#I didn't even need to take another one

[bo0tleg]

Decided to make one of these for Top Gun: Maverick too, you know... to dispel the pain I caused with my last post...

(this is my whatsapp history, not direct quotes from the movie)

(in the first one, I'm aware it looks like There's a 30 min gab between both messages. There is not, my internet just decided that they were going to let me see the message 30 min later)

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[rdr2gifs]

I often wonder what sets Arthur apart and makes him particularly appealing to me compared to other characters (in general). One significant factor lies in how he perceives and interacts with women. Arthur views women as equals, rejecting any notion that he is superior because they often do tasks traditionally associated with women, such as laundry and other chores.

He also never doubts capabilities of women like Sadie, who perform tasks usually associated with men. It's essential to note that one of Arthur's initial scenes with Sadie may be misinterpreted, as Sadie herself belittles the work of other women, not Arthur.

Arthur maintains healthy relationships with the female gang members, with none of them serving as a love interest. He sees men and women as equal, believing everyone should be able to walk their own path in life. He treats women with respect and he doesn’t expect any reward for his behaviour (sadly this is how many men seem to think even in the current time). He doesn’t see women in the gang as a cover (Dutch) nor like a liability (Micah). He sees them as people and valuable members of the gang.

Even in situations where he has to help women, he never considers them any less capable nor downplays their abilities.

Arthur's respect for women is also shown in his interactions with individuals outside the gang, such as the circus lady and the rich widow. After the circus lady thanks him for his help, he’s quick to say she would’ve been able to do it without him. He encourages her to pursue her dream in a so far male-dominated industry. He doesn’t look down on the widow, who doesn’t know anything about survival. He doesn’t tell her to go back to the city where she came from. He tries to teach her in a natural and encouraging way, never acting as if he was better than her because he has more experience. He patiently teaches her without any condescension.

He initially doesn’t understand why Beau even tries to stop Penelope from participating in the women's rights march. I like to think this is because he thinks everyone should be able to fight for their cause/what they believe is right. Not to mention he very much enjoyed riding with these ladies and wrote about his experience with fondness.

Arthur's journal entries reveal his disapproval of mistreating women, recognizing the injustice in an era when women had limited autonomy. “He treats his daughter like a possession to be mistreated and abused as he sees fit. Strange creatures men.” It was definitely not common for men in this time to be thinking about women's autonomy.

I don’t want to praise Arthur for things that should be considered the bare minimum but these qualities definitely add more to his likability. And it’s great to see where your favorite character stands on important things like this.

⚘ While acknowledging that Arthur's antagonistic lines may be interpreted as sexist, it's important to consider them as optional elements mostly implemented to make 13 years old boys feel edgy.

[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.

[destinywillowleaf]

one of a kind living in a world gone plastic

baby you're so classic

@most-tragic-character-tournament

(all my thoughts in the tags)

[reineyday]

mishanks mafia au where shanks is the don of the gol family and and mihawk is a hitman hired by the government (it's a conspiracy!) to kill shanks.

when mihawk shows up, shanks puts up a great fight, and even tho shanks loses (he's on the ground with hawk's blade at his throat!), mihawk decides shanks is way funner than the government and doesn't kill him after all. mihawk intends for this to be the end, with exception for perhaps more fights in the future, but shanks has already fallen on love and starts trying his damndest to get mihawk to work for the gols.

mihawk always refuses, but when the government puts out a hit on mihawk because he broke contract, mihawk finds himself thoroughly protected by the gol family anyways. shanks, however, doesn't save mihawk fast enough to spare the hitman some torture so, in retaliation, shanks brings down the entire government and exposes the conspiracy while he's at it, with the finale being a grand announcement that mihawk is his, actually, back the fuck off and don't try this again.

by the end, mihawk still doesn't work for the gols, but if he marries into the family, well. "there's still a difference, red." (shanks whines about this daily.)

[golyadkin]

Long road to Colorado

[disposal-blueeee]

from this thing on twt

[charlotterenaissance]

baffling decision for season 2, episode 18 to end with lewis making a legit effort for charlotte, making a picnic of things she likes and hugging her and seeming really happy with her

only for episode 19 to trample all over that with him blowing her off after she mentions that she misses him and hasn't seen him for a while, then apparently forgetting he even has a girlfriend altogether and softly flirting with his ex while the narrative agrees that this is correct because, unlike charlotte, cleo always smiles when she first sees lewis. you know. unlike charlotte. who goes out of her way to try and make lewis happy and smiles literally every time she sees him. there's not even an episode between these!

[icewindandboringhorror]

finally finished all of one character's entire quests/optional dialogue/questions/etc.... 100,000 words... .... aughhh

[goldkirk]

I'm so proud of myself about finances in the past couple months. I still struggle with money but I did enough meditation and journaling and practicing about it to make myself able to actually face my loans and credit cards and savings and bills and start really truly organizing and addressing them for the first time in years instead of just flying by the seat of my pants.

Like. This is a huge deal for me. I've felt like I'm in deadly danger every time I've tried to think about money for years and years. I'm finally able to look it in the face and stare it down and start to organize and plan on purpose instead of just keeping up with the minimum to stay afloat. I'm so proud of myself.

It's still a refrain of "GUILT (funny link)" every time I think about money but I'm able to actually make spreadsheets and face the numbers and monthly tracking again, and even make a new full budget which I haven't been able to do in ages.

still feel guilt, overwhelm, and helplessness, but no longer feel as much deep elemental shame and terror. that's progress baby

[beauzos]

it's always hard when you're just waiting for the time to leave for something... going to a sort of belated Halloween Party tonight so i'm just sitting here dressed like a cowboy. watching the minutes very slowly tick by till i can leave.

[the-alan-price-combo]

"There is no other pianist/organist in Europe today who has moved, and I think ever will move me as much as much as Alan does." - Eric Burdon, 1966

[cryolyst]

~

[tankgotstuckinthecircusgate]

i know that when carlo suddenly decided that he needs to marry guy made a whole list in his head n like had a deadlines n shit. like it was some kind of a task he needed to do

[talkorsomething]

I have Got to get more transgender