#The mechanic: Tom

[rosecartridge]

Tom tag dump

[horrifichaunts]

Tom tag dump

[roopnavarro]

More trailer screenshots from Furiosa (2024)

[animasola86]

SMUT DRABBLES*: Car Inspection

A/N: Yet another little smut scene, *no longer a drabble (Drabble? Who's she?), but still short. Like with my other drabbles, you can imagine any character you want here, it's usually just a man and a woman having a good time. Today I give you oral sex, cunnilingus, fingering, unprotected sex and creampies. And cars (so think up an AU where it works, if you will).

WARNING: NSFW! Explicit sexual content! // WORDS: 1.3k // AO3

“Lemme take a look under the hood, miss,” he's said, and now she's sitting on the warm metal, gripping his broad shoulders, legs held open by strong hands, while he has his head buried under her skirt.

His tongue is as hot as the sun batting down on them, licking through her folds with fervor and certainty, expert motions, warm lips, teasing teeth, kissing, sucking, nibbling, pulling her sensitive skin into his mouth, nose rubbing against her clit.

He's lapping at her like a man starved, the slurping and squelching noises mixing with the chirp of cicadas, the subtle squeak of the car beneath her, her own rapid breaths. He's good, knows what to do, where to look and lick. She's come to the right place.

Her skirt obstructs the view, but she's still on display, writhing and squirming, bare feet squeaking over the metal hood in an attempt to anchor herself. He's ruthless in his assault, focusing now fully on that sensitive bundle of nerves, flicking his tongue around it, laving it, sucking on it.

She's losing it, her head spinning, it's too hot, the air is stale and dry, and her lungs are protesting. The tension in her belly is like a burning thing, growing and expanding, filling her out like she wishes he would fill her out.

He groans into her, the sound vibrating through her clenching cunt. His hands move, one big palm pressed to her stomach, forcing her down on her back, the other slipping under the tent of her skirt as well. He's teasing her, nibbling on her clit while his fingers slide through her slick before they take a dip into her heat, plunging deep, two at once, pushing in and out, scissoring inside her, stretching, massaging, curling against that sweet spot.

She arches her back, shoulders pressed into the hood, cries out, thighs trembling around his shoulders, her own shaking hand gripping at his wrist, nails sinking into his skin before he slips his long fingers between hers, holding her hand, heavy on her stomach. He pumps his other digits into her, licks her clit, the tension explodes within her. Their joined hands hold her down when she convulses, jerks her hips against his face and fingers, shivering under the hot sun.

He licks up every drop with broad strokes of his tongue, his fingers moving slower, bringing her down gently before they retreat, gripping her twitching thigh, warm and slick and strong, while he pushes his mouth to her lower lips, kisses her deeply, tongue pressing into her quivering hole.

She wails again, quietly in the open space, her voice drowned by the screeching insects trying to be louder.

He's shifting, emerging from under her skirt, nose and lips and chin glistening in her juices, hair messy, face flushed. She's also red in the face, panting, trying to avoid those hungry eyes. His hands find her warm cheeks when he straightens up, towering over her.

His kiss tastes tangy, salty, sweet, all at once and more, her own taste on his tongue as he claims her mouth. She moans into it, clinging to his bare back, sweat slick and strong, muscles flexing beneath sun touched skin. He pushes her up the hood of the car, his hips between her shaking legs, pinning her down, skirt flipped up entirely now. His body is blocking the view, she couldn't care less who sees her.

With his tongue wrestling hers, he grips her waist, one hand disappearing between them, the clink of a belt, the whirring scrape of a zipper, a little groan when he grips his cock and guides it to her dripping cunt. She moans into his mouth, fingernails sinking into his skin while he sinks into her, small frantic rolls of his hips as he slowly fucks her open, stretches her, fills her, in and out, inch by inch until he's bottomed out.

His hands on her hips pull her into him, closer, deeper, her legs spasm against him before she hooks them around his thick thighs. Muscles flex under denim, his grip rough as he starts pulling out to slam back in, over and over again, his grunts as loud as her moans, the kiss messy and breathless.

She's lightheaded, sun-burnt, a sweaty mess in his strong grip, her hands gripping at his waist, leaving angry crescent-shaped marks as she squirms against him, trying to meet his thrusts.

He leans back, leaving her tingling lips, presses his forehead to hers, eyes staring into her soul, warm and dark and mesmerizing, hungry, breaths hot and dizzying, mingling. His hips slam into her slower, deeper, setting an excruciating rhythm, taunting, teasing, slow and steady while they're both burning under the sun, the heat inside her belly almost as unbearable.

She's whimpering, grinding her pelvis into him, digs her heels into his lower back, eyes pleading. The smirk on his lips makes her angry, growling through her gritted teeth. His hands tighten around her hips, fingers bruising, and when he leans back fully, a barely there shadow falling onto her shaking body, looking down at her, he stops moving altogether, cock hard and swollen inside her clenching cunt.

She wants to protest, whine, beg, but he only looks at her, tilting his head, before he slowly moves back, cockhead scraping against her tight walls, before he slams back in with a force that makes her yelp, flinch, cry out, as he hits her deepest spot, tip squished against her cervix.

The pain is there, sharp, short, dissipating slowly before it's back, dragging retreat, the hint of reprieve, then another deep stab, hard, fast, agonizing. Again and again, until he grows impatient and just hammers into her, her moans and cries broken up, voice strained, helpless, as his cock pistons in and out, rough and unrelenting, and all she can do is take it.

He grunts, sweat running down his temple, a fine sheen on his bare torso, muscles flexing, his teeth bared and gritted, hands digging into her soft skin. Pull, push, stab. Pull, push, stab. Her own sweat mixes with tears, her cries soundless little puffs of air, her head filled with vertigo and bliss, pain and pleasure. One big hand splayed on her hip, the other moving between them, thumb pressing hard against her clit, and she yelps again, and again, coming hard around his pounding cock, juices coating his length, squelching out with every deep slam.

The car is rocking beneath them, suspension squeaking, needs to be oiled. She's come to the right place. Come at the right place. Over and over again until she's a boneless mess, lying on the hood of her car, arms splayed out beside her, sweaty palms squeaking over metal with every deep thrust, body moved up and down, insides convulsing, muscles contracting, tight around his thick cock. He grunts, groans, huffs, head red under the sun, under the exertion, working overtime.

He comes with a low growl, animalistic, body twitching against her, burying himself deep within her clenching heat, balls tightening, cock spasming, filling her with his hot seed, spurt after burning spurt. She gasps when his hand pushes on her stomach, before he slowly pulls out, panting, eyes glued to her reddened pussy, watching intently, an expert's eye, head tilted, then he slaps his hand on her folds, making her wince.

She's pulled onto her feet, barely able to think, to function, dizzy from the sun and the special service. He lifts her feet, one at a time, puts her panties back on, slides them up her shaking legs. His cum drips down her inner thigh, slowly, slow enough for him to gather it on his finger and push it back up, between her glistening folds, back into her clenching hole. She moans at the sensation, gripping his arm for support. He keeps his finger in her while he pulls her underwear back in place, pumping it slowly before removing it, gently dragging his wet fingertip between her covered folds, trapping his seed.

“I believe there's been a leak, miss,” he says, fixing her skirt, making her presentable again as he looks at her with a proud smile, having found the problem, while she looks up at him with a soft giggle, feeling their combined juices drenching the fabric between her trembling thighs.

MASTERLIST // AO3 // ORIGINAL WORKS

MORE SMUT DRABBLES:

A steamy shower

Toy

Sleepy

Tension Relief

[favouritefi]

world's weirdest beauty pageant

[polar-equinoxx]

I said I would draw him :)

(bonus other two bc the pose practice got me in a chokehold)

[shit-sorry-fuck-mybad]

Give me widower Mav who has come to terms with his husband’s death and now gets to make jokes and comments about it which makes people uncomfortable while he finds it hilarious pls

As someone who lost their father a long time ago I have reached that point where I can make jokes and comments and like to my close friends it’s funny but to someone I don’t know it’s… strange cause they don’t know how to react and it’s truly a small moment of absolute joy cause they make it weirder than it needs to be

Here is what I mean:

Fanboy: Hi Mav! I like your hoodie!

Mav: thanks, it belonged to my dead husband

Fanboy:

Mav: he’s not gonna use it so

…

Hangman, pointing at the ring on Mav’s dog tags: you’re married?

Mav: I was, but sadly he died on a terrible accident

Hangman: oh I’m sorry—

Mav: I’m kidding, he didn’t die on an accident

Hangman: oh thank god I thought I—

Mav: he died of cancer

…

Mav: my husband used to hate this movie

Phoenix: what made him change his mind?

Mav: oh he didn’t, he just died

…

Mav: I miss my husband

Coyote: why, where is he?

Mav: I want to say heaven but he was a weird man so honestly I don’t know

…

Cyclone: Maverick where is the paperwork I asked for

Mav: oh I’m sorry? I was mourning the death of my husband, in case you hadn’t noticed, the audacity, I cannot believe you would come for a widower like this—

[mamawasatesttube]

timcassie is so compelling to me. they were not into each other even a little bit. it was such a messy coping mechanism fuelled entirely by grief. they were making out with each other because they were both substituting each other for kon. cassie was far more aware she was doing this than tim was. unironically, dating a girl here is one of the gayest things tim has done

[canmom]

music and narrative {[0]}

so. as part of the ongoing music researches, I've for a while wanted about the relation between music and narrative. that's going to be a long project! but to begin with I wanted to run down the examples I know, and maybe solicit a few more~

now, on some level, nearly any song has some degree of narrative. your basic love song introduces us to some characters - singer, object of their affection - and furnishes them with emotions and desires. moreover, music can play a role in a narrative without literally relating events - indeed, the art of soundtrack design is definitely a subject I want to look into at some point. even songs addressed directly at the real world, such as political songs, construct some kind of narrative.

however, for these purposes, I'm interested in songs that go a bit further in the direction of telling a fictional story, especially when those link together into whole albums (sometimes called a concept album, though this is a slightly broader concept). which can work in a lot of ways!

for example, Janelle Monae's The ArchAndroid tells a sweeping scifi story of an android fleeing an oppressive society and becoming an unintentional figurehead of revolution. it sketches out a wide-reaching set of influences in constructing a scifi world, but you'd be hard-pressed to boil it down into a simple series of events - it prefers to leave a lot to interpretation. by contrast something like Splendor & Misery by clipping. deals with kinda similar subject matter - a scifi story, an escaped slave, artificial intelligence - but with a different musical approach and perhaps a slightly clearer narrative arc; sometimes directly narrating the thoughts and actions of characters, or slipping into memory, but also drawing less direct musical parallels with e.g. gospel tracks and slave spirituals. both excellent albums - both solve the problems of conveying a story musically in different ways.

of course, the largest pool of examples here comes in the context of musical theatre, and further back opera. (the exact transition from one to the other is something I'm going to need to research). particularly interesting to me are sung-through musicals such as Les Misérables, in which there's no spoken sections in between the songs. this restriction means the songs (and staging etc.) have to do all the work of conveying the events of the story.

there's a lot to be said about the various traditions of musicals (for example). there's even more to be said about the history of opera - both the Western traditions and other musical traditions that have been given the label such as Chinese opera. but that will have to wait for later day in the project because otherwise this entire post would be a huge list of musicals, and I want to try and wander all over the shop.

what I'm most curious to find is music that tells a story all on its own - no actors or staging, but more similar to oral narration. of course, in the present era, music is often released along with videos, and these can tell quite elaborate stories that will become part of the overall 'message' communicated by the song, so the lines are a bit blurry! but since the aim of this series will be to look for ways to convey narrative using music, I'm looking for examples where the music does most of the heavy lifting.

music that tells stories is something with a looong tradition in folk music, pretty much the world over. in Europe, the ballad was a common form for it, a word that survives into the present. it seems that most cultures have had some kind of tradition of wandering itinerant musician-poets - for example, at various points in history, there were biwa hōshi in Japan (pictured) and griots in West Africa, medieval Europeans had minstrels, the Celts had bards, the Occitans had troubadors...

moreover, work and marching songs such as sea shanties would also have a certain degree of narrative to them, in addition to their main function of keeping a group moving in time.

in modern times, people will sometimes attempt to reconstruct how this kind of music and lyric poetry would have been performed. you can naturally only go so far with the archaeological evidence, but I'm fond of Peter Pringle's recordings of segments of the Epic of Gilgamesh, using period instruments if not necessarily a period musical style!

in the modern age of recorded music, these traditions have become much more niche, but there are still artists who use music as a vehicle to tell a fictional narrative. (fair warning: I'm a huge nerd, so most of the examples I know are like, supreme nerd shit. also about ten years ago I was given an assortment of metal from a friend which included a bunch of what I'm about to put below.)

to begin with I've naturally got to talk about my friend Maki Yamazaki (Dr Carmilla) and the band she founded but later left, The Mechanisms. They tell a story of a sprawling gothic scifi universe, with the band playing the role of travelling space pirates who observe the (invariably tragic) tales that unfold. The Mechanisms' music starts as folk song pastiche, but gradually gets more original, although narratively they keep the approach of crossing over mythology with genre storytelling (fairy tales as space opera, arthuriana as space western).

The Mechanisms got a significant measure of international fame washing back after their frontman Johnny Sims got really big on some podcast or something.

Maki's solo music as Dr Carmilla took things in (from a narrative sense) a more abstract direction, using elaborate production and an incredibly textured sound to tell a (so far!) fragmentary story of the tragic space vampire Dr Carmilla and her doomed relationship with another vampire Lorelei (for example). And I'm gonna have lots more to say about them all, in the future, but this is just an overview so let's not get ahead of ourselves!

In a related vein (though I'm much less familiar with them) comes indie band Decemberists, who often create narratively driven songs - for example, The Mariner's Revenge Song depicts a sailor's motivation for extracting bloody revenge on someone who wronged him, with the actual violence conveyed by an energetic instrumental break. A subject that reminds me of the Clockwork Quartet, now long gone, who managed to record just three of their songs from a larger project, yet stand out as way more interesting than most of the steampunk milieu - with for example The Clockmaker's Apprentice giving a very fun antihero-revenge narrative to the ticking beat of a clock, and The Doctor's Wife a compelling tragedy of desperate medical science.

There's definitely something in common with this type of storytelling and the subgenre termed rock opera, which has a pretty long history going back to the late 60s (SF Sorrow by Pretty Things and The Story of Simon Simopath by Nirvana, thanks wikipedia), with notable examples including some incredibly popular albums like Pink Floyd's The Wall (which was adapted into a partly animated film using animations by Gerard Scarfe, c.f AN86) and My Chemical Romance's The Black Parade. In many of these, the connection between songs and narrative is fairly abstract and metaphorical - most of the examples mentioned are about the psychological arc of one character.

Calling this a genre or subgenre is kind of a stretch recently - just in those four examples we see a pretty wide range of musical styles, so it's more like an approach to album writing. Still, for want of a better word, there's definite overlap between this 'genre' and musicals. For example, the history on wikipedia cites The Rocky Horror Picture Show as an example of rock opera, which in my head it's just a musical. (Anyway, exactly the taxonomy of regular opera/libretto, rock opera and musical theatre is not that important anyway, because we want to look at the techniques of all of them!)

A more direct narrative comes in the work of The Protomen, who have the 'no way that would work' premise of creating a huge, dramatic, emotional story based on the plot of the Mega Man games. By putting the focus on the tense relationships of the fought main characters (scientists Light and Wily and robot boys Proto Man and Mega Man), and their sense of rejection and betrayal by the broader society, they somehow pull it off.

Moving gradually in the direction of (progressive) metal, we encounter Ayreon, whose entire career has been telling psychedelic and occult stories of time travel, aliens, warnings projected into the past, out of body experiences, and the history and direction of humanity. I'm not sure if all of their albums fit together into one big story exactly, but certain ideas seem to keep coming up - for example, future societies or aliens sending warnings to humanity to fix our shit before it's too late. In some of their albums (e.g. The Electric Castle) they follow the device of having each member of the band play a character in an ensemble cast, bringing it a bit closer to something like a radio play.

Also in metal land we find the rather unique project Charlemagne: By The Sword and the Cross, best known for that time Christopher Lee shed the blood of the saxon men. This is using music as a vehicle for a (more or less) historical story, featuring an old Charlemagne (Lee) reminiscing on the various awful things he did over the course of his life. Apparently they made a sequel to this album, which I never realised!

As well as history, metal also likes to lean on literature and poetry. For example, Kamelot (classed, apparently, as 'Power Metal') have a rather fun adaptation of the story of Faust into two albums, Epica and The Black Halo. Iron Maiden famously took on the Rime of the Ancient Mariner in a 13 minute song. And that's not even to get into all the songs dealing with Tolkien.

Moving on from metal before we start listing a hundred songs about vikings, it's worth looking more broadly for music about history, since it's a pretty major overlap with fictional storytelling! For example, the Boney M song Rasputin tells an incredibly catchy account of the assassination of Grigori Rasputin. Another rather more charged example comes in Nakam by Daniel Kahn and the Painted Bird, about the unsuccessful paramilitary plot to poison six million Germans as revenge for the Holocaust.

If you go looking, you can find an impressively long list of historical songs compiled by 30 users of lyrics website Genius - though many of these I feel don't really count, since they were describing contemporary events when they were written.

Of course, there is a heavy overlap between this subject and political songs - in many cases the historical subjects are invoked to comment on the present. For example, Wernher von Braun by Tom Lehrer was written at a time when von Braun was leading the US space programme. In many cases, the songs simply invoke a historical event to express a feeling, assuming you already know what happened. Others may recount events more or less directly, before seguing into a verse or two at the end about why it matters now. Most of the songs in this list focus on recent (20th-century) history, sometimes they reach further back - mostly to talk about colonialism.

Historical songs can also be quite oblique. For example, Mili's song Salt, Pepper, Birds and the Thought Police is about the life of Korean poet Yoon Dong-ju, but you wouldn't necessarily know it from the content of the lyrics unless you were already familiar with Yoon's life. More on Mili in a moment - most of their songs are more fictional.

One thing I'm curious about is whether there are examples of more historical fiction in music, which tries to imagine the thoughts and feelings of historical characters... well obviously there's Hamilton, and perhaps that illustrates why there aren't a lot more songs about non-recent history, because the vibes can be off.

Storytelling is still a powerful mechanism even in a contemporary, political song. Take Construção by Chico Buarque - the story it tells is of the pointless death of a construction worker; with the lines ingeniously remixed over the course of the song, this turns into a wider illustration of the ruthlessness of the system that killed him. Its lyrics are absolutely fucking genius, even if you don't speak Portugese.

Speaking of language, most of the examples I've covered so far are in English, since well, that's my native language. It's naturally a little harder to access a story in a language you don't speak, but in these days of subtitles, we kinda can! So for example I can encounter projects like MILGRAM, something of a combination of music project and voting-driven story, in which we are introduced (by character song) to a number of characters facing execution - and then invited to vote on who should die. Heavily illustrated, it is somewhere vaguely in the space between album and straight-up anime.

I mentioned Mili already, but many of their other songs have a strong narrative arc to them, and sketch out the contours of a fictional setting. For example, one of their best-known songs is world.execute(me), which portrays the failure of a bdsm relationship between an AI girl and her creator. Which is relatively grounded by Mili standards - other songs depict for example the relationship of a jiangshi and a mad scientist cooking food, or a witch reanimating a knight with scientific methods to kill on her behalf.

And I think that will suffice for now. But we are of course only scratching the surface - this is by no means supposed to be an exhaustive list but I'm sure there's stuff that I'll be kicking myself for not mentioning. Mostly, however, this is a request for recommendations - particularly, of music from genres I haven't addressed in this post, and especially non-English languages, or that convey their stories in especially creative or unusual ways.

This project will likely be a long time in the works - it's something of a supplement to the Music Theory Notes (for science bitches) series - but my aim will be to pick out a few of these to examine how they go about conveying narrative through songs. Because I think that's kind of one of the big things I want to do with music.

ok canmom out i gotta go play some music. see you next time!

[lokiinmediasideblog]

Tournament of Lokis 2024: Round 4

Propaganda:

TBI:

[bumblingbabooshka]

I hate when Chakotay is watered down to be Janeway's yes man because their disagreements are actually very interesting. [A lot of rambling analysis of this debate in particular below]

Chakotay in Parallax is very interesting in that he has to navigate a lot of different dynamics. Balance a lot of plates while being watched keenly by everyone around him. Immediately preceding this scene we see him ask B'Elanna for her opinion on the bridge - both as a chance to show her knowledge in his bid to make her chief engineer (because she wouldn't get a chance to otherwise as Janeway has clearly indicated that at this point she views B'Elanna as a troublemaker who won't be considered for the position) and because he just thinks she's a better engineer than Carey and wants the best possible chance of them succeeding. Janeway sees this as unacceptable. Carey is the chief engineer and so he should be called and Chakotay NOT asking for his opinion is an insult to Carey, Janeway, and might make the crew doubt Chakotay (and by extension the Maquis') loyalty to the Starfleet crew.

At this point it seems that to Janeway integration ["They're not your people"] means the path of least resistance, specifically tailored towards the Starfleet crew. She wants Chakotay by her side to keep the Maquis crew calm but also seems unwilling to consider them for important positions aboard the ship. Though she says that the Maquis are not Chakotay's people, not his crew, she certainly doesn't seem to consider them hers [Compare this to later instances where she stresses 'our' crew, here she simply says they aren't Chakotay's: Whose crew are they? Are they crew at all?]. This less leaves the impression of "We need to be a cohesive team" and more "You're not in charge here." She essentially accuses Chakotay of playing favorites. In her mind Chakotay's actions are not conducive to integrating the crews which would (again, in her mind) mean the Maquis being docile and accepting, obedient and content - not making trouble for the Starfleet crew. Chakotay counters Janeway's accusation with one of his own: That he IS trying to integrate them into the crew but her not allowing the Maquis any opportunity to prove themselves or succeed, not showing any trust in any of them (except, implicitly at this point, him) is making things difficult. At this point the Maquis crew are ready to mutiny on his word at any time. He knows this for a fact. Aside from that looming threat (the threat being that tensions are high and if nothing changes and they remain high there might be a mutiny even without his word) - Chakotay knows these people and trusts them. Though Starfleet and Janeway think of the Maquis as a violent bunch of criminal terrorists, Chakotay and a good number of the Maquis joined because they believed in the cause they were fighting for. These are people Chakotay knows WILL fight fiercely for what they believe in and conversely, AGAINST what they perceive as injustice. Even if they're not in the majority - they're used to picking fights which seem impossible to win. At this point Janeway admits that she ISN'T making it easy for Chakotay to integrate the Maquis - specifically talking about practical concerns; how she doesn't feel she can let Maquis crew have roles of importance on the ship because they lack the ability to hold them. "They don't have the discipline, they don't have the training," - asserting that they just aren't prepared for any such roles and it doesn't have to do with them being Maquis specifically. Ostensibly, she's treating them as she might treat anyone unqualified for the job.

Chakotay maintains that some of them, like B'Elanna, have the ability to be trained - challenging her point by saying that IF they're trained there's no reason for any Maquis member NOT to be given a more prominent role on the ship. He isn't suggesting they just unqualified people important jobs. If the problem is that they aren't trained, let's train them. These people have the ability to succeed if you give them the tools they need and a fair chance, he insists. Janeway then switches gears and her argument becomes not "The Maquis are untrained so they can't be given those jobs" but "The Maquis crew are unworthy of those jobs when compared to Starfleet personnel" saying that it'll cause insult and upset among the Starfleet crew if any member of the Maquis were to be promoted above them. Again, her idea of integration is based more on Maquis subservience to the Starfleet crew than it is the two crews working together. (Not that I believe she looks at it that way, it's just where her 'path of least resistance' leads) - though she accuses Chakotay of being too focused on "his" crew, she is admitting here that she believes her real crew are the Starfleet officers aboard, not the Maquis. She also admits here that the system she wishes to maintain (and is asking Chakotay to enforce) is one where there will ostensibly never be any chance of a Maquis crew member being promoted because no Maquis crew member will ever be more qualified, more worthy, than a member of Starfleet. We can see how it'd be difficult for Chakotay to convince his crew to remain calm under these circumstances. There's also Tuvok's behavior toward him at the beginning of the episode where the Vulcan nearly goes over Chakotay's head and when he doesn't do so (as Chakotay reminds him that HE'S the superior officer, the First Officer in fact,) Tuvok acts as if him backing down (partially) and conceding (partially) to Chakotay's authority is a favor to Chakotay.

Tuvok in this conversation is downright insubordinate to Chakotay. Despite Chakotay being the first officer, he doesn't take what he says seriously, argues that his own opinion on what should be done should be followed rather than Chakotay's, lectures the first officer about his conduct, and then almost seems to threaten him with a report. In Starfleet's rigidly hierarchical rules, acting like this to a superior officer (ESPECIALLY the first officer) wouldn't be tolerated and Tuvok knows this perfectly well. He isn't a rebellious character and clearly in other episodes adheres to these Starfleet hierarchies and codes of conduct very strictly. He values them highly. But Chakotay, a Maquis, shouldn't be First Officer. Why should he be given respect for a title he didn't earn? [Affirming Janeway's argument about how Starfleet officers won't be eager to follow a Maquis senior officer] Even though Chakotay tells Tuvok off for it ["I don't have to explain myself to you"] he doesn't threaten to put Tuvok on report or explicitly mention his insubordination. It's unclear if this is Chakotay's personality or if he just doesn't feel he CAN do that. Tuvok is one of the three most senior officers aboard and very close to Janeway. Chakotay has to think of the optics of any situation at all times - we see seconds after this conversation that rumors have already started swirling around B'Elanna being relegated to quarters that've fanned the flames of mutiny. Though we know Tuvok has personal reasons for behaving the way he does toward Chakotay (which he later admits), I really don't think it'd be out of the ordinary for this to be how most Starfleet personnel would treat the Maquis if they weren't outright hostile: Like they're only pretend crewmen. To a lesser extent we even see this with Janeway: In the following staff meeting, she clearly doesn't consider B'Elanna a viable option when Chakotay brings her up and almost ignores the suggestion entirely.

It also, again, leaves Chakotay in an impossible position. If he doesn't protect and fight for the Maquis crew, they won't ever be considered a true part of the crew and dissatisfaction will likely spread among them. Dissatisfaction which the Starfleet crew will then use to further label the Maquis as insubordinate, uncontrollable, unfit. Not to mention that if he doesn't advocate for them, he might lose their trust. However, if he DOES try to help the Maquis crew advance the Starfleet crew will view this as 'favoritism' and will further distrust him, won't respect the people he puts forth as worthy. Janeway seems to be intent on not advocating for any of the Maquis crew and also seems unwilling to ask that the Starfleet crew grant leniency. She implies that the Maquis crew need to learn to get in line and keep quiet and it seems almost like [we must remember the optics] she has Chakotay as the only Maquis in a position of power to facilitate that. Chakotay recognizes and pushes against that, saying that he won't just be her token Maquis - there only so she can point to him and say "See? We don't discriminate against the Maquis here." effectively a tool used to shut down any arguments of unfair treatment and a tool to quell the Maquis if any talk of mutiny DOES arise. In this model, Janeway can just tell Chakotay to calm them down and they'll listen because they trust him. She also doesn't have to really listen to anything he says: A token First Officer has no authority; his words don't hold weight. [Chakotay isn't Maquis anymore, they aren't his crew anymore - ok. What is he then? What are they? Nothing, without respect.] This plan seems untenable, as much as Janeway frames it as sensible: "I can't make it easy, Commander. Surely you can understand that," and alternatives as impossible "How am I supposed to ask them to accept a Maquis as their superior officer just because circumstances have forced us together?" - in the long run, how would this be sustainable? In any power structure, you cannot expect a group of people you're unwilling to grant trust or agency to obediently follow you forever. This proposed form of 'integration' in which the Maquis are kept on the bottom rung and told intermittently to stay there quietly by the only one of them granted permission to stand at the top would never be sustainable - especially with a group like the Maquis who again, were founded on the belief that its members should fight against inequity and are already on the verge of mutiny.

I specifically find the statement "How am I supposed to ask them to accept a Maquis as their superior officer just because circumstances have forced us together?" to be interesting because personally I'd say that being forced together for the rest of almost everyone's natural life is a pretty good reason to ask people to adapt and Janeway does understand this but only applies it to the Maquis - the Maquis are the ones who have to adapt, not Starfleet. The only thing the Starfleet crew have to do is tolerate their presence on board.

At this point Janeway again claims that if Chakotay can show her a 'qualified' Maquis candidate she'll consider them. I believe this is true but we already know that Janeway's standards for qualification will likely not fit the vast majority of the Maquis and Chakotay ignores the claim in favor of putting forth B'Elanna again, firmly. Janeway predictably dismisses her as unqualified and Chakotay disagrees, arguing that he knows her. He's worked with her. He KNOWS that B'Elanna can excel at the job even if she doesn't meet Starfleet/Janeway's qualifications. He doesn't value those qualifications over what he's observed about her - just as he didn't value Carey's title over what he knew about the gap between his and B'Elanna's abilities. Then, Chakotay switches gears. He admits that Janeway's right - he does view the Maquis as his crew but that's because Janeway (almost self admittingly) doesn't and if he doesn't, who will they have? [What kind of captain, kind of man, would he be?] "You're going to have to give them more authority if you want their loyalty." "Theirs or yours, Commander?" Janeway frames Chakotay's words pointing out the flaws in this plan which I outlined earlier, as almost a threat (if she doesn't have Chakotay's loyalty it'll most definitely mean mutiny). Chakotay asserts that it wasn't a threat, he's only trying to help by telling her how the Maquis crew will react to what she's telling him. "I'm sorry you can't see that" - not an apology for what he said but that she isn't willing to budge, not willing to listen to him and acknowledge that she might be as biased towards her crew as he is towards his. Chakotay is trying his best to acclimate his crew but if Janeway isn't willing to do the same, to talk to her people as he's talking to his, then this will not end well and that isn't a threat. It's just the reality of the situation. He then asks permission to leave, showing he is willing to observe Starfleet protocol (just as when he asked permission to speak freely), and Janeway lets him go, exhaling at the intensity of their debate when alone in her ready room.

[reppyy]

[bontenmarumaru0401]

拾い画像でデッサン練習

[theartmeg]

Feeling like Warp-10 addled Tom Paris as I wrap my mind around all the "timey whimey stuff."

If you haven't already...go watch Prodigy on Netflix! It's worth it! I'm hoping for a future where there's a third season. 🖖🏻

[manicpixievixen]

Mechanic Charlie moodboard

Quench my thirst with gasoline

So give me fuel

Give me fire

Give me that which I desire

[andreaheartscats]

Tom Kaulitz x fem reader

fluff

You were going through a messy break up at the moment. After 2 years you broke up with your partner, you both decided that it was for the best since the relationship was rather toxic.

Tom was your best friend and he cared for you deeply so when you told him about the break up he didn't even waste a second to pull up to your door waiting for you in his car.

It was past midnight and you didn't really feel like going anywhere or talking to anyone but knowing Tom he wasn't gonna let that slide.

When you finally left your home, he noticed you walking towards the car. You were in some sweatpants and a hoodie, your hair was messy and eyes all puffy and red from crying as well as your nose.

It pained him to see you like this.

When you got in the car he smiled at you trying to lift your mood up.

"ready to hit the road ma'am?"

he asked you as he started the car, you just smiled weakly and nodded at him.

He understood that you didn't want to talk at the moment so he decided to do something else.

You were just resting your head against the window as you both drove through the mostly empty streets. Suddenly all the windows in the car went down and you just looked at Tom confused.

He shot you a quick smile as he played your favorite song with volume almost all the way up.

You smiled back at him and sang your heart out to your favorite song, basically screaming the lyrics.

He smiled when he saw you lighten up and joined you in with your singing... or screaming actually.

After a few songs and voice cracks, Tom pulled into a gas station. He told you to wait in the car and that he will be right back.

You let out a heavy sigh as you look at your phone. It was almost 3 in the morning but you didn't really care. You were having fun with Tom.

When Tom got back into the car he handed you your favorite drink with a smile plasterd on his face, he seemd proud of himself.

You thanked him and he drove off.

The rest of the ride was pretty much filled with comfortable silence, you didn't really know where he was taking you nor did you care.

All you knew that he was there with you and both of you were enjoying eachothers presence.

A/N: guys i don't know how to feel about this?!?!? it feels weird writing about a real person since all i ever wrote was characters from anime or video games. But anyways lmk what yall think and im sorry if i made any writing mistakes :') LY YALL!!