#I'm sorry for the word vomit

[ithillyienseowyn]

Its the way that even though I've only sat and watched The Little Mermaid all of one (1) time and the only thing I constantly think about is the whole linear progression from the time Ariel sees Eric when she's brought to the palace to them looking at maps and his little doodads in his library :') to their whole outing and the entirety of Kiss the Girl and them coming back and saying goodnight after their day out {AND WAS SO STARRY EYED AND IN TEARS BY HOW IN LOVE THEY MADE THEM BOTH THAT I FORGOT URSULA STILL HAD TO RUIN THEIR PERFECT DAY BY MARRYING MY BOI}

Like I really sat in the cinemas HOPING and PRAYING they gave him an extra 5 seconds and let him tell Ariel he loved her but THE SCORE PICKED UP FOR ERIC'S DECISION AND I HAD A WHOLE OH NO MOMENT {in a room full of kids} WHEN I REALIZED {the scene playing out on the edge of the cliffs like Ursula/Vanessa was straight up luring him out was incredible in fact the whole vision- {like I know this is how it plays out in the animated version} but the conception of him being drawn to the ocean in general in this film is incredible but we know this already. But I go so dopey every time I think about the big brain energy of it all}.

Like when I say it felt very reminiscent of a folktale I meant imagery like the things stated above. This movie had a whole plethora of concepts that didn't make it too cluttered.

I feel it had this weird balance of everything without making it shot for shot and beat for beat.

I'm not kidding when I say I spent this entire movie silent, wide-eyed and slack jawed.

[otome-dissection]

Idk man I just think that mizu/ena5 and its progression was really beautiful actually. I just think that the release of the ena5 song was also really beautiful and kind of the nail in the coffin for me and I haven't been able to get the event(s) out of my head all week and that I kind of want to talk about it, actually.

It's about being hurt so deeply and continuously that any kindness that could be offered to you manages to feel like a sin, that it makes you crumble and shatter but for all the wrong reasons, not because of the newfound safety, not out of relief, but something worse and more deeply ingrained in you than kindness ever was. It's about carefully measuring the distance at which you keep others away from yourself, to ensure that it never happens again ("To save yourself the trouble", if that makes it easier).

It's about realizing that the people you've been spending all this time with are drifting closer, that they just might bump up against the unsightly parts of yourself that you've tried to keep locked away, it's about turning around and sprinting at full speed and slamming the door shut and holding onto the handle behind you to stop it from turning, because you're as frightened of the possibility of another wound being inflicted on you as you are of the possibility that kinder, gentler hands will reach out and smooth over the exposed scar. It's about hating eyes that judge and silently condemn you as much as you hate eyes that simply see you and take all of you in without scrutiny, because no matter what they're looking and they're looking at you and they know that your hand's on that door handle and they know that you're hiding something because, as much as you try to keep it shut, they've seen through the crack that you foolishly left open.

(The prominence of eyes in Bake no Hana, specifically eyes looking and searching, and finally landing on you, the viewer, Mizuki, is so fucking. Visceral in my opinion. Every character in the MV stares at the viewer in a deadpan, almost judging way. Even though Mizuki knows deep down that niigo won't really hate them, won't judge them, she just can't stand their kindness either; any gaze directed at her is a loss, another prick in their skin. It screams "don't look at me" while making sure that you know, with horrific certainty, that they're looking for you, that you're being watched. You can't go outside, can't leave your room, because they're searching for you, and while that should be reassuring, to you it's anything but).

It's about not wanting to be dissected, whether it's with hands that want to pull your organs apart or stitch them back together because no matter what they're there, and they're getting frighteningly close to your heart. It's about blinding yourself and covering your eyes to it all because seeing means exposure and exposure means they're taking something from you and you can't do anything about it, much less take it all back, much less have a say in the matter. Everyone's just taking and taking and taking and you wish you could just be alone. You wish everyone would just disappear and you could live in a world all to yourself, for only yourself (but is that really what you want?).

It's about the way that, near the beginning of the Yoka ni Mitoreta MV, Mizuki and her loneliness is represented as a dark, splotchy stain in the shadows. No colors, no patterns, no way to clean it or wash it all away, just raw ugliness marring a blank canvas. It's about the way that Ena reaches out to it anyway, the way she startles when the glass shatters just when she finally starts reaching forward, the way that the rest of the MV/song represents her searching for and reaching only further out to Mizuki, even if the broken shards of glass will only cut her fingers, potentially leaving scars.

It's about how, in every way, subtly, directly, consciously, and subconsciously, Ena shows that she fucking cares.

It's about the way that Ena lets Mizuki have autonomy, despite the situation being so horribly out of their control. And it's such a delicate thing: If she really wants to, Mizuki can take the opportunity to just run away, keep running forever, repeat the cycle over and over, and maybe she'll just destroy herself with it again, but it can't be denied that it's something important to them, something she can't quite live without just yet, their means of survival. Mizuki's autonomy is their identity, it's her tailoring her own clothes and choosing her own ribbons and styling her own hair the way she does. Ena letting them have that is as much about trust as it is about understanding that Mizuki of all people should have this right, when control was something stripped from her throughout so much of her life. She couldn't control how she was born, how people look at her or why, can't control what they think of her; lacking control has only left Mizuki vulnerable to the cruelties of others, has only caused them to suffer, which is why it's so important that it's given to them now.

She had the control to make the choice to see niigo's welcoming love and run away instead of staying, and she has the control to make the choice now whether she wants to keep things the way they are or take a step forward to be at their side again. She has every right to have it, and I think the fact that Ena realizes and respects that, even if it's subconsciously, is really beautiful (there is an entire fucking Verse about this in the new song and just. God Look at this. It's so caring, unconditional, and for fucking What. I think there is something to be said about how much Ena is willing to put aside for Mizuki, and maybe deep down it isn't healthy, but for now I'm just kind of in awe)

It's about how insanely patient Ena has been this whole time. Mizuki says that she basically lied to Ena's face about telling her their secret, even after Ena said with such conviction that she would wait for Mizuki as long as it takes, and Ena is just kept waiting and waiting and worrying like this seemingly indefinitely. It's about how Mizuki danced around it, avoided it, kept the distance, straight up ran when she was finally pushed, but Ena still chased anyway when she saw that she couldn't wait anymore, kept chasing just enough to intervene and get a straight answer out of Mizuki when she really needed to, but still leaving her enough space to leave if that was truly what she wanted. It's about how relieved Ena is the moment that Mizuki finally says outright how much they want to be with her and niigo, how much she wants to try, how much more light Ena's voice sounds when she grabs her hand, relieved, the way that the relief she feels can be felt through the music, throughout the entirety of Yoka ni Mitoreta, the way that warm colors always follow her when she chases after Mizuki, just to hold onto her and stop her from running away completely.

It's about how that careful combination of Ena's directness, Ena's persistence, Ena's warmth, her patience, her bluntness about her feelings, the way she chases and holds on but not too tight and her regard for how unsafe and exposed Mizuki feels actually works and breaks it all down. It's about how she really did reach through to Mizuki, despite the thorns and broken glass shards and nearly-unfulfilled promises, the way that Mizuki did finally let her turn the door handle and step through to see what she'd been hiding all this time, the way that Mizuki's hand, limp, when Ena first grabs onto it, shifts to hold hers back as they cry in the face of Ena's gentleness.

Despite how harsh Mizu/Ena5, and even Ena herself as a character can be (or at least was in the very beginning of pjsk), everything is somehow gentle and warm in the end, blindingly so. And you know what, I think that's beautiful. And what's even more beautiful than that is how Mizuki allows themself to crumble and shatter under that kindness, that warm light, but this time, finally, out of relief.

On a final note, I just want to say that I also appreciate how all that didn't have to solve everything. The scars haven't disappeared, haven't gone away, and Mizuki knows that their desire to run hasn't gone away forever, and maybe it never truly will. But for now they've calmed it, at least a little. She's learning to allow herself to be seen, learning that when someone's fingertips brush over their scars the way Ena's did that it's only out of care, and that maybe taking in that care and allowing herself to feel kindness and safety is okay. They're safe, for now, somehow. They're learning. They're trying. And I think that's cool :)

[flameunquenched]

there's something there about how all three times someone tries to get sauron to, you know, acknowledge the fact that he is sauron, his answer is "i have many names."

one to galadriel in s1e8. one to celebrimbor in s2e7. one to glug in s2e8.

in fact, thinking VERY carefully, i am pretty sure he only ever says the name sauron (in present day, not counting s2e1 flashback) twice in the entire 16 episode series so far.

once in s1e8: "sauron lives because of you."

once in s2e1: "sauron has returned in a new form."

it is an interesting divorce to his identity and i think a really interesting bit of character development with regards to sauron as rop is portraying him. there's been talk of how there wasn't a true 'repentance' arc but what if his refusal to self-identify himself definitively as sauron is part of it?

it's interesting how he seems to be actively attempting to utterly disassociate himself from the name sauron. it is my headcanon that neither melkor nor mairon can use their original names anymore, hence the usage of morgoth and sauron, but i wonder if even after centuries, there is a small part of sauron who is trying to pretend that he is not abhorred.

maybe i'm reaching but i wonder if we may finally see him claim his name in s3.

edit: yes, i know what 'sauron' means. yes, sauron is evil and bad. keep adding stupid comments and i'll keep deleting them and move to blocking next.

[spacebubblehomebase]

I just noticed, in your HHStargazers AU no one has pupils - except for Alastor and, if she's canon, Carmilla. Does that mean slit pupils are a sign of a demon in disguise?

Good eye! 👈👈👀 (Pun unintended.) Though I don't really plan for this trait to be repeatedly shared amongst the disguised demons. Mostly to not limit my designs to an obvious tell. But the slit pupils were indeed intentional flaws I added in for those two in particular. Because according to MY headcanon, both angels and demons are beings beyond human comprehension. Thus, it's only to be expected that even when they TRY to fit in, they'll be unable to keep EVERY aspect of their uncanny nature concealed. At best, they're imperfect imitations of what "normal" should be. It just so happens that in my AU, angels have a much easier time concealing most of their little quirks and oddities away than the sinners for my own reasons and as for WHY no one ever grew suspicious of the eye thing, it's because Charlie's curiosity could be easily curved. While for Lucius to point this out, he'll have to admit that he's been staring at Alastor's eyes a lot whenever he gets close enough to drown in the depths of his gaze and- EHEM!!! Which he's NEVER done, mind you! AhahaHAH- What slit pupils??? Never noticed those before. Nuh-uh. NO siree. NOPE! Lucius is normally so, SO normal about Alastors VERY much normal eyes in a TOTALLY normal amount of normal. A-ANYWAAAYS!!! Lucius would also be a hypocrite if he was bothered by them considering his own occupation and the people he's usually surrounded by (yet to be revealed). As for the other humans, Alastor doesn't care enough about their opinions for it to be a threat to him and people often just avoid the guy unnerving them with his creepy ass stare. So it's all good! Hope you like these bonus fun facts! 'Cause I have a feeling I left you with just as much questions as answers, but that's the fun of an ongoing story, yeah? Stay tuned~! 😉✨️ -Bubbly💙

[malvolios-yellow-stockings]

fellas is it gay to be a directionless lonely insomniac approaching your 30s without having accomplished heterosexual milestones of settling down and having kids and also not having an outlet to exorcise your feelings of loneliness, shame, dejection and inadequacy, being a faceless consumer in the age of neoliberal hegemony who is unable to form meaningful human connections or feel pleasure in any meaningful capacity. is it then gay to only be vulnerable in support groups where others believe you are dying or seriously ill, in groups where you are frequently embraced by other men who share your sense of urgency, in the only context where everyone can get over being temporarily embarrassed and ashamed of their flood of emotions?

is it then gayer that this scheme you built for yourself is obstructed when a woman disrupts the all-male group you go to and that woman is everything you don't want yourself to be - a "weak person", outwardly self-loathing and ironic, painfully self-aware, lethargic and hysterical at the same time, undoubtedly feminine and carelessly vulnerable and only violent towards herself, never others (maybe that she’s free in all the ways you are not)? is it gayer still that this disruption triggers the appearance of another "man" in your life who is your own edgy, idealised version of maleness, masculinity & manhood. (is it gay that you show your anger and jealousy towards this woman, expressing your distaste by saying “if only i had wasted a couple of minutes and gone to watch marla singer die and none of this would’ve happened” after your idealised man saves her from suicide and has sex with her very loudly so you can hear (“i could’ve moved to another room… where i might not have heard them. but I didn’t”?) Is it gayer still that you reject her advances multiple times later on while loudly expressing your disinterest in her sexually)

fellas is it gay that this man turns your life upside down, convincing you to found a club that by definition and principle excludes women (“it’s for men only”), where men intimately fight underground, in a dark basement on an increasingly regular basis and where your fighting partner is almost always different every time, where you recognize each other in the wild but are instructed not to be publicly open about your membership to this secret fraternity of sorts (almost resembling the dynamics of gay cruising and hook-up culture)? is it gay that your previous need to be embraced by men in a no-questions-asked context is replaced by the same but different mechanism/ritual, this time with expected, welcomed and consensual violence intricately tying your idea of freedom and therefore pleasure with pain? fellas is it gayer still that the guy who taught you to embrace and overcome that pain lives with you and kisses your hand before leaving a chemical burn there in a shape suspiciously resembling lips?

is it gay to semi-ironically describe your co-habitation with him as married life, comparing yourselves to ozzie and harriet while tying this guy's tie, this action making you the (house)wife of the pair, then later on basically imagining that he slaps your ass after handing you beer to serve other men with? is it really gay that you get jealous of the two people this idealised man you live with shows deference to interest in? first the woman you yourself previously showed no (outwardly sexual) interest in and who was established as a kind of a rival (wherein it was impossible for both of you to be satisfied in the same way at the same time, who invades your power animal coping mechanism sequences, and whom you later embrace as an ally and quite possibly a part of yourself) and then another guy whom you then monstrously, savagely beat after feeling an "inflamed sense of rejection" and explain ruining his body by saying you “felt like destroying something beautiful"? fellas is it gay that this idealised confident man dresses eccentrically and flamboyantly, accessorises rings and big colourful fuck-you-glasses, mesh shirts etc. going against the subdued yuppie masculinity of corporate male America, who is free in all the ways you aren't and who spews (and seduces you with) anti-social undercooked anti-capitalist rhetoric and pseudo-scientific cool guy bullshit which goes against mainstream society bro!, who uses his job/pass time as a projectionist to smuggle pornographic imagery into family films (and who represents your own violent subconscious lurking in you in the form of a penis appearing for less than a second right at the end of the film?) and who tells you that maybe neither of you need women in your lives, while you discuss your absent father figures. is it gay when he spits his own blood into the mouth of a presumed gangster telling the gangster "you don't know where i've been lou" in a time where the impact of AIDS is looming large and heavy over everyone, but is inextricably tied to gay/queer men and IV drug users?

is it gay (of the repressed, self-hating variety) to create a whole fella you can pine after and effectively beat yourself up after he picks you up to live with him and punch the lights out of another dude you recognize is beautiful because the imaginary best boy friend you created in your head, that being you, has possibly experienced homo lust which is becoming increasingly hard to suppress?

and fellas is it gay to want to be tyler and want him at the same time?

is it also gay when... [gunshot]

[mauvemischief]

ok but please imagine you are Keith Kogane who has never had a real family before (the one time you even got sort of close it was brutally ripped away from you) and then in walks this mismatched people (some of witch are an alien species) who insist on standing beside you no matter what happens, alien blood, evil aliens with the same blood, the world falling apart around you, they stick by your side. and even when you think they won't Lance McClain tells you that he believes in you and will have your back and follow you anywhere and then you take the time learn the intricacies of Lance's own heart in return and realize that you aren't that different from one another and you make sure Lance always feels wanted and like he has a place on the team you built together. Then you save your home planet, you and your new family, together, after what has been some of the impossible challenges of your life just for him to turn his back on you and profess his love to a woman who never gave him the time of day and frankly was the root of a lot of his issues with personal inadequacy. Imagine she says that she loves him too and you're forced to watch as someone who you thought would always be there for you chooses someone who will never appreciate him as much as you do. and just like that you're alone again, having lost your humanity and nearly lost your brother, reeling from PTSD and the weight of the entire universe on your shoulders, the only person who you thought had your back, and maybe felt something more picked someone else over you.

oh and now you have to fly back in to space together, you and Lance, and his new girlfriend and somehow end the longest most bloody war the universe has ever seen. But you just got your heart broken.

[athousandbyeol]

st(r)ay.

he dreamed of warm hugs. tender caresses on the crown of his hair. tidying the messy curls of his bangs behind reddening ears. and he would giggle. he would blush. he would have tears in his eyes. all good things. everything wonderful.

he dreamed of a pair of piercing eyes. that gaze was never directed at someone else but him. and he would replay that scenario every night, each scene was an animation against the emptiness of the ceiling—before he could remember how lonely his nights were before he came. because he was alive when those eyes were on him—he felt so seen.

and that infamous cold smile. he saw it through the haze in his vision and the daze in his mind. and he couldn't remember anything else but that smirk, the smugness of it all.

the roughness of his palms against the softness of his own. they flutter like broken butterfly wings. but still so mesmerising. when their fingers intertwined, he saw a splash of colour, in all shades of black and blue and grey and him.

sheng wang dreamed of jiang tian.

he saw jiang tian in the recesses of his imagination. there were tears in his eyes. they fell. and fell. but jiang tian was still quiet—why was he so silent?

and sheng wang tried reaching out. but the distance between them grew the more he crossed the forbidden line. jiang tian was untouchable. elusive. like the nightmare he had as a child. like the memories of his father's fading warmth on his skin, the conversations between them, tiki-taka. and by then, sheng wang realised, everything was in vain.

so he opens his eyes.

he opens his eyes and sees a shadow of light against jiang tian's face. his features gradually soften as the moonshine dances elsewhere, promising the stars to tango. and its darkness again, in all of its glory, bestowing on the sleeping jiang tian. but in sheng wang's vision, he has always been the brightest. nothing could ever compare to jiang tian's blinding shine.

oh.

and sheng wang feels the overwhelming urge to hold him. to embrace him. to be with him. because he has always been curious—those little touches were lethal, and sheng wang's already addicted. there's so much more in jiang tian that sheng wang wishes to desire. can he?

the sense of security washes over him like a growing tide, making his lungs tighten, and sheng wang could never forget how jiang tian made him feel.

and he feels so much. too much.

he could never forget how jiang tian made him be.

jiang tian is now drenched in red.

sheng wang knows this is a warning, a sign—don't. they sound like white noise in his ears, these no's and don'ts and pleas. sheng wang couldn't care less. because temptation has always been so delicious, and sheng wang's always a bit reckless.

so he leans closer. just enough to count the long lashes brushing against jiang tian's cheekbones, lulling him to sleep. just enough to remember the zeal of jiang tian's presence, ever-so-grounding, like an old tree under the pouring rain. just enough to understand that he loves.

he loves jiang tian so. he hopes jiang tian won't go.

his heart, oh, his poor heart. sheng wang believes that jiang tian could hear it. the roar. the growl. but maybe sheng wang wants jiang tian to listen. listen to the voice calling his name ever since—ever since he knew what wanting is—ever since he understood what loving is.

it's cold. so sheng wang pulls the blanket further up, covering both of them, sheltering them from the potent glare of these red lights. and when he breathes jiang tian in, sheng wang surrenders. he shudders.

don't leave me.

sheng wang shatters.

[pinkytoothlesso11]

Reasons why Jinx is alive– A fully comprehensive evidence analysis

Right. So I've seen a lot of people with conflicting views on if Jimx survived at the end of Arcane season 2, and I have been itching to do a meta post on the subject, so here it goes!

The first piece of evidence that I found particularly noteworthy was the explosion itself. By going frame by frame it was possible to see this:

It's a blink and you miss it kind of scene, but this is right after the explosion, and you can see the clear pink line going into one of the vents. Now why is this important? Well, it's simple, it's the shimmer effect that happens when Jinx is moving very fast! I know that Warwick was holding onto Jinx, but in a explosion its perfectly plausible for her to get out of that grip using the explosion of her monkey bomb.

Then we have the scene where Caitlyn is inspecting the plans for the Hexgates.

There is literally no reason for her to look at these plans. Not unless she thought there was something she missed...

There's no dialogue here, so it's really just based on what she does and how she reacts. Most notably what she's holding.

It's the head of one of Jinx's notorious monkey bombs. What's more, it's clearly damaged and singed. So likely this is the very same monkey bomb Jinx used in the Hexgates. This also suggests that Caitlyn might have been searching for evidence of Jinx's dead body... and clearly didn't find it for her to be holding Jinx's bomb head and then searching on the plans. Which brings me to the focus changing to this:

The vents we see the streak of pink shimmer light go inside correlate to the plans as shown above. The vents connect to the air ducts which connect to the outside. After this, the camera goes back to Caitlyn and we see her look at the monkey bomb head and then smile.

Then we get to the most telling piece of evidence that Jinx survived and left Zaun and Piltover behind, which is definitely a controversial choice on the writers part and does come across that they just want the option to bring in Jinx whenever they want in later stories taking place in Noxus, Ionia and Demacia. Which is very Marvel like lol. This is namely the air blimp at the end shot of the show.

What I find interesting is the fact it mirrors exactly the very first time we see Powder in episode 1 of Arcane season 1 when we see one of these air blimps.

The difference in these shots is that the one from season one is going TOWARDS Piltover, and the one from end of season 2 is going AWAY across the sea. The only difference in the ships themselves is the streak of blue you can just about see on the side of the hull. Maybe a further hint that Jinx is indeed on board that blimp.

Obviously it is what Powder says about the air blimp in season one that truly gives some solid evidence Jinx escaped on the air blimp heading for the sea:

Well, it seems Powder was right about that... the shots being so similar is clearly not a coincidence.

This is made all the more evident with the very last seconds of screen time of the show. It ends with Jinx's signature scribbles taking over the screen for three seconds with the words 'The end' written across.

Some people I've seen commenting on the fact the letter E on 'the' is reversed, but I think that's just a style choice in line with Jinx's graffiti so far. What is significant here is the fact it's so evidently Jinx's mark straight after the air blimp that resembeled the one in the first episode of Arcane season one.

Annnnd there's just one more thing now. I promise I'm almost done lol.

The lyrics to the song Wasteland that plays during episode 8, when Jinx is about to try and end her life are as follows:

This world is a wasteland where nothing can grow

I used to have strength but I ran out of hope

I know it’s my fault that I'm here all alone

This world is a wasteland

Please let me go, go, go, go, go, go, go

But then the lyrics change in the last chorus, they go from Jinx preparing to end her life for good, to THIS:

This world is a wasteland where nothing can grow

If it weren’t for you I’d be here all alone

I know in my heart this is where we belong

This world is a wasteland

Don’t let me go, go, go, go, go, go, go

Don't let me go

I feel it's likely that the line 'if it weren't for you I'd be here all alone' is referring to Ekko. Because it's Ekko who stopped Jinx from killing herself. And then of course the biggest change, from 'please let me go' to 'don't let me go' Jinx isn't ready to say goodbye. She wants to stay living. And I think it's this that plays in her 'sacrifice' scene with Warwick. It's not her giving up on life, it's her accepting that her life has changed and she needs to break the cycle by moving on. Not for anyone else, but for herself.

Let me know in the comments or reblogs your thoughts on this! And thank you for reading if you got this far lol.

[babycandle]

kindergarten teacher!reader x john price imagine 🖍️🧨❤️‍🩹

You first meet John when he comes to pick up his niece and nephew with his sister-in-law.

According to Lucy, his brother’s wife, he’s a government worker who is constantly traveling for work, and the kids missed their super cool uncle dearly. You’d heard many stories from the kids themselves, but this Uncle John remained sort of an enigma to you, like an imaginary friend.

Nothing could have prepared you for the real Uncle John.

He stands at a good head (and maybe half) taller than you, dressed in a casual navy shirt and utilitarian cargo trousers, a baseball cap embroidered with the British flag atop his head. Thick facial hair covers most of his lower face, but it doesn't do much to hide the bright smile he gets as soon as he lays eyes on the kids. The ease with which he picks up his niece and nephew, Olivia and Oliver, nearly leaves you breathless – not to mention, the sight of his thick, fuzzy arms flexing and unflexing as he tosses a kid over each shoulder, eliciting delighted squeals from them both.

(In some decrepit corner in your mind, you wonder if he could do the same to you. Probably.)

As you're chatting with her and updating her about her kids’ day, Lucy motions him over so she can introduce you to each other. “This is my husband's brother, John!”

“Hello there, lass.”

The smooth, brassy tones of his voice wash over you like a tidal wave that you’d happily drown in. You introduce yourself as the kids’ kindergarten teacher, and he gives you a good-natured smile as his niece and nephew start climbing all over him like a tree. “I hope they haven't been causing you much trouble,” he chuckles, a twinkle in his eye.

You try your best to swallow the dryness in your mouth. “Of course not! It’s a joy to watch them learn and grow everyday,” you reply sheepishly, clearing your throat as you avert your gaze.

You're too busy internally cursing yourself for not looking a bit more put together; there's dirt and sand all over the bottom half of your overalls, paint splatters going all the way up your arms and maybe even on your face, and your hair is matted and frizzy. Self-consciously scuffing the soles of your sneakers against the floor as you try and fail to get the sand off of it, you miss the way his gaze rakes over you from head to toe, the corner of his mouth curling in interest.

It's at that exact moment that Lucy plucks her kids off of John and hands them each their backpack to carry themselves. You deflate a little, knowing that that's their cue to leave.

However, you instantly perk back up again when John turns to you, his arms now empty, and extends a hand for you to shake. “‘Twas a pleasure meeting you, lass. Hope to see you around more often, yeah?”

Your heart catches in your throat as you reach out to shake his hand. When he grabs you in a firm, warm grip, you feel his calloused fingerpads brush over the back of your hand, and you have to suppress a shiver from running down your back.

“It was nice meeting you too, John.” You offer him a shy smile, praying that your cheeks don't look as warm as they feel.

You distantly wonder if you were imagining his touch lingering just a tad too long before he finally lets go.

As he turns around to leave with his family, you're quickly whisked away by the other kids demanding your attention. Consequently, you don't notice the way his eyes stay on you even as he walks out the gates, nor do you notice the way his sister-in-law waggles her eyebrows at him suggestively as soon as they're out of earshot.

You don't have high hopes of seeing him after that, of course. Maybe it's just the fact that you've been single for several years since your first serious relationship ended – yes, you convince yourself, that's why you can't stop thinking about him all night. That's why you still feel the weight of his hand in yours, the brush of his fingers on your skin tickling like a phantom touch. That's why the sound of his voice echoes in your mind like a broken record, and that's why you keep thinking back to the way his eyes crinkled when he looked fondly at his niece and nephew.

But you can't deny the way your chest squeezes when, the next day at kindy, he comes by to pick up the kids again – this time, alone.

bonus (an alternative pov):

There's a very short, concise list of the things Price lives for. Since the birth of his brother’s daughter, she’s been undoubtedly added to the top of that list. Then followed the birth of his nephew as well, who obviously followed suit and quickly became a serious contender for the number one spot.

He makes it a point to visit his brother’s family every single time he gets time off without fail. The kids grow up absolutely adoring their super cool, super strong uncle who always comes back from his business trips with funny stories to share. (Their favourite activity to do with him is hanging off his arm, almost using it like a monkey bar.)

So, when he’s finally granted leave after nearly a year of bouncing all over the world and eliminating several apocalypse-level threats, the first thing he does is call his brother and fly back straight to them.

He lands while the kids are at kindergarten, so when Lucy offers to bring him along to pick them up, he jumps at the chance. (He made sure to take a very thorough shower before hopping on the flight here, not wanting a single speck of dirt from foreign lands or speck of blood on him. Even so, before he leaves with Lucy, he takes extra care to wash his hands and scrub underneath his fingernails again. Just in case.)

It goes without question that he's absolutely over the moon to see Olivia and Oliver – the sight of them running to him, screaming his name in joy is nearly enough to make him melt. He sweeps them up in his arms, holding onto them like a lifeline.

Occupied with the kids for a few minutes, he glances up to see where Lucy has gone. Then, he sees you.

You're chatting with Lucy, your smile bright and your eyes brighter. There's wildflowers tucked into every pocket on your overalls and rainbows of paint on your arms, as well as a smudge of yellow on the side of your cheek. The soft afternoon sunlight hits your hair at just the right angle that it highlights the stray strands of hair on your head, making you look like you're wearing a halo.

For a moment, all the bustle and noise around him winds down into a fuzzy, white silence. You're the prettiest thing he's ever laid eyes on.

[violent138]

"#hey I have a serious headcanon that multiple of Gotham's elite were worried about or invested in Bruce's future#not even for court of owl reasons#but because he had the power and wealth to the alter the city the same way his parents did#falcone even tried killing him a bunch"

PLEASE talk more about this i'm begging. I want to hear all about this!!! Go into as much detail as you want but i'd absolutely read a 5k essay on this if you feel up to it

Though this isn't quite a 5K essay, you may come to regret asking lol. But I'm delighted to answer the question (thanks for asking):

Firstly, I guess to set up some Gotham lore, Gotham's a city of seemingly endless opportunity and is subject to constant power grabs. I think Black Mask once listed all the different factions that squabble over Gotham (street gangs, crime families et cetera). One of these groups is the Court of Owls (the society that secretly controls Gotham), made up of Gotham's oldest and wealthiest families.

And Batman comics make a point of repeatedly drawing attention to its key families, Kanes, Waynes, Elliots, Cobblepots (and the Arkhams too should you like to include them). There's an undue influence and importance they wield over the city.

But despite all the different forces that are competing to reshape Gotham in their image, it's the spectre of the Waynes that looms over it all.

This actually makes a lot of sense, since as some of the founders of the city, they were literally involved in creating the city's skyline and appearance. And then past that, there are so many instances and references to how Thomas and Martha (Kane or Arkham) were set on changing the city entirely (possibly a deviation from their more traditional ancestors).

This is the beginning of the loss of control for many others over the city (such as Gotham's wealthy and elite). Even smaller decisions, like Thomas' choice to save Carmine Falcone's life have major repercussions for the city.

The Waynes had a ton of power, buildings and institutions around Gotham hold their name. They were untouched by their potential criminal ties as they reconstructed the city, but it was clear that they were earning the hatred of a lot of powerful players. This includes the Court of Owls (historians still argue)/others, and if you're a fan of the TellTale game, it's clear that Bruce's family may have actually destroyed and usurped power from some of these other powerful families.

Regardless, Thomas and Martha's shocking deaths created a massive power vacuum that everyone would have jumped to take advantage of. And aside from gaining control over the city, all the old-money families would have wanted control over Bruce Wayne.

Because of the deaths of his parents, Bruce becomes a wildcard; he's the sole inheritor of Wayne Enterprises, all the money, power, and prestige his parents wielded. And in a way, it's almost like all the Waynes have some divine right/eldtrichy power over Gotham, by virtue of their fascinating blood line (or just their money).

So everyone would have been trying to control him/adopt him/use his access in the wake of trauma and exploit his age. When it didn't work, they likely all just settled into a stalemate of waiting for him to make moves so they could decide how much of a threat/ally he was.

In a comic I read (I'm sure there are other examples too, can't recall as I answer this), Carmine Falcone tries to kill Bruce Wayne via hired assassin, well after it's been established that nobody's even seen Bruce for a while. Carmine hears that Bruce could be at a party and sends an assassin with both a potent neurotoxin and a sword to ensure the job is done. So long after the deaths of his parents, these concerns of Gotham's warring factions continue.

And once Bruce starts acting on his vision for the city, one that aligns so well with Martha and Thomas' plans for Gotham, he likely cements himself as a threat yet again, and one that hasn't been schooled by his old-money parents in the games and underlying politics of Gotham.

So to continue on the line of thought that the tags came from: Regardless of what choices Bruce eventually makes -> I doubt that the Gotham elite wanted him making them without their influence

As a side note, because I'm kind of obsessed with the lineages that rule Gotham, if you look at Oswald Cobblepot, even as a crime lord descended from the Cobblepots, he's not just a street-level crook, but he also shapes the city.

[mezzy303]

So I've been rereading skip beat from the beginning for the first time in uhhhhh almost 10 years and I'm going inSaNE over characterizations and development that I have to write it down

At this point I'm only at the Heel siblings arc so I haven't gotten to the Guam or Saena arcs which are very big for Kyoko and Ren's character development and healing which I haven't reread since those chapters came out

Can we just take a moment to appreciate Nakamura for basing Kyoko and Ren's childhood struggles and trauma on very real things that aren't often, if at all, dealt with in anime/manga and also writing them with utmost care (Not only do the traumas inform their personalities, but their healing arcs aren't just a one and done thing!! It's a very slow process) Like starting with Kyoko, her single mother neglected her so much that she was raised by a family friend. On top of that, nothing Kyoko did was ever good enough for her mother, and both of these things are so apparent in Kyoko's character. She attaches herself to fairytales and magic as an escapism and because she relates to stories like Cinderella. She literally cannot function if she messes up and no one criticizes her. She can't properly acknowledge her own talents and beauty without it being attached somehow to fairytales; she never quite believes shes good enough. Similarly, she didn't want to bother anyone with her troubles, so she always dealt with them alone/in private spaces. Pretty sure she also has lowkey abandonment issues. And this is all parental trauma!! Things she already has before the series starts and she gets so utterly heartbroken she swears off romantic love entirely so she can never get hurt the same way again.

(I don't think I'll ever get over how Kyoko told all this to Kuu and he was literally like I'm adopting you. Your mine now. Sorry I don't make the rules ¯\_(ツ)_/¯ And Kuu going home to his wife like hey we got a new kid 😂 Like Kyoko freezing up when she made mistakes and then Kuu showing her love instead of reprimanding her makes me go 🥹😩💖✨😭💝 Kyoko getting all fluffy from head pats🥹🥹 But on the downside she literally can't bring herself to call him dad unless she's in acting mode sjdfhsf)

When I really consider it, I wonder if Kyoko really loved Sho as a person or like.... the idea of him. Like he was just a convenient guy via proximity bc Kyoko needed someone to be her "prince". We haven't been shown exactly why she fell in love, but it would explain why she stuck with dedicating herself to him despite his terrible personality and knowing he never saw her the same way. It's portrayed like the concept of hatsukoi in anime where its ✨pure✨and innocent✨It seems very idealistic. Whereas Kyoko's love for Ren is more mature. She sees every aspect of Ren and doesn't sugarcoat it, she sees him as he is (she does him up on a pedestal but partially bc she admires him but also as an extreme measure to protect her heart and hide her feelings imo)

And REN. trauma to the max. He had to deal with the hardships of making a name for himself when his parents are already famous, extreme racism from being biracial, his friend/mentor dying from an accident he unintentionally caused???? Like boy hates himself so much he's literally disassociating 24/7 he needs a fucking therapist. I get how being Ren has helped him in some capacity but he needs a professional asap. Though deep diving into this is so interesting because Ren/Kuon compartmentalized his issues and the parts that he hates about himself so much he created its own persona ("Dark Kuon"), to the point he's rarely ever just himself. And he buried it so deep that as soon as he cracked the lid open, those emotions just spilled out. He can't even allow himself to be happy, and when he does feel truly happy, his automatic response is acting nonchalant,,,,,,,,,,,, he didn't even realize he was doing it at first 😢

Also the symbolism with Ren's watch makes me go a little feral. I don't remember if it's originally his or Rick's but it obviously stopped when the latter died and Ren keeps it as a reminder of what happened and why he went to Japan. It's a weird item since it grounds him but also represents his heavy trauma, and I think having those two things in one kinda showcases Ren's unhealthy coping mechanisms (like grounding himself to something traumatic isn't... great...). But that scene where he realizes he took it off and he has a moment of whether it to keep it on as Cain Heel or not??? *clenches fist* it was so good. (To recap it, he had his watch so he wouldn't lose himself in the role of BJ and then forgot it in the bathroom after an unexpected trauma response) Ren narrates his thoughts as choosing between Rick or Kyoko but interpreting this, he's choosing whether to keep himself stuck in his past trauma or move forward and let himself be happy AKA stick with unhealthy coping mechanisms vs try something healthy and rely on people he trusts. Kyoko essentially becomes someone Ren grounds himself to 🥺 He still needs therapy though lmao. He's so mentally unstable in this arc,,,

As I'm writing this I'm seeing a parallel between Kyoko and Ren and how they both had an experience that completely and utterly broke them, and it was this that pushed them onto their current paths in showbiz. And they likely would never have met each other again if those things never happened (they had to lose themselves to find each other?? 😭). It's so funny to me that Ren is all like ThEiR fAtEs ArE iNtErTwInEd with Kyoko and Sho when you have to consider the fact that him and Kyoko meeting again was like. a chance in a billion. It was fate 😂

KyoRen is such a poetic ship to me. The fact that they're different people when they meet and don't recognize the other. How Ren starts falling in love AS SOON AS HE REALIZES KYOKO IS THE SAME GIRL HE MET (Ren being gray/demiromantic.... more at 5). Kyoko lowkey starting to crush on Ren when she witnesses a bit of his real personality. These two things happening around the same time??????? And Ren being SO afraid of being Kuon, his true self, because of his bad qualities, but Kyoko pulling out the good qualities without him fully realizing it?? (I'm 100% referring to Kuon being a mischievous little shit and I live for how he teases Kyoko) tbh they treat each other differently from other people without even realizing it lol. And Kyoko being surrounded by toxic and possessive men pursuing her, and Ren being anything BUT. Like my man is a gigantic green flag. He recognizes that he can't seriously pursue Kyoko bc she's a minor and he really tries his best to only be a friend and mentor in her life and keeping her trust and never crossing her boundaries despite the stereotypes of men being "unable to control themselves." Y'all take point this should be the standard at minimum☝️

I have to talk about Sho bc this boy is so fucking toxic but he makes such a fascinating character. As much as I hate how Kyoko got heartbroken in the way she did, I think it was necessary so that she could leave Sho's sorry ass and cut him out of her life. Seriously,,,, he took advantage of her and used her as a servant. she literally dropped out of school, moved to a different city, and took on two jobs for the sole purpose of helping his career and then he threw her away like a used rag (JUST THROW THE WHOLE MAN AWAY). And then he has the audacity to fall in love with her smh. Anyway the fascinating part about him to analyze is how he's so possessive of Kyoko. Like she was a mere fly in his life, but she was always his. Until she wasn't. And I think those twisted thoughts kinda morphed into feelings for Kyoko. Ig in a way he still cares about her, but it could never hide how toxic he is. Anyone who's like I don't care how this person thinks of me as long as I take up the biggest space in their heart is egotistical and narcissistic. BUT he and Kyoko bickering like siblings will always be funny. Like epitome of two people who've lived with each other for way too long so they know how the other ticks and also get on each other's nerves 😂😂Sho does makes a good foil for Ren though. Like he's basically everything Ren is not: immature, temperamental, possessive, vain, the list goes on. His only redeeming qualities as a character is providing good drama and humor and being an example of what Ren isn't.

Skip Beat is really a story about healing and learning to love yourself and letting others love you and Nakamura is such a good story teller 🥺

[chasedeys]

*whispers like a ghoul* You should write Joe’marr on a boat (maybe it’s Joes first time and he’s panicking) (MAYBE it’s their honeymoon)

*makes dying moose sound* god i really shouldddd just IMAGINEEE

joe's probably stoically uneasy wearing his eye searing tie dye swimming shorts and bright fucking orange life vest and stupid little expensive ass sunnies while ja'marr's rocking nothing but his tattoos and little black booty shorts he chose specifically for that day and demanding joe to loosen up but! no.

and ja'marr's just laughing at him because joe keeps answering in short sentences five words maximum in a tight voice very obviously bothered out of his mind but won't admit shit and then ja'marr is just yelling at the captain not to go so fast it's baby's first time (they're literally just static in the middle of the ocean) and joe finds it in himself to let go of the tight grip he has on the boat seats to leap up at ja'marr and try to throw him overboard and the captain is shouting at them to knock it off he will not be an accessory to murder aren't you both newlyweds???

they're given those wide inflatable pool float things to float on water so they can explore off the boat and they just lazily float on by in the ocean breeze tangled together making out in intervals and poking at each other's belly trying to tip the other off the float and talking (whispering really because they're tangled so close to each other they barely have to raise their voice sigh) about new floor plans and their turn to host team get togethers and what to get tee for his birthday (joint presents! ahaha) etc etc being so grossly comfortable in each other's space and In Love oughhhuhghuhh.

also. do you think they're the type of men to actually wear sunscreen. are they. or are they stupid.

[bookshop]

pardon me i'm just overwhelmed by wang yibo (as usual)

It's just, this kid, THIS KID, YOU DON'T UNDERSTAND LET ME EXPLAIN

— he has to battle his way up through the ranks of YG to get to debut, in another country, away from his parents, while barely a teenager, all while learning a second language, and he not only does it, but according to legend he and Lisa are the only two foreign idols in YG history to graduate the program with all As

— and then his debut gets canceled and he has to go back to China and Yuehua and restart his entire career without much support at all from his agency, and he just does it, he starts the grind all over and just fucking does it

— he isn't even Yuehua's first choice for Day Day Up's new host competition, and they submit him only because he speaks Korean and that's good for the show, but then Wang Han sees him backstage one day and sees how hard he's working on his dance routine and immediately knows that Yibo is their next host, and not only is he an incredible addition to the show, but he stays on DDU longer than he reasonably should given how massively famous he gets, and he's so beloved that when he returns for Hunan's 2022 NYE concert, the network rolls out the red carpet and treats him like he's their hometown son and Wang Han is like, "Our Yibo has come home" (And Luoyang is the girlfriend in the distracted boyfriend meme lol but ykwim)

— he has to submit his comp shots twice just to even get an audition before anyone takes him seriously for The Untamed!! Except then the moment they see him, they immediately know he's their Lan Zhan

— he's the "pretty idol" throwaway captain for SDC3 and you can tell this when you watch the editing for the first episode because the comments for Yibo are all about how hot he is, and he comes in last place after the first captain's dance, and it's clear nobody really takes him seriously, but then the second he opens his street auditions, the tone of the entire show changes and from then on, for the next two seasons, he is completely unstoppable, his talent and intelligence and strategic thinking and competitive drive are so raw and exciting to watch that he basically takes over the entire show, the ratings more than double from s2 to s3, his fandom grows even more massive, and the dancers all fucking LOVE HIM. like dude he wins street dance of china so hard that within three seasons he's basically co-producing it and he's literally given a writing credit.

— The director of Being a Hero doesn't think he's old or mature enough to play Chen Yu and then Yibo sits down and talks to him about why he wants the role and the director realizes that Yibo basically is Chen Yu, he's the focused hard-working persevering single-minded actor of his dreams, and Yibo winds up giving a performance so moving it makes the director cry and declare, "That? That's acting."

— he jumps from no ranking at all to 9th place to #2!!!!!! within TWO YEARS on the Forbes China 100 Most Powerful people list between 2019 and 2021

— Duhua famously didn't take him seriously or treat him well for most of their long contractual relationship, oh shit, because now according to YH's latest investor report for Q3-4 2022, he singlehandedly brings in 90% of the profit for her entire company, a shareholder, the "top talent," and the one who has to pay whenever Uniq gets together because he's "the boss"

— Yibo goes from being the SDC underdog to being so respected that when Da Peng is looking for a dancer to star in his street dance movie, he asks all the best street dancers what actor is capable of doing the moves, and they all unanimously tell him: Wang Yibo. Da Peng winds up telling the press on Weibo Film night 2022 that he wrote the whole movie for Yibo, and that "if there's no Yibo, there's no movie"

— Cheng Er, director of Wuming, claims he has no idea who Yibo is, and just decided to cast him in a supporting role in his film because he looks the part of a Republic-era spy. And then he sees Yibo act, and he sees Yibo immerse himself in the part, and he sees how hard Yibo is willing to work and how committed he is, and he rewrites his entire movie until Wang Yibo is the main fucking character; Wang Yibo, in his first major film debut, acts his way into the lead and earns rave reviews from across the globe, including the goddamn new york times

Every time you think people will have finally figured out that you do not underestimate Wang Yibo, you learn of some new example where Yibo, once again, has had to prove himself in an industry that perpetually writes him off and doesn't take him seriously at first — only for the people around him to be absolutely blown away by his talent and dedication and mesmerizing star power.

And this happens over and over and over again. And he just does the work, always, every time, without complaint, and every time the result is something surprising and unexpected and fantastic and such a mark of his incredible passion and talent

— and every time I think my heart can't possibly grow any more sizes over Yibo, he proves me wrong

[brain-rot-central]

I don't wanna go to work. I just want to write vampire smut, cook good food, and bake bread.

[homielander]

the most interesting character detail about maeve through which i have extrapolated at least half my understanding of her is that she prefers to be called maeve. i frequently see "maggie" pop up in meta and fic as her chosen name, but quite literally nobody calls her that, including (and most significantly) elena. elena is maeve's tether to her humanity and her refuge away from vought, yet even elena only ever refers to her as maeve. (and in season 2, we learn that maeve started dating elena before she joined the seven -- before queen maeve's popularity would have become so inescapable that she would feel compelled to introduce herself by that name.) it's especially notable that in her final scene, maeve refers to starlight as annie for only the second time, but she is still called maeve by both annie and elena.

here's what we know about maeve's life as maggie: she had a rocky relationship with her father whom she doesn't seem to speak to anymore, she's from a "cousin-fucker hick town" as described by homelander -- i can't imagine this place being terribly lgbt-friendly, and she generally lacks connection with anyone she would have known before becoming queen maeve. she doesn't have fond memories of this time of her life, and perhaps that extends to all associations with it, including the name maggie.

i tend to think that becoming queen maeve was, in many ways, self-actualizing for her. the act that garners her national attention and earns her a ticket to vought is a heroic one -- she breaks every single bone in her right arm to save a school bus from falling off a bridge. and i know madelyn says she is responsible for the mythos of queen maeve, but this character was still aspirational, and likely someone maeve wanted to live up to. in any case, this new identity gave her a purpose and tools to achieve it: she wanted to help people! by her own admission, maeve enters vought bright-eyed and hopeful, not far off from annie. (maeve is also one of the only supes in the seven not to know about compound v -- she doesn't strike me as religious but believing she's among the very few born with powers would have strengthened her internal drive to be a hero.)

it's for the same reason that i think maeve actually... liked having powers? of course she says otherwise in her last season, but season 3 maeve is cynical and weary from about two decades of dealing with vought and homelander's abuse. they've used her first as the token woman and then the token gay person of the seven. after growing largely passive to the brutality of the job, the flight 37 incident forces her to confront all of the violence she's witnessed and tolerated. she's given pieces of herself away and she loathes the husk of herself that's left. i don't find it surprising that she would want to relinquish every single connection to vought, including her powers.

assuring herself that she will be better off without her powers comes with an added benefit: she gets to distinguish herself from homelander, who would be lost without his powers. and i think she is eager to make this distinction in her mind because there are some uncomfortable similarities between their initiations into vought. the mantle of homelander allows him to exert agency for the first time in his life, just as the mantle of queen maeve endows her with purpose for the first time in hers. (crucially, none of his current circle call him john, either.) they both enjoy being the most powerful superheroes in the world, the unending public adoration, and (in my interpretation) each other. they're also both overwhelmingly lonely and they know it -- homelander teases her multiple times about how she has no friends with a bit more bite in every passing season, while maeve is keenly aware of his isolation and exploits his yearning for love pretty effectively.

maeve steadily grows disillusioned with her position at vought because she still has a moral code, suppressed though it may be. even so, she nearly relents to homelander's vision: that they will be lonely at the top but lonely together. she's pulled out of her miserable state of inaction by annie and elena. annie reminds her of what a hero should be (what she was, once); elena offers her a way out of vought, serving as maeve's light at the end of the tunnel, so to speak.

she escapes that tower as maeve, not maggie. she rejects homelander's god complex which engenders his cruelty towards regular people and 'lesser' supes -- no one will call her queen maeve ever again, at least -- but it is still important to her to be a hero, and for better or for worse, she found that as maeve. i feel like she'd struggle to exist without her powers (possibly the self-awareness hasn't settled in yet) for all the reasons mentioned above. i like to think that eventually, she'll circle around to helping people and resisting vought however possible -- albeit on a smaller, more covert scale so she can continue living a peaceful life with elena.

[athousandbyeol]

and i'm coming home to you (so this time, let it be true). [tianwang fanfic]

don't close the door. i'm here. let me in.  it's open now. sheng wang hugs jiang tian tighter. you're here. sheng wang buries his face in the crook of jiang tian's neck. please, come in. "welcome home," jiang tian whispers. warm and inviting. sheng wang smiles.

or sometimes, home isn't a place, but a person. for sheng wang and jiang tian, it definitely is.

(special shout out to my best friend, soph @a-slut-for-vegaspete, @bookishforce and rain @tipsyjaehyun <3)