#i blame those two up there for it

[bon-sides-sw]

Question: whose Cal Kestis other parent?

On another day I would have told you that can be anyone, even a random stranger he met on a bar- BUT THEN, @babygirlbridger and @krispyswips infected me with the brainworms via discord chats and this Fic [To Out Halcyon Days] (E) that I'm so obsessed with!!

So yes, is Quinlan.

But Obi and his stewjoni biology are so powerful that his womb just photocopies himself.

[poorly-drawn-mdzs]

I'm not going back to Gusu with you.

[First] Prev <–-> Next

[madevampselle]

Happy Dreamy Bogosian Green Eyes Friday!

Interview with the Vampire S02E04

Thank you so much to slitwrstsavior on Twitter!

[dreamofcamelot]

what do you mean this is a fan art I made while in the dentist waiting room and not a real piece one of their servants made on a parchment back in the 12th century

(meme under the cut)

[theduckseeksduck]

Just properly cried for the first time watching spn. Fuck you ending of s15 ep3.

[coconut530]

Some derps for the past three Malevolent episodes ~ 🕷️👩🏻🎄

[dutybcrne]

Thinking abt Kae’s Fatui verse,,,,

[emotinalsupportturtle]

Crowley came up with this, Crowley came up with that, whatever… Crowley and Aziraphale came up with biodegradable paper straws together.

[old-stoneface]

jingo handcuff scene tribute. i wish i could draw more of this scene between vetinari and vimes but . i think it would make my head explode. i like them.

theres some suggestive drawings under the cut.......

first one is from august 2023, the other is from a few days ago. posting them together bc theyre pretty much a set dfkjglfdk i wasnt planning on drawing two images of vimes in a collar with vetinari holding his leash, but, well, it all comes to me in beautiful visions

[revvethasmythh]

An idle thought, really, but I think it's interesting to see fandom latch on the metaphorical interpretation of things like Laudna's relationship with Delilah as a metaphor for addiction or Imogen's psychic powers as a metaphor for either chronic pain or queerness, but there's much less attachment to or discussion of the characters who explicitly, canonically dealt with exactly those things. By which I mean Scanlan's substance abuse, Veth's alcoholism, and even Ashton's chronic pain (which feels like it was discussed much more before it was confirmed canon, and seems to be brought up mostly just as ship fodder these days). I suppose one could argue the devotion to the metaphorical interpretations lies in the fact that it's an interpretation of canon as opposed to being explicitly so, meaning there's more wiggle room to project a personal interpretation onto it. Explicit canon is more concrete, less malleable to the individual viewer. Still, if we're going to talk about addiction now in a metaphorical sense via Laudna, it leads me to wonder if we will see further discussion of the characters who explicitly dealt with addiction (Veth and Scanlan), as opposed to Laudna's purported allegorical version of it

[sukibenders]

The way people are becoming anti-children nowadays is really sad. And I'm not talking about people not wanting to have kids of their own, that's fine and something that shouldn't be shamed nor up to someone else to debate. No, I'm talking about the people who adamantly hate these little humans for simply existing, wanting to ban them from spaces due to them having emotional reactions that they are still learning to understand (you know, the kind of lessons that everyone had to learn and figure out at one point). It's gotten to the point where I've even seen these types of people genuinely support children being harmed and deny their hurt under the consensus of "Well then maybe they shouldn't be there," in your average public space. Like, imagine thinking hating on children, people who need assistance and guidance, is something to be proud of.

[pkmoth]

having swap au thoughts. *slaps roof of claus* there's so much mental illness in this guy. im gonna blow up everyone in the room and then myself

[kqluckity]

how some people can look at Zhongli and Venti's dialogue during this Lantern Rite and interpret it as beefing instead of, you know, flirting truly blows my mind? like it's not just what they're saying, but also the way they're saying it. it's flirting, they're flirting. and even if they aren't flirting, that's obviously an inside joke? look at Venti's face when Zhongli acts like they're strangers, does it look like someone who can't stand the other and isn't willing to play along with the other's dumb idea? please. I don't understand how people can still think they hate each other even tho it's established that they're friends, not only through items lore and their own character stories (I really doubt someone like Zhongli would let a guy he hates forge his sigil, let him destroy his precious vase, let him pour wine on his head, and then yearn for him for 500 years bffr), but also in the first Liyue Archon quest Zhongli talks about "a friend from Mondstadt" who used to bring him wine all the time, and Venti has a "refined gentleman friend from Liyue" he wishes he could spend more time with. a friend he still visits often, so much so that madame Ping commissioned Tubby to make a Mondstadt-inspired house for the teapot with good acoustics so he could play inside with no problem.

[twitterdotcom]

I know it's been said before, but I think my biggest gripe with Izzy's death is that it felt like it was written and finished before S1 was even done, and then S2 was written like "ok Izzy dies this season so we have to make sure the audience feels sad about it." So they developed Izzy but never went back to the original script for the death scene and instead just went with the original draft despite literally all of S2 (and some of S1) contradicting what was supposed to be the emotional core of it

[murdoc]

if you told me two months ago id go from a 22/hr job to getting rejected for a floor position at cvs id never believe you.. and yet here we are

[flowercrowngods]

cw suicide mention & imagery

original play idea where people seem to live their normal lives but the audience gets the feeling that something’s wrong, there’s a tension and there are things that obviously go unsaid that hang in the air between the characters uncomfortably long enough until the last member of the audience has filled in the blanks in their own way.

there is a figure off to the side, a very young man in a suit, watching them, unmoving and silent, and as the scenes and progress, as characters leave and appear, as the setting changes, the young man is always there. no one interacts with him, but there are moments when they almost do. when the characters stop what they’re doing when they stand close to him, and appear to listen. but there’s nothing.

the sound of TV news reports, all playing over each other, create an uncanny and uncomfortable buzzing that never, never stops, and there are too many to really make out the words. they get more silent the closer they get to the young man in the suit, quieting down to nothing when they stand by him to listen — but the characters seem unaware of the change. so does the young man, statuesque though he is.

then there’s a little girl, covered in dirt, her hair askew, her cheeks rosy — the image of having spent the day outside, playing in the dirt, a smile on her face, her eyes big, as she skips towards the young man and asks, “can we go now? can we play?”

the young man cards his hands through her hair and says, “you go ahead, i’ll be right there.”

but still he stays there, seated.

everything continues as before, but the characters slowly undergo a complete change in character, in routine, in appearance. the old man who wore suits is not dressed in sweats and old, worn out, dirty shirts. the sweet, kindhearted young adult is now quiet and apathetic. the woman who, in the beginning, was talking her friend’s ear off and could barely stand still is unmoving now, staring out into nothingness.

the buzzing and bustling background noise is slowly, gradually getting louder as the characters become increasingly nonverbal and unmoving. the lights dim down.

then all at once, after a crescendo, the noise stops suddenly, the lights turn off completely, before, with warm, yellow light, a woman we’ve seen before — as she stares into nothingness — appears on the stage, slowly approaching the young man as if unsure of her body but undeniable in her grace.

they smile at each other for a moment.

m, whispering: you’re not supposed to be here, not yet

w, cradling his cheeks: i was always supposed to be here long, long before you

m: i know. i’m sorry, i—

w: i know. i forgive you. i’ve always forgiven you

m, after a while: but not yourself

the woman shakes her head.

w: a mother will never forgive herself for burying her child, and a father will forgive himself even less. (a beat) you have such a handsome face.

m: it’s not your fault

w: so beautiful, those eyes, i’ve missed you so much

m: listen to me, it’s not your fault!

w: and your hair! papa would be so glad to know that—

m: mother. mama. listen to me. it’s not your fault

w, tearful and whispering: you were supposed to be fine. you were always supposed to be fine. it was never supposed to be this bad, we were supposed to help, but—

m: i know. i tried, i really did. both times

in that moment, the little girl comes skipping on stage again, approaching them with her wagging ponytail.

g: what are you doing here, mama? will you play with me now? it’s been so long!

the woman gasps, her tears getting the better of her as she falls to her knees and pulls the girl to her chest, who readily returns the hug

w, sobbing, kissing her cheek: hi, baby. yes, i’ll play with you, of course i will. let’s go.

the young man helps his mother up, allowing her to pull him into a hug, and she whispers: “as much as i love her with all my heart, i’m so proud of the young man you’ve grown into. and now i have you both, just as i always did.”

the young man brushes a kiss to her cheek, then lets her go, watching as his mother disappears with the little girl.

m: i have to stay a while. i’ll follow you soon.

(woman and girl, hand in hand, exeunt)

the lights dim, and the buzzing returns, accompanied by the sound of dragging footsteps the audience cannot see, until everything’s back in total darkness. the noise stays. growing louder in increments, leaving the audience uncomfortable and unsure if this was it.

as they quiet down, we hear a man, sobbing uncontrollably, before eerie silence takes his place, too.

the curtain falls.