#write some intentions

[boyczar]

Full Buck Moon

[deliriousblue]

THE HEART KILLERS (2024) + tropes prior art by @hurlumerlu

+ bonus:

[x-amount-of-posts]

I NEEEEEEED Kurt shippers. or just Kurt insane people to know that the german word for tail is also german slang for penis

"You like my tail dont you" said in german ("Du magst meinen schwanz, oder?") will be read as "you like my dick dont you" by a german

this isnt to discourage people from using the word Schwanz, the oposite, i want people to write Kurt saying that because he WOULD

[jamtamart]

what conclave movie did yall watch

[sparrowlucero]

thoughts on the doctor who finale?

left me feeling a little cold, which is sad because there's a lot of interesting stuff in it - the doctor as a queer man trapped in a time loop based on a conservative podcaster's ideal world is patently a much more evocative premise for a season finale than what the same showrunner was doing back in the late aughts; it feels like a very pointed thesis statement for the show and more in line with what I like about RTD as a writer. I like the bait and switch of the "character trapped in fake universe realizes the world isn't quite right and breaks out of it" type plot where it turns out the villain is exploiting the inevitability of a universe breaking to other ends. I like that the villain is a weird eugenicist who's goal to revitalize her species is something the doctor is kind of tempted by; that feels spiky and like the thematically correct choice for this version of the show and the anxieties of the main characters. I like the set and creature design of the bone palace and the "fossils" a lot. etc etc. but also you can just tell it was originally a much tighter story that production issues hit hard (like "ending changed while season was already airing" hard), both in longer term ways (it's pretty obvious the story was originally about ruby before problems with the cast, and so attention is split between her and the character written to replace her this season in some pretty frustrating ways, like how the ending with bel and the baby wouldn't be that strange if applied to ruby, who's in a family that fosters) and in short term ways (the pick up filming is like, half the episode, and is a pretty rough and not especially elegiac send off for the characters...). Kind of a mess, but I also appreciate it in certain ways?

[theamazing-danielrino]

‼️‼️

[neunhofferart]

My big storyboard sequence from Jurassic World Chaos Theory Season 3 Episode 2!

Surely Nonna didn't turn our baby dinosaur into meatballs???

-

This was probably one of my favorite comedy sequences to board on the show. I had a lot of fun leaning into this kind of horror parody style-- I was inspired by the scene in Monster's Inc. where Sully thinks Boo was turned into a cube of trash, as well as the episode of Tom and Jerry where the dog thinks his kitten friend was baked into a cookie hahahaha.

One of my goals was to make the meat to look as horrifying as possible, and the effects team really took my boards and ran LOL.

Can you spot some of the differences between my boards and the final animation? Some acting eventually got revised, and it was edited a bit more in the final ^^

[radiance1]

"May I help you, mister...?"

Pariah Dark paused, slowly looking the old (by human standards) butler up and down before slowly sheathing his sword and crossing his arms. He looked the butler up and down once more, before glancing at the mansion and back at him.

Hm.

Hm.

"May I come in?" The king asked calmly, voice kept carefully lower than he would usually speak with. He was aware that his normal tone of voice was 'loud' in human standards. The butler stared at him for a moment, before slowly stepping to the side. "Of course, sir. Though I am certain I have not yet gotten your name."

He pushed his foot forward, soon passing through the threshold as fire wrapped around his body as he shrunk. Armor being exchanged for more 'comfortable' clothing besides his cape as he stepped through the doorway and grunted. "You may refer to me as War."

The butler nodded, not batting an eye as the sudden shift in clothing or size. "You came at quite the convenient time. Would you like to join us for dinner, sir War?"

Him?

Eat mortal food?

Perposterous.

"If you would have me and it's no further effort on your part, I could make such an arrangement." He fell in step easily behind the butler, hands folding behind his back in a similar if not a bit more extra way as his cape and hair swayed behind him with his every step.

"I believe I can arrange something to your liking," There was a sliver of mischief in the butler's tone as he led the king to what he assumed to be the dining room. "So far, all of my guests had only good things to say about my hospitality. I do so hope you're among them as well, words of praise from one of your station is quite hard to come by."

"I trust that your hospitality be nothing but kind." The king said, coming to a stop at a door the butler soon held open.

"Please, make yourself comfortable while I go inform those who will join you and make something more..." There was a slight twinkle in the butler's eyes. "Attuned, to your pallet."

The king chuckled. "I look forward to it." Then stepped inside.

[aroaceleovaldez]

I was reading a post about CoTG and I realized: Rick has seemingly started to write every character pairing with the exact same dynamic, and he's not good at writing that dynamic and it doesn't make sense for 90% of the characters he writes it for.

It's that very specific dynamic of one half of the pair who is almost aggressive to the other party - "teasing" them constantly/insulting them, affectionately punching/judo flipping/maiming/etc, seemingly almost always exasperated with the other - and said other party usually just accepts this treatment or blanketly views it fondly, and may generally be framed as more incompetent than their partner and a little bit of a doormat (particularly relating to being insulted/teased/etc by their partner).

We start seeing this dynamic in HoO with Percy and Annabeth, as a sort of semi-inconsistent twist on their rivals-to-friends-to-lovers dynamic from the first series. Then the dynamic pattern develops further with Leo and Calypso. Then Magnus and Alex. Then Nico and Will, particularly in TSATS. And now in CoTG, it's Percy and Annabeth again but even more in this direction.

I know people have talked about Nico and Will's relationship over the series rapidly being shoehorned into Percabeth Two™, and it's extremely apparent in TSATS that Rick's doing it on purpose (including directly quoting Percabeth scenes but minorly tweaking them to be Solangelo). But recognizing it as an overarching trend in Rick's later books honestly reminds me a lot of how Rick started trying to apply the "Percy Formula" so-to-speak to nearly every protagonist in HoO (and then try to replicate similar character archetypes with Magnus and Apollo's narrations - moreso Magnus in being jaded and sarcastic, very much trying to be first series Percy. He only sounds unique because Rick failed at making him Percy 2. Apollo is more akin to later-series Percy characterization of being goofy and incompetent. Apollo [and Zeus] even got retconned to give Apollo a more similar backstory to Percy's). Rick seems to have decided that he thinks the audience wants this specific dynamic but 10 times over, except he's not good at writing it the first time because it's a bastardization of the time he did a different thing okay.

And Rick also seems aware of that too! Because he retconned Calypso and Leo at the end of TOA, probably because he realized how absolutely awful it was reading when they were written with that dynamic of Calypso just functionally hating Leo and constantly being aggressive towards him! The only time Rick's actually made the dynamic even semi-successful was with Magnus and Alex, because it actually fits within their characters, their dynamics with each other, and their environment. Alex beheading Magnus on the regular works out fine because there are no repercussions to that in Valhalla, Magnus will be fine, so it does genuinely come off as humorous. And Alex has been effectively established to be abrasive at times but have her genuine feelings shine through regularly, and that meshes well with Magnus' jaded-and-aloof-but-quietly-very-empathetic character. And Magnus has been established to, yes, not be great at combat, particularly compared to Alex. They are the only time that flavor of dynamic in that form was effective and cohesive.

Percabeth is no longer rivals-to-friends-to-lovers badasses on equal levels with shaky pasts who finally found some form of permanence with one another. Now it's super smart doting and affectionately aggressive girlfriend and her silly goofy 50%-of-the-time incompetent boyfriend who she judo flips/pushes off cliffs/etc - but affectionately~! Solangelo is trying to riff off of the early series "Poseidon & Athena are enemies" dynamic that Percabeth had but with Apollo & Hades being "opposites" but learning to accept each other, except it ends up with Will just coming off as a huge asshole and Nico being retconned to a complete doormat about it - when prior to that those characterizations would be completely contrary to their established characters (even just from TOA!). Calypso in HoO gets retconned from her PJO characterization to being snooty and aggressive, and Leo's false persona gets merged into his just normal personality except he just also becomes a doormat but more goofy than Nico with occasional haha-dark/depression-humor! Which Nico also got. Which was also a bastardized Percy trait that got redistributed.

It's exhausting. Rick write more than one relationship dynamic you can do it I promise

[cent-scratchnsniff]

hoptal

[fatedroses]

More than just the Demon.

[a-most-beloved-fool]

For the ask prompt game...

Spirk #17 to distract

"Report," Kirk ordered. The word buzzed low against Spock's ear, quiet and audibly tense.

"Less than two minutes until they reach our location, Captain," Spock replied promptly. "Commander Scott will need at least another eight before the transporter is operable again." His voice was equally hush, despite their perceived solitude. He had seen carelessness take far too many lives during his time in Starfleet; he would not allow it to take his captain as well - and, illogically, Spock could not quite dispense of the phantom sensation of eyes on the back of his neck.

"We'll need to bluff it," Kirk decided, looking grim.

His gaze was strangely intense against Spock, full of rioting emotion, and, almost, Spock wished to look away. He did not. Instead, he nodded, holding steady eye contact.

The odds, Spock knew, that Kirk's gambit - whatever it may be - would succeed were... poor. The guards had, after all, seen their faces. But Kirk would keep fighting right until the bitter end, and Spock, of course, would be right beside him.

Solemn, he vowed, "I shall follow your lead," though he knew Kirk would not have doubted it. Still, the unnecessary words were well worth the way the tension around Kirk's eyes melted away, the somber set of his mouth slipping instead into a golden-edged smile.

Almost wonderingly, a soft chuckle fell from those lips, incongruous in their surroundings and entirely treasured. "What would I do without you?" Kirk asked, reaching up to exert gentle pressure on Spock's bicep.

I pray you never need find out, Spock made to say, getting only so far as drawing in breath before the sound of distant footsteps drew them both from their quiet moment, snuffing the words before they could take shape. "Eighteen seconds," he said instead, after rapidly adjusting his calculations. Faster than anticipated.

Kirk nodded, some unreadable emotion hiding in the soft crease between his brows.

"Forgive me, Mr. Spock," Kirk said softly, and Spock did not have time to question what he meant before Kirk was pulling him down by his shirt, dragging their lips together with great urgency.

Quite suddenly, Spock found that his mind was entirely blank. Strange heat flickered through his whole form, and his universe narrowed to only Kirk, all soft and human-warm, who was pressed flush to his chest and kissing him.

One, then two seconds stuttered by in which Spock thought no thoughts at all, struck utterly motionless in the face of such unexpected attentions. He only felt, swept away by the sensation of pliant lips against his own and warm fingers stroking through his hair, gently mussing.

The very first thought to break to the surface was simply, Jim. A wave of emotion flooded in with it, astonishment and affection sweeping over him in such quantities that he felt nearly lightheaded.

The second was, We will be caught, and Spock jolted as something near to panic rose up inside his gullet, urging him to take Jim into his arms and run.

The third, however, was not his own; it was pressed into his katra from the outside by Jim's careful fingers, his clever mind slipping easily past Spock's shields. Play along, he said, projecting deliberate calm through their connection. Still, Jim was unpracticed in telepathic arts, and beneath that false serenity Spock could feel a tangle of guilt and determination, bitter and writhing.

The truth came to Spock in one fell swoop.

Jim's gambit... was this.

His lips and his hands, which pressed themselves so tenderly to Spock's skin, were not for him.

It was not love which had drawn his captain into his arms, but mere utility. Jim had realized what Spock had not: though they could not hide themselves, they could, perhaps, distract from themselves.

Two men attempting to look inconspicuous would only draw suspicion. Two men locked in a romantic embrace, however, may be overlooked - or even deliberately ignored. Few were comfortable with looking closely at the private passions of strangers, and fewer still would see reason to. Those searching for them, Spock hoped, would not. There would be no logic in halting an escape attempt solely for a kiss, after all.

Therefore, in order to escape unnoticed, they must be convincing.

They must seem, to any observers, to be completely and entirely immersed in one another, with no care for anything going on in their surroundings, and no fear of discovery.

Two lives, purchased with a kiss.

It was entirely logical, then, for Spock to part his lips, inviting Jim's tongue to dip inside of the wet cave of his mouth and meeting it with his own. If a groan rumbled deep within his chest, it could surely only help their cause; there was no need to swallow it down.

This disguise would, Spock observed as Jim's tongue flicked gently at his mouth, be far easier to maintain than it had any right to be.

It was a terribly simple matter for a man in love to behave as though he were a man in love.

The difficult part, then, would be remembering that it was a ruse. Already, heat bubbled deep within Spock, aching want suffusing his every neuron. Every faint brush of flesh sent golden tendrils of telepathic energy sparking across his skin, and it was all Spock could manage to hold himself back from pressing hungry fingers to Jim's meldpoints and sinking into that wonderfully enticing mind.

Instead, Spock slipped a hand beneath the hem of Jim's shirt, rucking up the cloth until he was tracing patterns across a smooth expanse of golden skin. He flexed his hand, allowing his nails to scratch carefully along Jim's spine, and did not permit himself to consider reaching upwards, to Jim's face - or worse: downwards, beyond the waistband of his pants.

He wondered if Jim would have chosen this, had he known how very much Spock wanted.

Perhaps it was selfish of Spock to allow it.

Still, he could not force himself away - not when Jim's life was at stake. The kiss was his lifeline, and so the kiss must remain.

The touch of their minds, however, did nothing to aid Jim. It was solely for Spock's benefit, taken from Jim without his knowledge or intent.

That, Spock could end.

If Jim was to unknowingly place himself into the hands of someone who wanted more than he would wish to give, then Spock would take it upon himself to be his protector - even if the one he must protect against was himself.

And so, Spock opened himself to every offered touch, and girded his mind against every stray thought, until not a single wisp of golden energy could find its way past his defenses.

When Jim's thigh nudged its way between Spock's legs, Spock spread his stance wider, allowing him to press closer, and did not let himself feel. His hands grasped and squeezed at the soft flesh beneath them, drawing quiet gasps from a pink-flushed throat, and no pleasant hum buzzed against his fingertips, carrying with it the flavor of human emotion. Jim nipped at his lips and pet at his hair, and Spock pressed every scrap of yearning deep down within himself to where they couldn't emerge.

Eyes closed and spirit aching, Spock kissed him.

_____________

from this ask game

[gt-daboss]

The Double Lie

Warnings: PTSD implied, Heavy Angst, lots of crying, self-hate, lots of tension, kinda whumpy (but a happy ending!)

~1500 words

(This is by far my most self-indulgent story I've ever posted)

“Honey!” A sickly sweet voice called from the kitchen, her voice as songlike as he had always remembered it, yet like everything after his escape, it felt different. “The cookies are cooled, do… do you want to eat them together?”

There it was, the very fact that she had to ask. He hated it. Why did she have to ask him to eat cookies together- why? He knew the answer, but it only made it worse: Because I asked her to.

Before he could even properly respond, her head peeked through the crack in the doorway. Her eye, larger than his head, scanned the room for him. “Oh- were you sleeping?” Cleo suddenly whispered, before spotting him on his desk.

Markus almost didn’t want to respond, as though if he stayed silent his problems would too, but alas… “No, sorry, just… focused…” he almost left it at that, but seeing her dejected face made him stir up some extra courage, “I-I’d love for a cookie, actually, that would be great.”

Building up courage to talk to your wife, you’re so pathetic

It didn’t help that she was taking deliberately quiet steps, no doubt so that she wouldn’t ‘startle’ him like she had their reunion together.

With a clack, Cleo set the plate down on his desk and sat down opposite to him. The smell of her cooking made him look up at the treat she was offering. Three cookies for herself, and one -much smaller, though still giant-sized- for him. The scene brought back so- so many memories, but as with everything, the same creeping feeling returned to ruin it.

“So…” Cleo said, plucking the chocolate-infused wafer between two fingers, raising it quickly to the sky. “How’s the book going? Your editor finally ready to publish?”

Right, his book, the story of what happened to him, thankfully, he had already finished it, meaning he would hopefully be able to leave that part of his life behind. “It’s going… we’re hoping to finalize it this week actually.”

Cleo’s eyes sparked with joy, her wonderful smile that he loved lit up like a firework, even he couldn’t suppress a smile seeing it, she was just that infectious. “Oh my god, that's wonderful! You better eat your cookies now, you deserve it. Plus,” she said, in a singsong voice, raising her treat to her mouth and taking a bite, “these have gotta be the best cookies I’ve ever made, seriously babe.”

But instead of responding in kind, supporting his wife, or even just saying nothing at all, He couldn’t. Without even thinking, he blurted

“Can- can you chew quieter?” already as he said it he felt like an asshole, Cleo had gone out of her way to give him a treat, to help him- And he was spitting on her. Quickly scrambling, he added, “It- damnit- It just… it reminds me of uhm… of what those people did.”

Cleo stared blankly, if only for a moment, but it was all he needed to let the self-loathing continue. It was only a matter of time at this point; he was a shell of who he once was, he knew it, his friends knew it, and now, Cleo would know it too.

“Oh- oh uhm, yeah, of course, of course I can. Yeah, that was kind of silly of me to not notic-”

“No,” he interrupted, he couldn’t stand the thought of slowly losing her, slowly watching as her love for him, her love for who he once was, slowly fall apart as she realized that man was gone. At least- at least, if I go out on my own terms, I can save her the time of realizing it for herself, at least this will be quick. “You- you don’t have to appologize for me being a half assed piece of shit.”

Cleo’s eyes widened, stuttering for a moment, “Markus, you-”

“I just- why do you even humor my requests when they are stuff like that? You’re a giant, and you need to eat, I… I shouldn’t even be asking you to do stupid things like that to make myself feel better.”

Markus couldn’t even meet her eyes, but he felt them boring a hole into him, like ripping off a band-aid.

“It-it’s not stupid if it makes you more comfortable,” she responded, but her voice sounded strained, like she was struggling to talk to him, his heart ached at the thought, but it has to be this way.

“Dammit Clee’ I- I just- I’m scared of you chewing loudly, I’m- my heart races when I hear loud footsteps,” He responded, eyes averted as he grit his teeth and looked down, as if that would ease the pain. “I can’t even be around you without making you follow my bullshit ‘rules’ because I’m- I’m scared, and I don’t know why but I am. How- How can you even be around someone like that?”

Now Cleo’s voice sounded very strained, a giant-sized frog in her throat blocking her airways. he knew if he looked up he would see her distraught face, tears brimming her eyes. “Because, Markus,” She said, sniffing and swallowing her frog, “I love you. Is that not enough?”

There was no turning back now, “Cleo,” he started, his own vocals betraying him as well as he struggled to get his thoughts past his tongue. “The man you used to love is gone, I-I’m not him anymore, I’m not strong, I’m not brave, I’m pathetic. You don’t deserve someone who can’t-”

“That's enough!” Cleo shrieked, “I won’t I won’t hear another damn word. Not one. Not one!” she glared daggers into him, as if daring him to interrupt her passion. Eyes wet, she could still see his small form on her desk, the person she had failed to protect.

“I said I love you,” She screamed, her voice shaking with a hurricane of rage, fear, and love. “Not you from the god damn past, not your- your imagined version of yourself where you are ‘strong-’ I love,” she hiccuped from the tears, before jamming a finger in his direction. “You. The man standing in front of me right god damn now, and nobody else!”

Neither responded for a while; only the heavy, exasperated breathing of the giant and her occasional hiccups were heard.

“Cleo…” but his words ignited the fire inside her once again,

“You- you wanna talk about the real ‘half assed piece of shit,’ well you’re looking right at her! Right in front for everyone to see,” she rebuked, tears streaming down her face like a river. “The only- the only giant who would let their human lover get kidnapped right under her fucking nose because she was such a half assed piece of filth!”

“You- You talk about strength as if somehow- as if SOMEHOW, you have lost it. I can’t imagine how, considering while I was sitting at home, with all the ‘strength’ in the world, utterly fucking useless. All I could do was sit in this house, and cry, cry until my voice went hoarse, so nothing. While you not only saved yourself, but everyone else who had been captured by those vile, despicable cockroaches- I couldn’t even get myself off the floor to HELP YOU!”

…

It seemed Cleo had wanted to say more, but her body wouldn’t let her- voice hoarse and constant hiccups, sniffs, and floods of tears making it impossible to do anything but look at her lover while she tried to calm down. It wasn’t easy, but eventually both of their hearts stopped racing at last. Wiping her tears from her eyes, Cleo moved from her chair to her knees, looking upward at Markus on the desk.

“I just… I just-” she tried to start, but her fire from earlier was gone, “I just never got to say that I was sorry, sorry for letting that happen to you- you came back and I-I- I wanted to say it right away, but I knew you were hurting and didn’t want to put my own stress on your plate, All of this could have been prevented in the first place if I… if I…”

“Cleo,” he interrupted, again, he couldn’t stand to see the love of his life in such constant distress, especially with him being the cause. “It’s not your fault.” Instead of responding right away, Cleo simply looked up at him.

And he looked back.

And suddenly, after being pressed against the neck of his wife in a hug, squeezing as tight as she could- as he did the same back- their problems seemed to go away. At least for this moment when they were together.

.

.

.

Phew~ done. Yeah, as I said at the beginning, this is definitely my most self-indulgent piece I've written. But I hope it was still enjoyable to everyone who read who ISN'T me lol

[weirdoldmanhoho]

This has probably been discussed to death before ... but what is the symbolism behind Envy having his Ouroboros tattoo on his thigh and Wrath on his eye?

It probably has, though tbh I've never really read any theories/meta about it.

I think some of the places are symbolically related in some way to the sin (Lust's on her cleavage, Gluttony's on his tongue), but I ALSO think that a bit of it is that every homunculus needed one in a visually distinct place and you're going to run out of places that have some kind of symbolic meaning.

I think Envy's is mostly a visual/aesthetic choice. The placement ties into their outfit design and is unique to them, but doesn't really have any deeper meaning (at least, that I can read into it.)

With Wrath, I think it's both unique AND makes for a fun visual reveal when we first see King Bradley's eyepatch removed.

I'm sure someone COULD read something more meaningful into it, but I honestly don't. I think it's more about visuals/the cool reveal.

But interesting question! Thanks for asking! :) If anyone else has some other thoughts, let me know

[dumplingsjinson]

Character A separates from Character B to take a breather from the kiss, only to laugh in surprise when Character B starts pulling them on top of them.

"What are you doing?" they question, straddling Character B; feels Character B pressing against them. They blink, swallowing heavily; it doesn't take much for them to understand what that means, as they cautiously grind their hips down against Character B's, testing the waters.

Character B's hands sneak up their torso, hands cupping their clothed breasts, massaging them gently as Character A lets out soft little sighs and breathy moans, hips quickening with speed; ducking down to bury their face on Character B's neck every now and again out of embarrassment and to muffle the noises they were making.

"Wait, wait, wait," Character B breathes out, holding onto Character A's hips to stop them from moving. Character A sits up, looking down at them, heart skipping a beat at the way Character B stares up at them with hooded eyes. "We shouldn't be too loud, yeah? How about we go somewhere else?"

[rosyborealis]

There’s this phenomenon that isn’t quite queerbaiting, and therefore shouldn’t be called that in my opinion, but there isn’t a specific word for it as far as I know. Basically the phenomenon where a couple isn’t explicitly shown to be a couple on screen (usually due to corporate homophobia), but is definitely intended by the creators to be a couple.

Edit: The two phrases that have been brought up in the comments are queer-coding and Herero-baiting. I’m partial to the latter.