3 to 4; zelda is then disabled for this last fight (no fighting support and repairing weapons), shes been taken to safety by your friends, who finally managed to follow you up here, and you, link, are now the last one standing- his moveset is a mix of it all, quickly changing between swordplay and swipes, magical abilities and grab attacks, it is faster than the previous ones and he dodges much more as well, its meant to really be a challenge

(also heres a sketch of his swords?)

Long plot summary: the shiekah in the service of the ancient queen of hyrule discovered ancient remnants of times long past (aka the old titles, long forgotten) while excavating for luminous stones (as they were developing their tech and needed something to fuel it) that speak of a world threatening evil born as the king of the gerudo, which the queen takes as a warning of the past, and as there currently is a ganondorf as the gerudos king who refuse to unite under her banner but are otherwise on neutral terms she plans to imprison him in a stasis between life and death before he can become that world threatening evil she now believes he is destined to be in order to save everyone and delay it from returning as long as possible (assuming there will be no other male gerudo born while the current one is technically still alive)

(the discovery of said remnants of the past also involves the shiekah persecuting the sonau (zonai), little shy cave dwellers who keep their distance from everyone and have kept these last ruins save but secret bc they thought it could lead to disaster seemingly aware of the ever repeating cycle and believing it to be not divine but a self perpetuated one built on the one sided history of the past, self fullfilling prophecies, which is a threat to hyrule and its golden legacy)

its a plan enacted over years, including secretly manipulating things to make the gerudo farmlands wield bad harvests (NOT in a 'desert was green and lush uwu' way, but they have had their techniques to thrive), forcing them to trade with hyrule and starting to depend on it- the goal being to put ganondorf under so much pressure until he is willing to let go of their sovereignity for the sake of his people or otherwise willing to talk, the meeting with the queen however would be to lure him into a trap and enact the seal

ganondorf here is a new one, he is named so in honor of old myths and legends, he is older (50+) and has two daughters, a proud king and firm in his stance to not bow to anyone yet wanting to avoid conflict for the sake of his people and family; he learns of the scheme before its fully realized, including that the many years of failing crops and dying animals might not be a play of nature after all (through hyrule soldiers talking too much after a having a few too many drinks? something something about their view of the gerudo, since thats always in the games, lets make use of it no?) he sends messengers and messages to the queen, requesting an audience, but she rejects all of it and refuses to talk with him, as the plan isnt fully prepared yet and she has become fearful of him over the years of obsessing over the warnings of the past and the worlds fate, as she sees it, depending on her and the success of it

at some point he has had enough of it and disguises himself and his two most trusted advisors/warriors (potentially his mothers?) as the shiekahs leader and two underlings to finally get to the queen, aiming to confront her about everything- it works and they are let into the castle, overwhelm the guards locking the doors so its only him, his advisors and the royal family with a few taken out guards etc. the queen sees this as a confirmation of his true nature coming through though- he can see there is nothing he could do to convince her he is not what she thinks he is, he attempts to be diplomatic but she is unwavering in her faith

she gives him a choice, to be sealed willingly so he can be remembered as a noble king who gave his life for the world before he became the beast that would threaten to destroy it all, or refuse and risk war and defamation. he refuses of course and a fight ensues, escalating to the point of the throne room itself being send below the earth and the death of everyone within it, with the exception of the young princess of hyrule (who will go on to keep this secret safe and spin the story her way)

it is implied that ganondorf had not told alot of people about hyrules schemes, wanting to deescalate the situation and it ending in a way no one anticipated, but theres remnants of old gerudo villages hidden away as some stayed loyal to him, likely of one of his daughters, as the world turned his legacy into a frightful tale and the gerudo falling under hyrules rule, one chose to resist as the other chose to bow

( .. i hoped to strike a balance between what i like and what zelda stories usually amount to while leaning much more clearly into a hyrule critical lense .. without, hopefully, being too overtly so)

(i thought about making the mid game cutscene into a rough comic or storyboard but im honestly very unsure about it all again q-q)

(i hope this version is better, i will never post these drawing again i swear im done with this part ..)

[inamindfarfaraway]

I would find Blondie Lockes very annoying in real life, but I love her in fiction. She's a genuinely good journalist in terms of both skill and ethical integrity, who only occasionally forgets to check the facts because she's fifteen and holds herself accountable when she does. She has incredibly high standards for everything and believes herself to be the ultimate authority on quality. She has magical lockpicking powers because her fairytale is about Goldilocks breaking into a house. She somehow completely ignores the story's moral that Goldilocks was wrong to break into the house, feels entitled to go wherever and help herself to whatever she's able to and cannot comprehend why people dislike this. She's been terrorizing an anthropomorphic bear family with her cheerful disrespect for privacy and is convinced that they love her. She has a non-anthropomorphic pet baby bear. Her motivation is dependence on external approval rooted in deeply internalized classism. She's desperate to be useful and important to those with higher social status and feels the need to lie that her family is technically royalty to fit in with her royal friends, even though they treat commoners like equals all the time. She positions herself as a conduit of true greatness; closer to it than the masses, but never the hero, always reporting on other people and evaluating what they've done. Because what she's done isn't enough to be worthwhile. What she is isn't enough. But this performative lifestyle makes her anxious about being judged as a fraud and an interloper, and ashamed of selfishly transgressing against social norms. Her microphone head looks like an adorable little bear head. That's one hex of a character alright.

[heliomanteia]

I think Nico's ability to survive is less so about his will to live and more so about his refusal (less so personal and more so narrative-wise) to die. Nico, for the lack of a better word, is like a cockroach: you cannot kill him in a way that matters so he survives and keeps haunting the scene.

There was once a marvelous post on Nico's function as a narrative tool and it was so beautifully pointed out that he's a near-omniscient deus ex machina (to simplify) which cannot be overlooked when characterizing him. Nico carries so much narrative weight on his back (which arguably could be an example of either good or bad writing depending on your perspective) that he cannot just go and die.

His road towards healing (though definitely not walked alone/individually) is his own, that's his choice to make as a character, but his disposition as a guy that perseveres resides more within his function, in my opinion.

He's not the tragic prince doomed for self-destruction people often draw him out to be but his capacity for survival is also not a product of his continuous work as a character, at least not just that — but is rather a result of his narrative function. Simply saying, you cannot, narratively, kill off Nico di Angelo.

[dennisboobs]

:) i certainly have no issue dressing in drag :)

^guy who has no issue dressing in drag btw

glenn said that dennis' drag name is victoria von hemen btw

(Source)

[turtledotjpeg]

girls who go 🧍

[anghraine]

TMP is honestly this wild trip despite the glacial pacing at times, because it's like—

Vulcan woman: Spock, you've worked hard to purge yourself of all emotion, but your mind is picking up signals from some human and I guess some logic thing in space. my conclusion: you aren't racially pure enough to find your answers here

Spock: time to track down the pure logic thing and find the answers and meaning in my existence as a Vulcan that I've been searching for all my life and definitely never found in the past before all my previous character development got reset

[Meanwhile]

Kirk: so this unknown cosmic force is going to wipe out all life on Earth, and I've been placed in charge because I have a lot of experience dealing with bizarre dangerous cosmic shit as commander of this specific ship, in addition to my missing being in space because I was pushed into the admiralty at, like, age 39

Decker: *throws a series of tantrums about the prioritization of all of Earth above his ego for almost the entire mission*

Ilia: I have taken an oath of celibacy

Kirk: ... not super relevant. please just do your job

[Also, the transporter painfully melts some people we don't know into unrecognizable lumps of flesh. This is completely disconnected from the rest of the movie; it has no relevance to anything else, is immediately forgotten and never acknowledged again, and everyone acts like Bones is silly and paranoid for being nervous about going through the transporter]

Uhura: I think Admiral Kirk is obviously the person most qualified to command our incredibly dangerous and important mission, and we're damned lucky he got put in charge. if anyone cares

[everyone else]: *doesn't care*

McCoy: Jim, maybe you shouldn't make your mid-life crisis everyone else's problem

Decker: yeah! I should still be in charge! my solution is "don't take risks" when encountering the unknown and wait until systems are 100% safe before we do anything

Kirk: again let me reiterate that we need to act decisively even if it's risky or billions of people will die. we have to at least try, so waiting is not an option here

Spock: *shows up and, despite being icy and dismissive, immediately fixes all their most pressing technical problems*

McCoy: maybe we shouldn't trust him. he has his own agenda now

Kirk: wtf of course we can trust him he's Spock how dare

[Kirk quickly figures out the changes to the bridge, and from then on, his judgment and decisions are pretty much continually vindicated by the plot. Decker's advice goes from temporarily useful to unprofessional constant jabs with little sense of the real stakes and no better ideas. It becomes extremely apparent that Kirk really is far better equipped in temperament and experience to deal with the potential slaughter of Earth than Decker, especially when assisted by Spock—even this arctic version of Spock.]

Spock: *knocks out a crewman, steals a spacesuit, and tries to make contact with the cosmic acid trip/space vagina by traveling through what he unenthusiastically describes as its "orifices"*

Kirk: I ... guess maybe Bones was - no, it can't be - wait a moment, I -

Spock: *starts transmitting all the data he's gathering to Kirk*

Kirk: hah, I knew he would never betray me! Okay, everyone, you all stay here, I'm going to jump into space to catch him

[Spock melds with the cosmic space vagina and it violently ejects him through various orifices, as he might describe them, until he's thrown right into Kirk's arms, signifying nothing]

Bones and Chapel: melding with the cosmic logic vagina seems to have fried his brain :(

Spock, laughing: I should have known ...

Kirk: *seizes his shoulders* known WHAT Spock what are you talking about. please tell me your mind is intact. sweetheart it's okay what are you full of shame about this time *tries to shake the brain damage loose*

Spock: Jim ... I melded with the supreme logic being and discovered that there's no beauty or art or meaning in raw information or logic ... only a barren STEM hellscape without the humanities

[Spock slides his hand down Kirk's arm until their fingers wrap around each other, and their joined hands tightly cling together. unrelatedly, we have definitely seen Vulcans and Romulans use finger stroking as kissing and/or foreplay]

Spock: it was awful and empty and not at all what I've been searching for this whole time. and finally I understood that the real meaning in life comes from the simple feeling between you and me. The mechanized space vagina couldn't understand our love

[Kirk wraps his other hand tightly around his and Spock's clasped fingers. God knows what degree of obscenity they would be committing on Vulcan, but in any case, McCoy (as ever) politely pretends he's not seeing this happen right in front of him, since Kirk and Spock obviously have forgotten, yet again, that other people exist]

Kirk: 🥹🥰

[They stare tenderly at each other without speaking for a few seconds, but are definitely communicating on some level; after a moment's hesitation, Kirk nods slightly, then Spock nods in response, and it feels like we're missing half the conversation. Then Spock explains V'ger's existential angst in terms that obviously apply equally to his own past self, and by past I mean "for most of this movie until a few minutes ago"]

It turns out that V'ger, in addition to being a cosmic acid trip/space vagina/mass murderer, is also an annoying teenager, maturity-wise. I do appreciate Kirk and Spock having their "this is just adolescent angst and we are too middle-aged for this nonsense" reaction, and noping out to provoke V'ger into some measure of cooperation until they all figure out that it's trying to communicate with NASA.

In the course of all this, there's a point where Decker manages to be mildly helpful via the Ilia probe sort of remembering their old relationship, and he proves his value at last by welcoming the chance to orgasmically fuse with Ilia/V'ger, while Kirk is horrified and baffled at why Decker would find this remotely appealing. (ngl Kirk in this movie feels like the most purely gay-coded iteration of him; from the film itself, I could easily believe he has lost all attraction to women at this point.)

So thankfully, we're finally free of the weird and underwhelming Decker/Ilia duo via multiple cosmic acid orgasms, and the Earth is saved, etc. In aesthetics, it's all powerfully 70s, even in the awesome strange bits before V'ger looked quite so, uh, yonic. Somehow even the new bland sleepwear version of Starfleet uniforms seem very 70s; apparently Spock's kickass robes and the muscle-revealing quasi-polo top that Kirk promptly switches into consumed all available stylishness.]

Scott: everything's fine now, so I guess we can drop you off at Vulcan, Mr. Spock

Spock: my experiences today have, uh, resolved my need to stay on Vulcan, so there's no reason to detour for me. I'll just tag along to Earth for >_> no reason

Kirk: [deeply vindicated for about the twelfth time that day, but this time also managing to exude Spock is getting laid tonight without saying a word about him] Mr. Sulu, ahead, warp one.

[bentnotbroken1fanfiction]

Fadel and Style dancing at their wedding.

Style: Hey, I wonder what Popcorn and Jimmy are doing these days. 🤔🥰

Fadel: I know what Jimmy better NOT be doing 🤬