#and YES i know its not and i need to shut up but also??? no i dont!! dont give me a 20 when your first piece of feedback is 'this is an exc

[telesodalite]

Never getting over Fulcrum being a project manager...

Idk why, but something about that is so funny to me. Not just because the title of "project manager" is inherently kinda funny for a Decepticon, but also because-

1. It's vague sounding and hard to explain irl because it technically exists in multiple fields, like healthcare or manufacturing, which surely translates into canon in some way.

2. In canon, it's simultaneously a really mundane, innocuous sounding job, yet it's also a super morally awful position to reside over depending on the context. (*cough* forced colonization and cyberforming *cough*)

And 3. It solidifies the fact that behind all the surface level militaristic work we get with both the Decepticons and Autobots, there's also Cons and Bots with "normal" jobs in both factions.

Like, sure yeah we get scientists and doctors, engineers and programmers, but usually in big important or warfront positions. (For plot reasons, understandably.) But it's also really funny and interesting to think of those that worked background positions, or minor jobs.

Like an Autobot working in their equivalent of an HR department, or a Decepticon who runs one of their outpost's or starship's kitchens.

Just all the pre-war jobs that didn't just disappear with the war, but instead evolved to exist within the factions.

It's particularly funny with the Decepticons though, because it could be a super mundane job or situation, but because it's them, it has to have an air of ~e v i l~ to it, either legitimately and/or merely for the vibes, like Tarn's "performance reviews".

[crossbackpoke-check]

"Bees" [remixed, abridged], Claudia Emerson // "Letter to Someone Living Fifty Years from Now" [remixed. abridged], Matthew Olzmann // "Letter to my Great, Great Grandchild" [remixed, abridged], J.P. Grasser | Len Redkole, Nina Weiss, Brian Babineau, Christian Peterson, Mitchell Leff, Dave Isaac, Megan DeRuchie

[jrswritings]

Tingles and Giggles - Chapter Twenty-Three - Tyler Owens x Reader

Get caught up with the Chapters 1-22 on the Masterlist! :)

Chapter Twenty-Three - Doodlebug

It had been a few years since you were back at one of your family's farms, but the tall blue barn stood in front of you with Blue Horizon Ranch painted along the side in bright white letters brought back memories of the summers you worked as a farm aide when your parents didn’t need any help. 

Opening the truck door you were overcome with the musky scent of cattle and their manure which was potent and earthy. Even though it was a hard odor to get through, it also enveloped you in almost a warm blanket feeling of memories; a blend of enjoying nature and its creatures, hard work in the summer sun, and the simpler beauty of ranch living. 

“It’s been a hot minute since I’ve seen you round here,” a male voice said from behind you.

You turned around to be greeted by your older cousin, Caleb. He was only a few years older than you and even though you hadn’t talked a lot, he was always someone you could turn to. 

“Oh shut up, C,” you laughed, and shut the truck door behind you and accepted his side hug. 

“Who’s this clown you brought with you?” He asked, gesturing over to Tyler who was grabbing his ball cap from the backseat.

“That’s Tyler,” you said calmly.

“Hm, that’s who your mom was talkin’ about,” he said, “Since she showed up this morning she kept sayin’ she was one step closer to being a Grandma.” 

“Oh geez,” you groaned softly, “Maybe someday I’ll catch a break.” 

“Or we just get started,” Tyler said while coming around the front of the truck. 

“Ty!” You gasped, smacking his chest while he laughed. 

“That’s what I’m talkin’ about my man!” Caleb laughed, giving Tyler a high-five. 

“I’m doomed,” you said, walking to the wide-open barn doors. 

“I think I’m likin’ you already,” Caleb said, following you into the barn with Tyler in tow. 

“There’s my baby!” Your mother cried out, coming over and hugging you tightly. 

“Hey Mom,” you groaned as she hugged all the air out of you. 

“Is this the famous Tyler I know nothing about?” She asked, immediately letting go and walking over to him. 

“Y-yes, ma’am,” he said, being taken aback by her sudden abruptness and change in tone. 

“Hope you came with a good attitude and work ethic, boy,” your dad, Ron, said coming out of a horse stall with your Uncle Oliver. 

“Always, sir,” Tyler said, glancing over at you who looked already done with the day and situation. 

“Let’s get (Y/n)’s truck hooked up and head out to the field,” your uncle stated, looking at you and smiling. 

Your Uncle Oliver and Aunt Vicky were more like parents to you than your actual parents being loving and supportive one hundred percent of the time. 

You walked over to the driver’s door of Lil Blue and got in, turning the key to bring the engine to life while also letting Cash out of the back seat to run around and play with your uncle’s Bloodhound named Max. 

“It’s over behind the shop, I trust you can back up to it just fine, but I’ll be there in case you forgot how,” he said while smirking, opening the truck bed and sitting on the tailgate. 

“You know that I know a few things a man outta know,” you said, driving over to the big pole barn that was turned into a shop. 

As you backed up to the trailer, you couldn’t shake the feeling you were being watched; not just watched, but stared at. At that moment, you wished you could read lips as you looked around and saw Tyler watching you while he was talking to Caleb with a smirk plastered on his face. 

Was he impressed? Was he intimidated? You couldn’t tell. Backing trailers up was something you had always done when hauling hay, even though you normally weren’t the one hauling it. Even though you shrugged off the thought, you continued to feel Tyler’s eyes burning holes into your back as you got out of the truck and walked behind the truck. 

“So, Doodlebug, where’d you find that guy?” Your uncle asked while he was lowering the trailer onto the hitch.

“Well, do you want a fluffy answer or the real answer?” You joked, adjusting your ball cap to be a little tighter. 

“What do you think, Doodlebug?” He asked, sliding the hitch pin to secure everything. 

“I met him out in a field while watching storm clouds,” you said, starting to laugh. 

“Why does that not surprise me?” He asked, standing up and clapping his hands to get the dirt off his gloves. 

“Because it’s me?” You asked, shrugging slightly and leaning against the back of your truck. 

“Has he been treatin’ you right?” Your uncle asked, wiping his forehead with his wrist. 

“And then some,” you said, playing with your fingers.

“Good, if he does anything to change that I will personally come and whoop his ass,” he said, taking his gloves off and putting them in his back pocket. 

“I know that you both will and Tyler would never see the light of day again,” you sighed, knowing if you were hurt again by a man your family would ensure that man never stepped another step. 

You had kept everything that happened with Derek a secret from other family members, aside from your parents. If it had been your choice no one would have known. Uncle Oliver and your cousin Caleb only found out when your mom opened her mouth at the wrong time about your situation over Thanksgiving after you and Derek split. 

The next day you received calls from both of them stating that they were there for me, even if it meant they were going to jail for fighting. 

“Always, Doodlebug,” your uncle said, elbowing you, “Let’s get this show rolling, are you good to haul solo?” 

“It ain’t my first rodeo,” you scoffed, getting in the driver’s seat and having Tyler walk over to your open window. 

“We might have to start our own little farm if it means I get to watch you get sexier by the minute,” Tyler joked, leaning in and kissing your cheek. 

“Oh hush, I won’t be this good-looking for long in this Texas heat,” you said with a smile, “Now either get in the bed or the truck so we can get going.” 

“You kids be careful out there! I’ll be out there soon with refreshments and a snack!” Aunt Vicky called from the barn doors as you slowly rolled the truck up for the guys to get in. 

“Is it going to be water or your famous sweet tea, Momma?” Caleb asked, sitting on the side of the truck bed. 

“What do you think?” She asked, giving him an annoyed look. 

“If looks could kill, C, you’d be dead,” you laughed. 

“C’mon kids, I don’t want to be doing this all day,” your father’s voice boomed while he climbed into the passenger seat of the truck. 

“Yes, sir,” you said quietly, waving to your mom and aunt as you headed towards the ranch's main entrance. 

This had been the first time you had been alone with your dad in a couple of years. In your head, it was an awkward silence between a father and daughter, but you knew in his mind it was just a couple of adults sitting in a truck on their way to work.

Taglist: @fanboyswhore9 @faith719 @ummmeg @nerdgirljen @winterassassin1804@smoothdogsgirl@xbox5angelx@ifilwtmfc@djs8891@watashiwababy @mackevanstanfan80

[dykethoslab]

the trajectory of understanding someones politics from like two things they say is kind of crazy. iskalls video declaring he will be settling this in the court of law, claiming everyone was being malicious and then deleting any comments questioning him, all point to what kind of audience and community he wants to foster bc all the comments are just misogynistic chuds who are cheering him on. have fun with your dudebro libertarian audience man. when is your right wing grift gonna start.

[aquickstart]

ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.

another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!

farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.

but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.

but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.

but the important thing is this.

farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.

farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.

the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.

as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.

but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.

and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.

to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).

to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.

and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?

but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.

the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.

so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.

[9990zara]

thinking about. narukami arashi. in all her messy self. augh...

[tankgotstuckinthecircusgate]

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

[dimonds456]

Every day, I wish and hope that I'll wake up and be in the 1920's. Not because everything was better back then, but just because things were more alive back then. Or at least, it feels that way.

You look at some dance routines today, and there is most definitely talent on display, sure, but then you go and watch someone like Gene Kelly or especially The Nicolas Brothers dance and you're left sitting there like, "...what happened? Why don't we do this anymore?"

Music performances too. There are truly some talented people doing amazing stuff today, but it just doesn't feel as vibrant and alive as watching a big jazz band improv with each other in front of a crowd.

Singers weren't trying to sell, they were just, well, singing. There was more flexibility in vocal performance from what I can tell, and honestly this one warrants its own post.

Tap dance is considered stupid largely by non-dancers, when it's actually REALLY HARD and fully of such joy and whimsy. You're a musical instrument and dancing at the same time! What's not to love? Not to mention, the physical toll that takes on a person. Insane.

The only dance I was taught as a kid was the slow dance. If I wanted to learn anything else, my parents said no, unless it was ballet, but I was never interested in that personally. Now, I look back on things like the Charleston or the Lindy Hop and I just wanna learn how to move like that; to let go and be in the moment. I don't know how, and none of the adults in my life can tell me, either.

The movies back then were so creative and grand, considering the budget and scale they were allowed to work with. Stuff like Robin Hood or Metropolis are absolutely jaw-dropping, and yes, we could make that today, but it'd be with CGI or super realism, when a huge part of the charm came from the use of miniatures and spot-on performances and choreography.

Listen. We still have all of these today. Even tap dancing is still around, even if it's largely (wrongfully) considered silly by many. But it just doesn't feel the same. I'm not sure how to put it into words. The 1920's was where our modern times were really born, I think, with inventions like the camera, the radio, animation, jazz, ect all coming together in this decade to launch new art forms, entertainment, and way of life. They weren't called "The Roaring 20s" for nothing.

I wanna live in that so bad.

[widevibratobitch]

omw to play emotional support for my mom disguised as ✨fun family bonding time✨ for the rest of the week <3333 there's something so deeply wrong with me uwu teehee

[lightbulb-warning]

this is getting ridiculous there's so much stuff i wanna draw i need to clone myself immediately

[arom-antix]

I made meme because it's important

[alxclaremont]

there are two wolves inside of you: one feels impending doom at the thought of tomorrow’s race. the other feels immensely hopeful that oscar will get his first win tomorrow or at the very least a mclaren 1-2. you are a formula one fan.

[yuukei-yikes]

i hate how it's implied kano just left takane to sort out getting her body back by herself. like he just takes her there and then goes sob outside. fuck you fuck you fuck you i know kano was in a bad headspace but he is ALWAYS in a bad headspace he SHOULD AT LEAST help his friend out of the fucking tank especially after lore dumping her abt his tragic life story the whole way there

[raspberryzingaaa]

Thinking about going to World Most Boring Bible Study Ever. Idk yall. Idk. Idek.

[nspolaris]

read the sunshine court and have never been more impatient in needing a second book my god