#( anyway write w me

[hinamie]

unconditionally

[silvrmoon]

besties i feel like i still have a thousand drafts even though i have been doing replies for the past four days . like where do all these threads come from ??

[lucabyte]

monologue

[hellamorte]

wade can talk about noble sacrifice and marvel jesusing all he wants but he was ready to die for his friends and for logan, instead of logan, because he wanted him to live. “say hi to my friends for me, peanut”, says the man who wants logan to become a part of the group, a pack, again, to take his place in protecting the people he loves, probably the only one he trusts to do so. and there is so much love in his desire for logan to stay alive and finally experience something good in life

[hyakunana]

"My friend, my partner… my Guardian."

[seefasterdraws]

from the homumiko mines

[nyxi-pixie]

guys look away im in the skk trenches again but does anyone else think about how big a thing physical intimacy Should be between them. skin on skin between a guy who always keeps his hands gloved, who is constantly aware of keeping his implanted strength in check, and a guy who wears bandages like they're a second skin, and is convinced everything he's close to and wants is something he's doomed to lose. but they are constantly shown to be physically close even from the first days of knowing each other dazais ruffling his hair and chuuya is staying his firing arm with his bare hands and its casual and constant and close in spite of everything and and and. augh.

[turtleblogatlast]

[ cw: death mention / sibling death mention / isolation / ]

Thinking about how Leo’s portal and teleportation powers have both directly (and in one instance, indirectly) been the cause of him being separated from his brothers at least four times now.

There’s that time in Portal Jacked, where his inexperience leads to his portal being messed with and his brothers ending up in Tahiti.

There’s the Bad Timeline, where Leo’s portaling led to them losing the Key, therefore indirectly leading to the apocalypse and in turn, ending with Leo being the last of his brothers alive (though just for a few minutes.)

There’s him teleporting him and Krang into the Prison Dimension, cutting him off from his family so wholly that the only way to fix this was a literal mystic miracle.

Then there’s the comic, where Leo’s powers act up again and make him lose months of time completely isolated from everyone and everything he knows.

Just, looking at all of this, it’s like the universe gave him the powers of distance on purpose to test him (and his bros), literally seeing if they can overcome unimaginable space and still make it back together. Imagine if it doesn’t stop here, and Leo has to learn to either deal with the occasional complete isolation or deal with time travelers coming back to stop some terrible event his powers (whether directly or indirectly) have caused, events that always lead to separation in some way, shape, or form.

It’s worth noting, too, that his portals often led to accidental separation, but his teleportation was the one power of his that was used to isolate himself on purpose…and was also the one that in any other scenario would have been the most permanent.

[hungharrington]

ok this is filth adjacent but would u ever write a lil blurb or fic about Steve with a gf whose super insecure about her stretch marks and body? And May be she doesn't want to disappoint Steve bc his exes seem prettier

would i ever! i love these type of requests i love ppl getting a little bit of respite and comfort through fic esp in smut! i hope this makes u feel even a little bit hotter babe <3 1.6k, afab!reader, and just filth adjacent sry! MDNI this entire blog is 18+

Steve's mouth is on your neck, his tongue hot where it teases against your skin, and his hands are searching your body with a lustful fervor.

Your head tips back. It's so easy to let him in, let him slide his body closer to yours, to get more of whatever he's giving. The hot press of his mouth on your neck feels damn good enough to make your blood sing—and heat travel between your thighs, wetness beginning to pool.

You want to rub your thighs together, if only for a little relief. Steve's toned thigh between them prevents it. You scrunch his polo between your hands instead, trying to wrestle the courage to slip your hands beneath it.

You're lying back on his bed, propped up lightly by the pile of pillows the two of you had stacked when the evening had begun. The television at the end of the bed runs a film idly in the background, completely unnoticed by this point.

"How we doin'?" Steve's voice rumbles out, barely parting his lips from your skin before he's swooping back in to nip at it again. The bastard.

Your hands flex again, finally mustering the nerve to dive beneath the fabric of his shirt. Steve's warm. You feel the muscles of his tummy shudder as you skim your fingers across it, a pleasurable shiver running down your spine at the trail of hair you can feel leading into his pants. Steve's breath hitches, close to your ear.

He nudges your jaw with his nose lovingly, planting another row of sloppy, wet kisses down the expanse of your neck.

"Hmm," He hums, questioningly. "Still doing good?"

You realise you hadn't exactly answered him and something glows in your chest at his insistent checks. Extremely reluctantly, you manage to drag your hands away from his torso, shifting them up to subtly nudge his face out the curve of your neck.

Steve's eyes dart up to your face as he pulls himself back, his expression turning dopey the moment your hands cup his jaw. His cheeks are flushed ruby and his hair has been mussed in all his steamy motions. He looks fucking delicious.

You kiss him — surging up to connect your mouths, warmth exploding in your chest and trickling down, down when Steve responds with a revere hunger. His plush lips scrape against yours filthily, his tongue always so perfectly teasing. You're gasping for air when you pull away.

"So good," You say breathily, finally answering the question.

Steve takes a moment longer to register what you've said—but that dopey look crosses his face the moment he does.

He plants his hands on the bed and shifts his weight back, sitting back on his heels. His thigh is still situated right between yours and you have to shove down the lustful urge to grind against it, lazy pleasure still pooling low in your gut. Though you're pretty sure Steve wouldn't oppose the idea.

Chest heaving lightly, you watch as Steve reaches for the edges of his polo and tugs upwards. It comes off in one smooth motion and you're rewarded with a fine sight. You're pretty sure your mouth actually waters in response. Tan chest, scattered moles, the smattering of hair. Oh god, you want to lick him.

Something in your face must give away your train of thought because Steve laughs. He leans back down, one hand moving to your waist, and nuzzles his nose against yours. He steals a kiss from your lips.

"See somethin' you like?" He says, the smirk evident in his tone. You feel like you might vibrate out of your skin.

"Shut up," You aim for fiesty and fall far, far short. You sound on the verge of a whine when you say, "You know I do."

Steve grins wider. His hand on your waist tucks under your shirt seamlessly, his thumb drawing maddening circles into the skin. Your breath catches, even as your arousal hikes.

"What about you?" He whispers the question between his kisses as he mouths along your jaw again, finding that same damn spot on your neck again. It'll be violet coloured by the morning. "Do I get to see something I'll like?"

He's asking permission. It takes a long moment to realise that—too distracted between the touch of his fingertips skating across your skin and the addicting feel of his lips against your pulse.

You nod without thinking.

Steve pulls your shirt up no more than a few inches before your brain catches back up. Your hand moves abruptly, grabbing his hand and yanking it and your shirt back down in a split second.

Steve's halting in an instant, pulling back from working lovebites on your neck to see what he's done wrong. There's a string of spit connecting his lips to your neck.

Steve frowns in concern, shifting his hand up wipe his mouth with the back of his hand, as he makes an effort to put a little distance between you.

"You okay?" He asks. You're still holding his wrist, which is still holding the edge of your shirt. "What happened?"

Your mouth opens uselessly and closes. You know precisely why you had stopped him and now you're facing up with the fact you have to tell him, lest Steve believe you're actually having second thoughts over being with him.

It's just... you've probably spent far too many hours in the mirror. You've seen it from every angle. Seen it in every lighting. You can't quite ever seem to make your body look good.

You don't look like any of the girls Steve's been with in the past.

Comparison is killer, you're aware of this, but infuriatingly you just can't seem to stop. You think of what Steve will see the moment he gets your shirt off, what he'll realise, and your hand tightens around his wrist subconsciously. Your throat tightens up too.

Steve's face melts into a softer expression, eyes big. "Hey, hey, it's totally fine if you said one thing and- and you realise that you didn't mean it, it's okay."

Words continue to evade you and humiliatingly, it feels more likely that tears will escape you before any explanation will. He's being so nice.

"But..." Steve continues, his tone wary as if aware he's treading on uneven ground. "You seemed like you were into it. Like, comfortable, I mean. Then it was like a flip switched and you froze."

"I-" You finally find your voice. You clear your throat as you try to find the right words, breaking Steve's intense gaze to study the ceiling.

This is worse. This has got to be worse that just Steve taking your shirt off and being disappointed because— because you're goddamn building up to it. Your eyes screw shut and you decide it's better to rip the band-aid off.

"I'm just," You can't quite keep the quiver out of your voice. "I'm not like- like girls you've dated before."

Steve makes a noise of confusion and it's enough to force your eyes open. You glance down, taking in Steve's adorably furrowed brow.

"Okay...?" He says, clearly still a bit confused.

"I mean, Steve," You say, voice a little steadier. Your hand around his wrist finally remembers to relax.

You release the hold on him and tuck your hand under your shirt discretely, covering the skin of your stomach you know is warped with stretch marks. "I don't look like the girls you've dated before. My- my body is different."

The wrinkle between Steve's brow shifts, moving from confused to something a little harsher.

"So?"

You blink. Of all the possibilities that you had run, not one of them had ended with Steve saying that.

"So?" You echo meekly. "So... so you might be like, I don't know, disappointed or think—mfh"

The words get smushed beneath Steve's fervent kiss, stealing one kiss off your lips and all your words with it. You blink up at him again, all your endless arguments of why Steve would be so disappointed suddenly silenced.

Steve grins, evidently pleased with his reaction.

Tentatively, moving slowly so you could intervene if you wished, he drags his hand along the sheets and onto your hip again. This time, however, he pushes the fabric of your shirt up and doesn't pause til it's bunched up, most of your torso on show.

Your nerves gather, gnawing at the edges of your chest. You can't bring yourself to move the hand that's trying to hide part of you, even if a dozen other stretch marks are visible now.

Then Steve leans down and he kisses your skin, right in the middle of your tummy.

"I think," He says, lips dragging across your skin and setting it aflame. He's looking up at your through his lashes, your gazes locked, his eyes dark. Another kiss, this time longer, with just a flash of tongue. "You're hot shit."

Instinct makes you want to scoff. But Steve says it so seriously that you almost believe him off the bat. Believe that he believes that.

He lowers himself onto his elbows, letting both of his large hands settle onto your waist, fingers pressing into the skin lightly. You shiver at the feeling and start to consider the possibility that he actually does think that.

"And I will gladly," He punctuates the word with another kiss, this one evolving into a soft, sensual lick up towards your breasts which peak lustfully in response. Your breath hitches. "Spend all the time needed if you need some convincing of that."

His hands move, sliding down til he's gently knocking yours aside, big warms hands spread across your hips. His thumbs are moving, drawing soft motions down, you realise, towards your waistband. Your pulse jumps between your legs, the heat in your body uncaring about the brief interruption.

Steve kisses your tummy again, further down this time. You acutely realise you've got Steve Harrington between your thighs, looking up at you with darkened eyes and promising filthy things with his fingers. Or mouth. Both if you're lucky.

"So," Steve murmurs, voice raspy and low. His thumbs slip beneath your waistband, just an inch. "You gonna let me convince you?"

You're feeling pretty damn lucky.

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[lorelune]

regency au jing yuan how you are haunting me.

(continued here!)

a retired general who at the ripe age of thirty five has never taken a wife. never showed any interest in procuring a spouse nor does he entertain any attempts by the mamas of the ton to throw their eligible children at him. he is a polite scoundrel, kind-hearted in a way that makes those with half a mind question how someone with his demeanor could ever be the famed general who's strategies downed Shuhu during the Abundance Upheaval. he doesn't seem to care for his legacy, as much as he has cultivated one. he doesn't mind gossip, but doesn't entertain it much either.

you only meet him due to fortunate circumstances.

lord Luocha, a successful travelling merchant, pledged patronage to you sometime ago. he keeps you in a little cottage on the grounds of his manor where you're allowed to mostly do as you please as long as there's a new painting hung on the lord's wall every few months or so. the lord likes when you play too. he brings back new instruments for you to try, though he never expects mastery. he has an air of mystery to him that, despite all of the time you spend near him, keeps you from understanding him fully. you aren't one to pry about it either.

lord luocha invites jing yuan over to partake in fancy spirits from a country and city you can't ever hope to visit, let alone find on a map. you bring lord luocha your newest work-- (a meticulously completed oil painting. something more abstract, suited to the odd lonely and isolation you feel in your little, cozy cottage, despite all of the comforts you are afforded)-- and happen upon the pair.

lord luocha examines your newest work with pride, and shortly after introduces you. 'his patron' he calls you, but offers jing yuan no title. you--

(do not have one. it was stripped from you a long time ago. you think being an artist suits you better, anyways.)

jing yuan offers you his name, though you already know it. you recognize him based on the prattling of the girls and boys at the market. they swoon over his stature, fawn over his good deeds, and make note of his identifiable red hair ribbon. he has the same soft, sun-colored eyes that you had heard the eligible young of the ton giggle about.

you bow to him politely.

you have no reason to linger, but luocha calls you to anyways. perhaps he is lonely. perhaps you want him to be lonely, so it gives you a reason to stick closer to his side in the rare moments he is home for more than a day or two. the proximity is shared with jing yuan, who regards you with keen eyes and a lazy smile. the attention upon you feels weighted, important, like you're something special.

you savor it, however fleeting.

perhaps, however, you misunderstood jing yuan. or lord luocha's intentions.

because as jing yuan rises to take his leave and you bow once more, he catches your hand, brings it to his lips, and presses a kiss into the soft skin. you're sure you smell of linseed and yarrow oil. he lingers there for a moment before meeting your gaze. there's a light of mischief in them that sends your heart fluttering. your breath catches.

when jing yuan is out of the manor, lord luocha pats your shoulder gently, "quite the man, isn't he?"

"i suppose... he is."

"you may speak freely."

"i am," you mince, and shake your head. you must be careful, entertaining such fanciful thoughts. "he is... kind."

"and handsome."

"lord luocha," you barely keep yourself from whining. "please, do not tease me. or the poor man. from what i hear, he has enough to deal with."

"the mamas do chase after him like foxes to a hen," lord luocha chuckles and studies your painting once more with a curious tilt of his head. "he'll ask to see you again, i'm certain."

"and why do you say that?"

"general jing yuan has never taken the hand of a potential suitor."

your heart feels heavy and warm in your chest, burning. "my lord, you cannot possibly think that this single action indicates that the general will... call upon me? that is highly unorthodox and i don't believe that's... quite allowed."

"jing yuan has never cared for the dances of decorum." lord luocha guides you into your gardens. the peonies are in bloom, full and lush in the humidity of late spring. "and, for the record, i don't believe he'll simply call upon you. court, properly, certainly."

"you're bluffing."

"what reason do i have to lie?"

"to tease me, as you so enjoy doing," you huff.

lord luocha simply hums and pauses near a bush of lilacs. they're fragrant, at the peak of their season. the scent rolls over you.

"if i truly intended to tease you, i simply would abstain from telling you of jing yuan's interest and allow you to be terribly surprised when he arrives and formally asks for you and your time. consider this a warning. i'll walk you to the modiste tomorrow, hm?"

you want to squawk at him. your linen dresses and tunics are fine (albeit smeared and stained with paints and oils over the years. you rarely bother replacing them.)

you want to protest and pry more, but lord luocha strikes you silent when he breaks off a cluster of lilac and tucks it behind your ear. he leaves you with your thoughts, however tortuous. and, perhaps horribly, you find yourself believing him. perhaps the warm-eyed general really was charmed. perhaps, your dresses needed replacing and you should contact your perfumer friend for a fresh vial or two.

perhaps perhaps perhaps, you can still feel where his lips lingered on your skin, like a brand. you never thought you could ache for burning, but in the gardens, you find yourself clutching your hand to your chest, craving the lick of the his sun's heat once more.

[a-dauntless-daffodil]

Vaggie: “A letter of complaint probably isn’t gonna do much, babe.”

Charlie: “I don’t care.”

Vaggie: “Neither will Lute.”

Charlie: “I don’t care! Emily- will she at least read it?”

Emily: “Reading stuff is one of Lute’s main jobs, since Adam never wanted to.”  

Charlie: “Then she’ll have fun reading FIFTY of these in a ROW.”

Emily: "I don't think she'll actually have fun with that..."

Charlie: "GOOD."

Charlie: “…....wait. Her name is spelled L-U-T-E?”

Vaggie: “Yeah? How’d you think she spelled it?”

Charlie: “I thought it was loot. Like, pirate’s loot, loot boxes, stolen loot, people looting during a blackout…”

Vaggie: "Nice idea."

Charlie: "Thanks!"

Vaggie: "Waaay too imaginative for her and Adam though. It's just Lute."

Emily: “Oh, so it isn't short for Lutecia??”

Vaggie: “No. But PLEASE tell me you’ve called her that.”

Emily: “A few times… no wonder she glared at me…”

Vaggie: “You’re the most beautiful angel I’ve ever seen.”

Emily: “Y-you’re welcome!”

Charlie: “You're both gorgeous. Try looking in a mirror sometime, Vaggie. Anyway- I guess it being a stringed instrument makes more sense? Adam did have that whole guitar playing thing going on.”

Vaggie: "Huh?"

Emily: “Aw, theme naming~”

Vaggie: "What?"

Charlie: "I guess it's kinda cute. I guess even mean people can be cute..."

Vaggie: “What the actual hell are you talking about sweetie?”

Charlie: “Lute! Like the ye oldie guitar thing!”

Vaggie: “It’s lute. As in, lieutenant?”

Charlie: “….”

Emily: “…”

Charlie: (horrified) “No…”

Emily: “E-even Adam wouldn’t be that lazy-”

Vaggie: “You’re talking about the guy who outsourced bothering his ex.”

Charlie: “But-”

Vaggie: “And then outsourced dealing with the people he’d outsourced the work to.”  

Emily: “Oh heavens he would.”

Vaggie: “The only thing Adam spent energy on was Adam, the only things Lute cares about is Adam and murder- that’s why I figured I could go waltzing back up there with you, babe.”

Charlie: “You really didn’t think they’d recognize you!? But you- you literally just grew out your HAIR!”

Vaggie: “I wasn’t in uniform or covered in blood. And those were the only times Adam or Lute ever paid attention to any of us before, so…”

Charlie: “They- rgh. RrrrrrrRRGHHH.”

Emily: “I think I need to write a few letters too, now.”

Vaggie: “I think we need to get the letters away from Charlie before she sets them all on fire-”

-FWOOM FLAMES-

Emily: “Fire extinguisher?”

Vaggie: “Under the desk.”

[kingtheghast]

"Because of their poor tolerance for low temperatures, lumians have developed glacieration, commonly known as frost mode. (...) The body freezes over as it switches its priority from mantaining heat to creating adrenaline in the hopes of the individual being able to use said energy to ensure their safety. However, prolonged streams of adrenaline like this are poisonous, and if frost mode is not disengaged it results in death." Spirit Tamer, E. (3012). Walking Stars: Lumianology and Lumian biological history. Publisher: Y. LAB.

Day 1: Flower/Frost

[angelmush]

magenta smoothie 4 breakfast, vibrant vase of tulips 4 my gf, black dragon dog 4 sharing the couch with, and a big stack of notebooks 4 writing

[disabled-dean]

Changing channels 2.0 but Gabriel makes Cas the Bachelor and Dean is the P.A. having an excruciating awakening of homosexual lust

[dewwshi]

i read homeland and this is mostly the impression i got