#give my girl some love PLEASE

[danceworshipper]

Writing my first ever x reader fic because if no one else will write for Natty then dammit I will

[kicktwine]

mmm… noodle….

[mattodore]

finally opening the sims so corn can make a friend—so long as he keeps his fangs to himself. she doesn't want her blood drained, corn 🫵 @squea

[butterflysonnets]

yes i'm rooting for m*leven breakup because byler is neat but mostly? i'm rooting for m*leven breakup for the sake of el and mike.

to me, their romance was always a puppy love born out of a combination of social pressures, naïve curiosity, and a lack of true understanding regarding intimacy and romantic love and what it really is. it was real in that they do truly, deeply care about each other and they are close friends, maybe even shared an attraction, but a maturing romance is so much more than that. they've grown up and out of being boyfriend/girlfriend, and that's okay! i think television/film needs to show more often that most of us don't have definite "soulmates" or first childhood loves that we spend our whole lives with. it doesn't mean these relationships meant nothing and didn't impact us, it just means they've run their course and that something else is in the cards, and this is part of life!

i've always felt el was at her best and most confident self when broken up with mike, discovering who she was and what she liked alongside another girl her age instead of just relying on mike for mentorship on how to live in the real world. she deserves more of an opportunity to find herself, her autonomy, and her independence, and to love who she is, and she's made it clear she's felt insecure in the relationship with mike because she isn't being loved and understood the way she wants, needs, and deserves from someone who is her partner.

also, it's okay if mike doesn't love her in "the way he should". he is not obligated to love her romantically and stay in a relationship with her just because she's a girl, because she "needed someone", or because he cares about her a lot. he shouldn't be pressured into a romance if it's not truly coming from his heart. he deserves freedom to find out and honour who he is, too, instead of just staying in his non-functional first relationship — one he got into as a child, essentially — and defining himself that way because it's what's expected when a boy and a girl are close. he loves her in some way, yes, but it's okay if he doesn't feel comfortable or secure being her boyfriend anymore, for whatever reason that is. he's felt insecure too, and that's valid and it matters.

they are their own people and are steadily growing and changing every day. they need time to figure out who those people are, and it's become clear (at least in my opinion) that those people aren't meant to be a couple at this stage.

they deserve freedom. they deserve to grow up and be authentic to themselves and not feel like they need to lie for the sake of a relationship. they deserve to move on from this version of their relationship that isn't making them happy and rekindle the best part of their bond: their strong, beautiful friendship. they don't have to be a couple if it doesn't make them stronger and better and happier people.

i think it would be healthy and wonderful for a show, especially one consumed frequently by young adults, to show a relationship starting, progressing, and ending on good terms in this way. sometimes things don't work out, and that is okay.

[harvestmoth]

hi spoiler embargo ended. get rejuv blasted

[derpinette]

SPERG YOUR HEART OUT

[aitsuheart]

I've been trying to write longer things but because of that I'm often getting writing blocks.

Here's a short wip of one of the fanfics I'm writing, the fanfic is basically Kari's POV through what happens. It's about her thoughts and her friendship towards Riku and Sora.

I added a scene during KH2 after Kairi sees Riku where they talk about what Riku did.

[poorly-drawn-mdzs]

not really an ask but MY SIBLING DREW YOUR FAIRY FANART!!!!!!!!!

we both love her

AAAA IT’S FAIRY!!!!!

[weaverofink]

my future adult cassie design!! she is absolutely thriving

[cannotgiveafuck]

Hhmmmm I have been inspired. Have a Constantine and Billy drabble.

“Hey, John, you there? John? Hello? Is the mirror on? Jooohhn! I can see you, ya know. C’mon turn around! C’moncmoncmon pleeeaaas--”

“Oh, for fuck’s sake!” Constantine threw the scrolls down on the desk and whipped around, snagging the cig from edge and glaring at the two-way mirror that sat innocently upon the bookshelf, right where he left it. Right where he could see and hear for whenever one trouble-prone Billy Batson could reach him. The little shit was lucky John deemed pants a worthy effort that day. “What?”

Billy grinned at him, all bright eyed and apple cheeked and very obviously up to no good. It was hardly a wonder why John liked the brat so much. “Do you know how I can get to the veil without actually going through it? I mean, how Marvel could?”

Sometimes, he also really hated how much he liked him. 

Through the steady stream of smoke as inhaled and exhaled, John squinted suspiciously at the kid as he tossed the words about in his head for a moment. “Why the fuck do you wanna go there? Not trying to bring someone back from the dead, are you? Cause necromancy is nasty shit, especially for the Big Cheese.”

“No! I am not doing necromancy. I just need to get to the... the midpoint. Not quite here, but not there yet.” And he said all that in a way John was sure Billy thought he was being rightly clever. That he could dance around saying outright what he wanted, using half truths and side steps, as if John Constantine wasn’t the fucking master of that particular game.

“You mean you wanna get to the Crossroads.” It wasn’t a question.

“Yes.”

Well, John had to give him that - he knew when to not bullshit the bullshitter.

“No.”

“John--!”

“Do you even know what the Crossroads are? Literally and figuratively and spiritually - do you?” 

“I mean--”

“No, no. Lemme finish.” He took a long drag just to give the kid time to pout and rethink whatever nonsense he wanted to get into. “The Crossroads aren’t for the likes of you nor me, got it. Because you know who resides?”

“Well, kinda--”

“The fuckin’ Fates, that’s who! And unless you’re going to them to tell personally and explicitly to fuck off, you’re not setting foot passed this plane of reality. Understood?”

Billy sighed loud and dramatic. A 50/50 on if John’s words got through. “I’m not trying to contact the Fates, John.”

Oh. Well, that was good. 

Still, woulda been a joy to hear about bright and shiny Champion of Magic telling Fates to shove it.

“Then, why the fuck- This isn’t another stupid fuckin’ game Klarion is trying to rope you into, is it? Or a sorry sob story some poor dead sop gave to you about not wanting to move on? Cause there is no goddamn reason you should be having any sort of business there.” And the more Billy delayed telling him the actual truth, the antsier John got. But he knew, deep in his rotted, wicked heart, he knew how to follow these steps. Knew the script Billy wrote by because that was how he lived this long - testing the waters before going head first. John appreciated every wary bone in that kid’s body. Something had to balance out the overwhelming sense of compassion.

This time when Billy sighed, it was more resigned. More coming to terms with the inevitable fact that he was the one that contacted John because he needed to know something, and no matter what, John would tell it to him straight. Wouldn’t tell him no on the sole basis of whatever bullshit the League of Goody Fucks would feed him. Constantine may still very well say no, but he at least gave a good damn reason, thanks.

Blue gaze right on John, “I have business there cause I need to contact the Goddess Hekate to invite her to dinner.”

Oh, for fucks sake.

“Oh, for fucks sake, kid.”

[nellygwyn]

I feel like I'm going insane reading all the terrible information coming out of the currently on-going trial of the alleged murderers of Brianna Ghey, a transgender teenager who was murdered here in the UK several months ago, some of the most bleak shit imaginable, allegations of months and months of attempts to poison Brianna (and then finally resorting to stabbing her multiple times), very explicit transphobia in a lot of the leaked transcripts (including Boy X, the male teenage alleged murderer, writing that he wanted to see if Brianna screamed like a man or a woman) juxtaposed against TERFs and general transphobes rushing like vultures to a rotting carcass to "correct" journalists who are using she/her pronouns for Brianna, turning themselves inside out to try and make excuses for murder (I know a lot of autistic people fyi, and they don't horrifically murder trans people or anyone lol), and making sure to remind everyone that the killing had nothing to do with transphobia (because it was never explictly charged as a hate crime), not at all, the alleged murderers of Brianna were just looking for some rando to kill. Like.....are you all collectively hallucinating a scenario where YOU look like the morally decent people in a situation where you are bending over backwards to diminish the brutal death of a 16 year old? Even if it could be proved 100% that transphobia played no part in Brianna's death, you still look like freaks. Seriously.

If you can even make the horrific murder of a teenager all about you and your foulness, you are very very sick.

[guiltyonsundays]

In defence of Will Ladislaw

George Eliot's characterisation of Will Ladislaw is one of the few aspects of Middlemarch that is not universally praised, with no less a person than Henry James commenting in 1873 that he lacked “sharpness of outline and depth of color”, making him the novel’s “only eminent failure.” And while Will's character is certainly not as clearly defined as some of the other characters in the novel, I believe that this was absolutely intentional on Eliot's part. Middlemarch is full to the brim of characters who believe they know exactly what they want—not least among them, our two protagonists, Dorothea Brooke and Tertius Lydgate, whose ardent ambitions and inflexible attitudes lead them into catastrophic errors of judgement and unhappy marriages.

By contrast, Will's lack of strongly defined goals and his changeability are almost his defining character traits. He's aimless and pliable, prone to rapid mood swings and drastic career changes, with even his physical features seeming to "chang[e] their form; his jaw looked sometimes large and sometimes small; and the little ripple in his nose was a preparation for metamorphosis. When he turned his head quickly his hair seemed to shake out light."

Will’s inscrutability is closely tied to his ambiguous status within the rigid class structure and xenophobic society of Victorian England, with his Polish ancestry and “rebellious blood on both sides” making him a target for suspicion. He is repeatedly aligned (and aligns himself) with oppressed, marginalised, and outcast populations—Jewish people, artists, and the poor.

He serves as a narrative foil for characters like Lydgate and Edward Casaubon, who prioritise specialist expertise above all and are consequently incapable of broad knowledge synthesis. He critiques Casaubon's life's work as being "thrown away, as so much English scholarship is, for want of knowing what is being done by the rest of the world." By contrast, Will serves as Eliot's defence of the value of a liberal education. One of the first things that we learn about him is that he declines to choose a vocation, and instead seeks to travel widely, experiencing diverse cultures and ways of life. He has broad tastes and interests, trying his hand at poetry and painting before eventually pursuing a career in politics.

He also functions as a narrative foil for Dorothea. Will is initially apathetic to politics, whereas Dorothea initially professes herself to be disinterested in art and beauty. This is perfectly encapsulated in their exchange in Rome, when Dorothea declares, "I should like to make life beautiful—I mean everybody's life. And then all this immense expense of art, that seems somehow to lie outside life and make it no better for the world, pains one", to which Will replies, "You might say the same of landscape, of poetry, of all refinement [...] The best piety is to enjoy—when you can [...] I suspect that you have some false belief in the virtues of misery, and want to make your life a martyrdom.”

By the end of the novel, Dorothea unlearns some of her puritanical suspicion of sensual pleasure, whereas Will becomes more serious, compassionate, and politically engaged, dedicating his life to the accomplishment of humane political reforms. They are both flawed individuals, who ultimately become more well rounded through their relationship with each other. Admittedly, Dorothea's influence on Will is more significant than his on her—and once again, I believe that this was intentional on Eliot's part.

In my opinion, the negative response to Will Ladislaw at the time of Middlemarch's publication (and in the centuries since) was and is profoundly informed by gendered expectations of masculine dominance in romantic relationships. Will's marriage to Dorothea has often been described as disappointing, with many readers and critics viewing the ambitious Lydgate as the embodiment of the ideal husband that Dorothea outlines at the beginning of the novel—a talented man engaged in important work for the betterment of humanity, to whom she can devote herself.

However, one of the central themes of the novel is that people are often mistaken in their beliefs about what they want, and Dorothea's marriage to Edward Casaubon certainly demonstrates that she would not in fact be happy living her life in submission to a man who does not respect her opinions. I firmly believe that Lydgate's misogynistic attitudes and expectations would have made it impossible for him to be happy in a marriage of equals with a woman like Dorothea. He is explicitly drawn to Rosamond Vincy because she has "just the kind of intelligence one would desire in a woman—polished, refined, docile."

By contrast, George Eliot made a deliberate choice to pair Dorothea with a man who is not ashamed to be influenced by her, and indeed looks up to her as his moral superior. Through Dorothea's influence, Will discovers his life's work. In turn, by marrying Will, Dorothea is able to pursue her true passion. As a result of their influence on each other, these come to mean the same thing—reform. Thus, George Eliot grants Dorothea Brooke a subversively feminist, politically progressive, and profoundly cathartic ending: a life of companionate marriage, sensual pleasure, and meaningful work, in which Dorothea can devote herself (within the limited means available to her as a woman in the 19th century) to the achievement of just and compassionate reforms that "make life beautiful" for everybody—herself included.

[yoohyeontual]

𝕋𝕣𝕒𝕚𝕟𝕖𝕣 ℍ𝕒𝕟𝕕𝕠𝕟𝕘 𝕨𝕠𝕦𝕝𝕕 𝕝𝕚𝕜𝕖 𝕥𝕠 𝕓𝕒𝕥𝕥𝕝𝕖 ! 💖

Mine - Do not repost

[mcybree]

considering my brand is bitching about FH all day, sometimes I feel bad at convincing myself wcsmp didn’t end well for scott and milo. Like damn girl leave him with SOMETHING…

[enigmasandepiphanies]

I think some of y'all (people in uni) were never 15 and read, "we accept the love we think we deserve" and sobbed while reading perks of being a wallflower and it shows

[nilesmoon]

infinite wealth if sawashiro said "who gives a shit about ebina im going to hawaii with ichi" and then the rest of the game is a family vacation