#Idk... I've been thinking about it

[theirloveisgross]

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[illusioncanthurtme--art]

Physically? I am sitting in my bedroom. Mentally? Spiritually? I AM DEAD ON THE FLOOR!!!!! THESE TWO HAVE KILLED ME!!!!

(Another drawing! This was originally attempt #1 at drawing stan, and then fiddleford just showed up. Kinda feels like them five minutes after the above acting like nothing happened though, so it works sdjkgkjfshj)

[what-am-i-doing-in-this-fandom]

I am such a big Werewolf Stan advocate I had to jump on this particular train 🙏 (but I didn't really wanna commit to full line art, you guys understand)

Oh, and you guys aren't gonna believe this, but here's part two 🙌

[sunnymainecoonx]

SOMETIMES Nightmare needs to indulge them in their mortal needs... to keep them functioning yk. But yk to be as lazy as possible just have them sleep together..

[girlatrocity]

trauma-induced haircut

bonus:

[sainz100]

2024 Brazilian GP | x

[nekrosmos]

Cigars touching 🚬​

[wriothesleybear]

Imagine giving your boyfriend, Dr. Ratio a rubber duck that looks like him as a joke. He does make a comment saying it's idiotic, but he actually keeps it in his bathtub. Every time he looks at it while he's bathing, it makes him feel a warmth in his chest because it's a personalized gift you got just for him. You notice it hanging on the side of the tub the next time you bathe with him and tease him for it. "Hm. I guess it wasn't that idiotic of a present since you kept it in one of your most sacred places." He just ignores your teasing and continues reading his book.

The next time you two decided to take a bath together to relax, you notice another rubber duckie next to the one you gifted him and it looks just like you. You make a comment on it and he's nonchalant about it. His reasoning being "It seemed fitting that you should have one as well since we usually bathe together". All you can do is blush, taken by surprise from his words. He notices this and smirks. "What's wrong dear? Too shy to give one of your teasing remark?" All you can do is look away, moving back to lay on his chest. You quietly say, "It's cute." He slightly chuckles, a fond look graces his features. He wraps his arm around you, bringing you closer into him and rests his face into your hair, leaving a faint kiss to the crown of your head.

[egophiliac]

the lovers, reversed

(aka I'm still freaking out about Jou)

[hussyknee]

I know some dickheads have now decided that Judaism is the "bad, violent, terrorist religion" and Islam is the "good, peaceful" one, which is only to be expected of white people, but how much of an issue is it currently? Like I've seen some USAmericans sharing how the Islamic faith shapes Gazans values and perseverance (good) except with that distinct white hippie "I'm about to imprint on this like the world's most racist duck" vibe (bad), but I didn't think they're already turning on Judaism in numbers.

Do they realize that Christianity is also the same kind of comfort to Christian minorities in Asia and Africa? That it was Buddhists that genocided the Rohingyas in Myanmar and Tamils in Sri Lanka? That Hindu fundamentalists are even now trying to ethnically cleanse Muslims in India? How Hindus and Christians are terrorized and persecuted in Pakistan? That Muslims have a history of persecuting and ethnically cleansing Jews too?

Really tired of asking y'all to be normal about people's religions man. There's no religion that's inherently violent or exceptionally peaceful. It's just like any other ideology that becomes a weapon in the hands of ethnic power. Interrogate power, not religion, and respect people's belief systems insofar as they aren't in your business.

Edit: I've amended the "long history" of Muslim persecution of Jews because it might be misleading in the current political climate. Zionism and antisemitic Arab nationalism are twin births resulting directly from Christian colonization, and Islamic empires tended to actually be more tolerant of other religions compared to Christianity, especially Judaism, which was considered a sibling religion. Antisemitism wasn't ideologically entrenched in Islamic tradition. It's simply that ethno-religious power will lead to ethno religious domination and intermittent cleansing of minorities, and Islam is no exception. Humans be humaning always.

[ohitslen]

*Vampirizes your Vashwood*

keep reading for more :)

If there needs to be much closer close-up please let me know!

[swampybogg]

[deoidesign]

Happy pride from Adam and Steve, my t4t gay vampire and werewolf!!!

They're from my webcomic. It's good. I'm not biased. It's funny and gentle and they time travel to a new location every full moon, where there's a new little mystery to solve!

[buggachat]

seeing a lot of talk of the season 5 finale, which is fun, i get that it was controversial (honestly the fact it was really risky is kind of one of the things i like about it lol) and wanting to add my two cents but can't think of much i haven't already said before

but something i do want to emphasize is that season 5 ending on Marinette telling the biggest, boldest faced lie she's ever told (that goes far beyond "protecting her identity") to kick off the Lila arc is by far the coolest thing they could've done imo, because I was not at all excited for the Lila arc before but now I'm totally invested. Now Lila isn't the Evil Liar to be taken down by Good Marinette. Marinette is the liar to be taken down by the very liar that she took down. It's not a story of "defeat that freakishly evil girl" anymore, but instead a story of "Marinette's own actions and decisions coming back to bite her". And the lie itself (WHICH LILA KNOWS IS A LIE!!) only exists because, and is most impactful towards, her relationship with Adrien, which is the core of the series!! I CARE about their relationship, and that's the stakes!!!

I just cannot get over how cool that is, and how much I didn't expect it. I know we all were expecting a big fight with Ladybug and Chat Noir just defeating Gabriel and then watching Chat Noir cry or whatever in the few remaining minutes of screen-time and then it's all over and done with, but that's a series finale. This was a season finale. And they did something really unique and unexpected with it, while making sure it's a juicy season-finale conflict that leaves me actually excited about season 6

also, a side note— I think the framing of the finale made this confusing so I totally get why discussions about it are kind of all over the place, but... 90% of the post-wish stuff we saw had nothing to do with Gabriel at all. It was all Mayor Bustier, who was already running for mayor and wanted to enact green laws and projected to win (she was up against D'Argencourt, the character whose schtick is that nobody ever votes for him in elections). I don't think Gabriel's wish included "Please, Gimmi, I want my son's school teacher to win the mayoral election this year" lol. So a lot of talk of "why is Gabriel's World presented in such a positive light?" is kind of weird to me. That's not Gabriel's World. That's Caline Bustier's. All we know so far about Gabriel's World is that Nathalie is in it and he is not. And frankly, the fact everyone is so happy and cheerful and living it up after his death is more a roast than anything

( also, just a reminder that the presentation of Gabriel's statue— the only scene discussing Gabriel in a positive light by someone In The Know— was done by Tomoe Tsurugi, a series antagonist, vowing to continue his work, with a song in minor key playing in the background. i feel like the question of "was this meant to be unsettling or triumphant?" is pretty obvious. just wanted to remind everyone. also by definition characters cannot celebrate gabriel as a "hero" without in the same breath celebrating monarch's, aka gabriel's, death. yknow? )

[incesthemes]

in provenance, the impala is depicted as quite dirty and beat-up, scuffed up and covered in mud. this is not the typical image that comes to mind when you say a man loves his car. in later seasons too, the impala tends to look shiny and new, and dean is seen performing maintenance on it pretty regularly—at least, there are many scenes that show dean taking care of it, and there are also many scenes which touch on dean's possessiveness and care for his car.

this isn't the case in season 1. season 1 dean has a beat-up hand-me-down from his dad which he loves and admires but is still willing to let it get dirty and dented and scuffed.

in season 1, the impala represents john.

based on how john talks about the car in dead man's blood, he still has a semblance of ownership over it: john gave dean the car, but he still considers it "his" in the sense that he feels entitled to judge how dean cares for it. dean, too, doesn't argue with this. in season 3, dream dean even uses this against real dean to drag out his insecurities and his abysmal self-esteem:

both john and dean agree that the impala is john's car. this makes sense because the impala is also sam and dean's literal home, or the closest to home they've ever gotten.

you have a good "home is where the heart is" kind of connection here: the impala is home, and john is the impala—john is home, john is their father, john is the thing that connects sam and dean by blood. et cetera et cetera.

so if the impala represents john, then how dean treats the impala gives the audience a lovely visual metaphor for how dean feels about john. provenance is just one episode after something wicked, where dean is finally starting to extricate himself from his father. the entire season has followed dean as he experiences betrayal after betrayal from his father, and in shadow we see evidence that he doesn't actually believe that his father will come to protect them anymore—he's effectively given up on john as someone to rely on, and he's spent the whole season separating himself from john and attaching himself to sam instead. provenance gives a nice wink and nod at this by showing the state of the impala—dean is upset with john, their relationship is crumbling, and dean doesn't know how to repair it.

one episode later john remarks on the state of the car, and one episode later dean finally defies his father for seemingly the first time.

so when dean starts destroying the impala in everybody loves a clown, what dean is actually destroying is john.

he feels angry, upset, hurt, betrayed all over again. john is dead, and his final words to his son gave him an impossible task. dean takes the crowbar to the impala right after sam corners him into another conversation about john—this is an outpouring of his emotions about him, all concentrated on the last remaining symbol of his father.

but what i think is interesting is that sam doesn't see the impala this way.

sam sees the impala as dean. the symbolism here is very, very obvious. if sam gives up on the impala, then he's metaphorically giving up on dean. and sam refuses to let dean die, so he can't let the impala die, either. to sam, the impala is dean. which necessarily means that to sam, dean is his home, as well.

which is exactly what he just chose in the season 1 finale when he picked dean over his revenge. sam spent the entire season scared to "go home," and in devil's trap he finally returns for good to his home—to dean.

and in bloodlust, the impala is fixed, and she's shining like new. from this moment on, dean shows a rather pointed possessiveness over his car.

this is also the first time dean calls the impala "baby." this is the first thing that happens after dean destroyed it in the episode prior. the dissonance gives a sense of rebirth: something happened between dean destroying the impala and dean fixing it. something happened between dean using the impala as a stand-in for his father and dean calling it his baby.

in season 2, the impala no longer represents john. john is dead, and dean killed him. "home" is no longer centered around john; their father is no longer the thing that connects sam and dean. in devil's trap they chose each other, they chose codependency, they created a relationship between them that transcends the family structure they inherited from john. john is not part of this new relationship—it's just sam and dean now, and john is dead.

dean assimilates to sam's perspective when he rebuilds the impala: his car is now an extension of himself, and he is the home that sam chose. this is now his car, not john's; he is now sam's family, not john. and throughout the first half of season 2 dean struggles with this new responsibility and what that means for him—how their codependency should work, whether or not he should try to fill john's shoes, what "home" is supposed to look like for them without john in it.

i think it's an interesting way to depict dean's emotional shift across this stretch of episodes. seasons 1 and 2 especially do a lot of great work to depict john even in his physical absence, from allegorical substitutes to his haunting presence to this, representing him through the symbol of their literal home. noticing this makes me much more emotional about the impala's role in the story, because it's a physical manifestation of the effort dean put in to become sam's home and commit to their codependent relationship. he loves his car because it's his home, and his home is where sam and dean's hearts are.

[myimaginationplain]

On one hand, I think that Kiyi is actually a wonderful idea for a character; you can get a lot of interesting stories out of inserting this innocent, guiless little girl into such a fraught & complex pre-existing family dynamic.

However, some mind-numbingly bad storytelling decisions surround Kiyi's existence in canon. Ursa's magical amnesia chief among them; it is so goddamm boring to take a character with as much baggage to chew on as Ursa has, only to make it so she has to grapple with literally none of it.

No Ursa looking at baby Kiyi & mourning for the two babies she was forced to leave behind, grieving children who are still alive. No Ursa looking at Kiyi grow up & seeing Zuko & Azula in her, equally as happy as she is afraid for her. No Ursa trying to give Kiyi as normal & happy a childhood as she can, while constantly looking over her own shoulder, praying that she won't be recognized. No Ursa hearing wild rumors about her older children's whereabouts & actions, not knowing what to believe.

No, instead of any of that, we just get Ursa becoming a blank slate who can now go off & live a blissfully ignorant happily ever after with her (equally blank) high school sweetheart, forgetting the very children whom she risked everything for in the first place. And that sucks.

Also, if I were writing Kiyi, I'd just say fuck it & make her Ozai's kid. That's a thousand times more interesting.