#i have been so normal about all of these

[screaming-universe]

just a random short list of buddie fics that are AUs based on books/movies, and that I like a lot 🧡

my sun, my moon, my guiding star by diazs (75k, rated general audiences), aka The Martian AU  

Astronauts Diaz, Han, Panikkar, and Wilson were all safely able to reach the Mars Ascent Vehicle and perform an emergency launch at 7:28 a.m. central time thanks to Commander Nash's quick action. Unfortunately, during the evacuation, Astronaut Evan Buckley was killed when he was struck by debris. Commander Nash and the rest of his team are now heading home… but Evan Buckley is dead.

to the waters and the wild by june_nights (@beecauseevan) (64k, rated teen and up audiences), aka The Scorpio Races AU 

The stranger turns. His eyes meet Eddie's and Eddie's breath catches in his lungs. The seagulls, the chattering tourists, the wind, it all fades away. Across the harbor, the man smiles. Eddie feels that smile in his toes. Someone bumps into him, breaking the spell. Eddie takes a deep breath. The salty harbor air fills his lungs. He doesn't allow himself to look back at the ferry. He doesn't allow himself to wonder about that man. He's a tourist and he's here in the middle of October. He wants to ride in the Races, and that means Eddie will stay far, far away. Or: The Scorpio Races are Thisby's oldest, most beloved and deadliest tradition. Three years ago, when tragedy forced him to give up riding for good, Eddie swore he would never look back. It turns out life may have other plans for him.

Hymn to the Sea by @sevensoulmates (52k, rated explicit), aka Titanic AU

It was the unsinkable ship of dreams to everyone else. To Eddie, it was a slave ship, taking him and his son back to America in chains.

even when you’re sleeping keep your eyes open by @spaceprincessem, aka The Hunger Games AU, a series:

you and i’ll be safe and sound (51k, rated teen and up audiences)

“Our second tribute from District Twelve is Evan Buckley.” Eddie’s eyes snap up and he’s pretty fucking sure his heart stops beating all together. If he lets his eyes flutter close he can feel the patter of rain, harsh and ice cold, against his skin. The way the air saturates with the smell of burnt bread. He can see the shape of a boy thrown out into the mud, hands cradling something precious in his hand. The way that bundle was placed in Eddie’s own, shaking palms as a voice whispered, I’m so sorry I can’t do more before he was gone. But Eddie doesn’t let his eyes close. He watches as Evan Buckley — Buck, please just call me Buck — ascends the stairs to take his place next to Eddie. Not you. Please. Anyone, but you. [or the buddie hunger games au]

but when it’s over i’m still awake (52k, rated teen and up audiences)

Eddie doesn’t have to guess which name will stand alone on Reaping Day. He’s going back into the arena. Eddie doesn’t hesitate as he takes off out of the house at full speed. If his family is calling after him then he can’t hear a single word. Not with the blood roaring in his ears and the desperate urge to run run run pumping thunderously in his veins. He needs to get out of here. Out of District Twelve. Out of Panem. Out of his skin and this body doomed to go back to the one place he was supposed to be safe from. He doesn’t want to go back into the arena. He survived. He got out. He’s a fucking victor. But, of course, who is ever really safe in a place like this? [or the buddie catching fire au]

[puppyeared]

learned something about myself lately

[morganmnemonic]

I can't stop thinking about the relationship between Jon and Helen as perhaps one of the most important ones in the entire show. They are narrative parallels for each other, and they both know it. They've both known it from the very start!

Helen walks into the Archives, paranoid, unsure of who to trust, and Jon sees himself in her. And he thinks "If i can help her, maybe there's hope for me too." Then he can't save her. The next time they meet, she's a monster. They're both monsters. There was never any other way their stories could have gone, their fates entwined from the very start.

And Helen answers his original thought with one of her own: "Maybe if we can help each other, there's hope for us both." But Jon looks at her and sees everything that he fears becoming, and so he turns her away, and refuses to accept that their stories are still one and the same.

Helen went to the last person who was ever kind to her, the only person who both knew her as a human and had the context to understand what she'd become, and he hated her. He hated her because he liked Helen, and told her that she couldn't be Helen.

So she stopped trying to be Helen, and embraced being a monster. Reveled in it even. Then Jon wakes up from a six month coma, more monster than person, and tries so hard to cling to the things that mattered to him when he was human. Even with no support, even with the entire archives staff against him, he chooses humanity and compassion over and over again.

And this is a direct threat to Helen's world view. Their stories are entwined. If Jon can continue to be a person even after everything he's been through, then she could have clung to her humanity too, if only she'd tried a little harder. And that terrifies her! She wants to conceptualize herself as someone who was completely overwhelmed by forces beyond her control, who never had a choice but to become a monster. She want's to be an innocent victim. But Jon argues with his actions that they'd both had choices.

And, Jon, in turn, holds out hope that she might make better choices until the very end.

This is the conflict between them for all of season 4 and 5. Jon wants to prove that they can both be decent people, and Helen wants to prove that they were never going to be anything but monsters. This is why she's so devoted to trying to goad Jon into enjoying his newfound godhood. She knows that they are the same, and wants that to mean that he has a spark of evil inside of him, and not that she was always capable of doing good.

When Jon kills her, she loses her life, but wins the argument. Helen is nothing but a dangerous monster who needs to be killed for the good of everyone, and in the moment he decides that, Jon dooms himself to the same fate. Their stories are one and the same. "If i can help her, maybe there's hope for me too." he thought. But he couldn't help her, refused to, even, in the one moment when it actually mattered. And thus, there was never hope for him.

[madamemiz]

sad: falling out of a hyperfixation

tragic: watching your beloved friends and mutuals fall out of the hyperfixation while you're still in it

[throesofincreasingwonder]

You know what? I want a whole post for this:

Sex Repulsion is not the same thing as, or an excuse for, Sex Negativity

non-negotiable!

I am a sex-repulsed asexual. This means that I am uncomfortable and repulsed by the idea of engaging in sexual acts. This does not mean that I have an excuse to be repulsed by other people's sexual attraction or the right to police how other people engage in or express sexual acts or attraction.

Young queer people need to learn the difference between sex repulsion and sex negativity, and actively work to unlearn sex-negative attitudes. Asexuality, even sex-repulsed asexuality, is and should be fully compatible with sex positivity.

If you are uncomfortable with the idea of other people feeling sexual attraction or engaging in sexual acts that do not involve you in any way, that is not sex repulsion it is the cultural Christianity and you need to seriously work on that.

[arsenicflame]

Bonus round! Do you use a queue tag?

[chalkrub]

first attack for art fight! love this guy, mammalian dragons continue to be peak designs

[aziraphalalala]

I am not entirely certain what will happen once the actors & writers strike ends, but I'm pretty sure Michael Sheen will break the sound barrier with how fast he will go feral on the internets about how Aziraphale wants to eat Crowley's ox rib

[ascesabo]

i love when tropes subvert expectations because they could have made the pirate king's son some douchebag antagonist or an obstacle to luffy's dream but instead we were given an older brother with so much love it still looms large even two years after his death. ace was born into a world that scorned him for existing, and still he found an endless reserve of unconditional love for luffy, enough for him to put his anger aside and raise this scruffy boy on his own. his father being the pirate king has been a thorn in his side for as long as he's been alive, yet he didn't hate luffy for making it his goal; instead, he went around showing off luffy's wanted poster and telling anyone who crossed his path that his little brother was going to become the king of the pirates.

and then he died with the sole regret of not being able to see luffy reach his goal, but he died happy to know that he was loved; that even if it changed nothing and didn't save him it was there. he got to die in the arms of the person who loved him the most, got to spend his final breaths thanking him for all the love they shared in the short time they were given together, and i think it's just so incredibly sweet and heartbreaking that of all the paths ace's character could have gone down, they chose one that had love at the center of it all.

[harasharaved]

The fact that Judaism is trending because of both the wave of bomb threats on synagogues and Bradley Cooper's Antisemitism Adventure (his huge fake prosthetic nose, and him basically stealing the story from a Jewish man) is so infuriating and so exhaustingly typical.

The fact that I see Judaism trending on Tumblr and immediately think "oh no. Something Bad is happening to us." We're never trending cause it's fucking good. I never get to be excited, it's just cold dread.

The fact that Antisemitism is getting worse everyday and the only ones who ever talk about it are other Jews. The fact that no one else fucking cares. The only ones who support us are other Jews. Even when gentiles talk about Nazis or white supremacists they don't want to help us. We're just their prop, the canary in the coal mine and the perfect victim.

The fact that everyone's uncomfortable with Jews still being here. Reminding them of things they'd rather forget.

The fact that it'd be easier for them if we were all dead. Then they could tell stories about our people, dressed in offensive caricatures, without us making a fuss.

[poorly-drawn-mdzs]

Thank you all for an incredible 500 days of love and support. I offer you: answers to questions that no one has asked.

(As always, more can be found in the tags <3)

[egophiliac]

new chapter 7 installment dropped how we feelin????

YOU DON'T UNDERSTAND

THAT'S HIS DAD

[ewwww-what]

friendship so strong it grants you a sixth level spell slot. I have words to say.

[sneez]

pathologic but it's a lost 1920s german expressionist film [id under cut]

[id:

image 1: a digital drawing of a fake poster, using bright colours and rough, painterly brushstrokes. the title, 'pest' (german for 'plague'), is written at the top in spiky black text. in the foreground a man dressed as a tragedian is staring intently at the viewer, his hands raised and splayed as if in horror. in the background, the town is framed against a red sky, with the polyhedron in yellow behind.

images 2 and 3: fake casting sheets for the film, with the names of the actors and the characters they are playing above a black-and-white portrait photograph of them. all the text is in german. in english it reads: 'Pest', a film by Robert Wiene Alfred Abel as Victor Kain Ernst Busch as Grief Lil Dagover as Katerina Saburova Ernst Deutsch as the Bachelor Carl de Vogt as Vlad the Younger Marlene Dietrich as the Inquisitor Willy Fritsch as Mark Immortell Alexander Granach as Andrey and Peter Stamatin Bernhard Goetzke as General Block Dolly Haas as the Changeling Ludwig Hartau as the Haruspex Brigitte Helm as Anna Angel Brigitte Horney as Maria Kaina Emil Jannings as Big Vlad Gerda Maurus as Yulia Lyuricheva Lothar Menhert as Georgiy Kain Asta Nielsen as Lara Ravel Ossi Oswalda as Eva Yan Fritz Rasp as Stanislas Rubin Conrad Veidt as Alexander Saburov and Tragedian Paul Wegener as Oyun Gertrud Welcker as Aspity

image 4: four digital sketches of set designs for various locations. all are strongly influenced by expressionist imagery, using extreme angles, warped perspective, and dramatic shapes. they are labelled 'street 1' (a street lined with houses), 'street 2' (a square with a lamppost and a set of steps), 'polyhedron exterior' (the polyhedron walkway), and 'cathedral interior' (the dais at the far end of the cathedral).

image 5: four digital drawings in a black-and-white watercolour style, showing fake stills from the film. all are similarly distorted and lit by dramatic lighting. the first shows katerina's bedroom, with katerina standing in the centre of the floor. the second shows the interior of an infected house. the third shows daniil staring out of the frame in horror, one hand on his head and the other raised as if to ward something off. the fourth shows an intertitle with jagged white text reading 'the first day' against a dark background.

end id.]

[ruporas]

invisible scars (referenced previous talk here)

[ID: A colourless, digital Trigun comic of Vash and Wolfwood talking about Wolfwood's scars. They're both laying in bed and topless. Vash lays on top of Wolfwood, playing with the rosary around his neck. Then, Vash kisses a spot on Wolfwood's chest. Wolfwood asks, "What are you doing?" Vash smiles sadly, "You got shot here. In the last town we visited. You didn't even bother moving."

Vash props himself up over Wolfwood, who frowns slightly. Wolfwood is quiet for a moment before he says, "You remember that, huh?" Vash grabs Wolfwood's left wrist and brings it to his face. "And here." He kisses another spot there. "When you helped free the hostages from that robber..." Wolfwood dismissively says, looking away, "Was a lucky shot." Vash huffs, “Don’t brag. Jeez.”

Half of Wolfwood's expression is shown, eyes returning to Vash who is now sitting up, continuing to say, "And..." Vash goes on and kiss Wolfwood's right palm. "You got cut here, even though that girl was aiming at me." A moment from the past flashes, of Wolfwood grabbing a knife aimed at Vash, his hand bleeding.

At present, Vash moves down and puts another kiss on Wolfwood's right shoulder. "And here, from watching my back." Another memory flashes of Wolfwood and Vash back to back. Vash looks back as Wolfwood grins while holding Punisher, bleeding from multiple gunshots in his shoulder.

"And," Vash combs up Wolfwood's hair to reveal his forehead, "Here." A final memory shows Wolfwood with a regeneration vial in his mouth while getting shot on his temple. The next panel is framed in blood with Vash at the center, eyes wide and stunned in horror. The next panel is a closed up shot of Wolfwood's eye, locked on Vash's face.

Back to present, Vash’s head is bowed down as Wolfwood raises a hand to his nape and says, “Spikey.”

Wolfwood looks serious and frowns as he says, "We talked about this. Those were my decisions. They're not there anymore. Forget about them." Vash looks very sad before he smiles ruefully and says, "I still see them. All the time." He leans down so they touch foreheads. Wolfwood’s sorrowful expression can be seen as Vash says, "You protect so much. I could never forget what you've done to me. And many others..."

In the last image, they're drawn more cartoonishly. Wolfwood sweats and asks, "You don't actually remember every wound, right?" Vash points at a spot on his chest. "Kuroneko left a scratch here 7 times." Wolfwood, startled, says, "Why the hell are you keeping count—" End ID]

Credits for ID here and here

[heartorbit]

the star you've longed for