#and why she still defends her

[doveinruins]

Vi is so pussywhipped for her c-ptsd sister-girlfriend Jinx. That’s like pretty much canon, c’mon.

[stevebabey]

you're the only one for me, baby

1.7k, steddie, one of them getting so drunk that they don't recognise the other and telling them back off i've already got a boyfriend, it's all sweetness <3 likely a modern!au and actually just goobers in love

Eddie doesn't really drink. He's not against partying but he's much more attuned to smoking a little weed to take the edge off, sometimes a spliff if he wants to mix a little business and pleasure.

Eddie doesn't really drink—so when he does, it goes about as well as expected.

From zero to a hundred.

Steve had lost track of him after directing his stumbling feet towards the bathroom to take a leak. But apparently, as he's now found out, this bathroom has two doors.

What the fuck kind of bathroom has two doors, like some weird thoroughfare?

Regardless, it took all of five minutes with no noises coming from the inside before Steve had loudly announced he was coming in, no matter what, getting quite worried for his boyfriend.

He trusted Eddie to not be too sloshed to handle a piss, even if he was on the wilder side tonight, but still leaned up against the door to chase off anyone else looking to knock—because Eddie hilariously gets pee-shy.

The door had opened easily, apparently unlocked, and Steve had stepped into the empty bathroom. The other door across the room, the one he hadn't noticed until now, was wide open to the party.

So, now he's on the hunt for Eddie.

Which is a task that feels a little bit like herding cats because drunk Eddie isn't something Steve has a lot of experience with. But what he does know, is this: it's the opposite of high Eddie.

Stoned, Eddie likes to find the comfiest place he can (usually Steve's lap, or so he proclaims) and sink into it, like melting wax. Then, given he has access to adequate snacks, he doesn't move for quite some time.

Drunken Eddie cannot even fathom the concept of sitting still.

Either way, looking where there's food is a good as a place to start as any.

Steve ambles out the strange two-doored bathroom and flips his head back and forth, trying to remember the direction of the kitchen. He hasn't been here before—one of Eddie's band connections—and Steve's still had a couple beers himself.

He shakes his head and takes a left, relieved when it leads to the stairs. Okay, he sort of knows where he's going now. They had only come upstairs to find the quieter bathroom for Eddie.

As Steve reaches the bottom of the stairs, a faint stir of irritation flashes through him. Eddie just left him behind? That wasn't that nice, even if he was incredibly drunk.

He can hear the din of people chattering just above the music and he follows it, leading him into the half-full kitchen, people dotted around. There's a few pizza boxes scattered around and Steve eyes each of them specifically, looking for the tell-tale wipe of Eddie's greasy fingers. No dice.

Steve wrinkles his nose, spinning around and double checking before he moves on.

If not by the food, then... where?

Steve takes a few steps forward into the living room, his heart beginning to sink and shrivel all at once. There was a miserable feeling attached to looking for his partners at a party, a wallowing and awful memory tied to the feeling.

Steve pushes a hand across his chest roughly, as if trying to shove the feeling away.

Eddie wasn't... her. Eddie wouldn't do that.

But the moment he's thought it, it's stuck in his head. Steve's feet begin to speed up, checking a little more carelessly as he starts to stick his head in different rooms, his hazel eyes jumping around. Not Eddie, not Eddie, not Eddie—so many people and none of them are Eddie.

Until—there. Steve spots a very familiar looking behind as it leans over the back of the couch, the owner of said-behind talking to someone sitting on the couch.

He blinks, just to be sure, but the details come into better focus. There's chains on his belt loops and when he shakes his head, Steve can see the curls he loves to bury his hands into.

Eddie.

Steve's relief pulls him forward, his feet almost stumbling, his mouth pulling into a relieved smile. He puts a hand out, fingers spread, across the leather-clad back.

"Eds," Steve says, relief colouring his voice.

Eddie swings up abruptly, pushing himself off the couch. When he turns, a bit of liquid sloshes out of the beer bottle he's holding.

"Heyyy," The words come out a bit slurred and when he finally stands straight, he doesn't look right at Steve. "Handsssss off the merchandise, buddy."

Steve chuckles, reaching out and plucking the bottle from his boyfriend's grasp. Eddie gawps, an adorable little hiccup interrupting his shocked expression.

"Hey," He says loudly, reaching forward for it fruitlessly as Steve pulls it out reach. "That's mine." Eddie whines.

"You've had more than enough, I think." Steve says. He steals just one gulp of it before he turns at puts it on a nearby table. When he turns back, Eddie is frowning at him, brows pulled together tightly and bottom lip jutting out.

"Listen—" Eddie leans forward, jabbing a finger into Steve's chest. "I dunnowhoyouthinkyouare," The words come out in a one big jumble and Steve frowns.

What? Something sour claws into Steve's chest at the frosty greeting.

"Eddie," Steve says, his hazel eyes wide and worried as his gaze darts between Eddie's squinted face and swaying form.

Steve reaches out to put a hand on his waist, aiming to steady him, but Eddie sees it coming and widens his eyes comically. He swerves back to avoid it, his boots tilting dangerously on the wooden floors. If he was still holding his beer, Steve bets half of it would be on the floor by now.

"Wo-oah," Eddie exaggerates, waving a hand out and batting Steve's outstretched arm away. The rottenness in Steve's chest blooms, rancid and freezing. He sucks in a sharp breath.

"Ed—"

"I—" Eddie says, holding up his hand and waggling one finger at Steve, like he's a naughty schoolboy. His words still have that drunken slur to them.

"—already have a boyfriend, thank you very much. He's much too pretty to be throwing it away for the likes of you, you weasel of a man..." His ludicrous and nonsensical insult trails off under his breath as Eddie's attention is drawn away by a shout across the room.

As he watches Eddie drape himself back over the couch, the sourness between Steve's ribs shifts, transforming into something infinitely sweeter. He lets out a dazed laugh, a wild smile spreading on his face before he can smother it beneath his hand.

I'm dating a lunatic, Steve thinks happily.

He reaches out and steals Eddie's beer once more, taking another large swig before giving it another go.

This time, he sidles up beside Eddie who's engaged back in conversation with one of the guys on the couch, and just waits. It only takes a minute before the dude on the couch seems to realise who Steve's waiting for and he nudges Eddie, gesturing behind him.

Eddie, still bent over the back of the couch, twists only his head to look. This time, the recognition is immediate.

He springs up, pushing the couch forward an inch in his excitement and leaps forward, his hands clawing into Steve's shoulder with a fierce delight.

"Steeeeve," Eddie croons, crowding in close. His hands start moving, fingers searching like curious spiders, fingertips dancing along the sensitive skin of Steve's neck til he's squirming back, laughter betraying him.

"Stop it." He laughs. Steve arrests Eddie's wrists in his hand and Eddie cackles, using the pause to surge forward, kissing him square on the mouth.

Eddie tastes like the beer he's been drinking and Steve barely gets a moment to enjoy it before Eddie's pulling back, leaning forward so they're forehead to forehead.

"I was looking for you." Eddie says, his doe eyes wide. His pupils grow larger the longer he stares at Steve.

Steve grins. "Uh huh. Looking for me between the couch cushions, were you?"

Eddie rears back, his head flipping as he stares back at the couch and then back at Steve. "Nuh uh. I came out the bathroom and you were goooone."

That explains it. Eddie must have left out the other door — and then thought Steve had left him behind and gone hunting for him. Something else settles in Steve's chest, relieved.

"And—" Eddie hiccups. "—and some guy tried to- to freakin' flirt with me. Can you believeee?"

Steve's grin widens by a mile. "Is that so? What you'd tell him?"

"No, of course!" Eddie says, head pulled back as if he's appalled Steve would think otherwise. He shakes his hands out of Steve's grip and drops them, fumbling for a moment to get his fingers into Steve's belt loops.

When he does, he yanks Steve forward a tad too forcefully, their bodies colliding in a way that's more sore than sexy. Eddie continues on as if he doesn't notice. "Even if he was particularly tasty," He murmurs, his lips tracing the column of Steve's throat.

"I let him know, baby." Eddie all but purrs.

And perhaps if the competition Eddie was beating off was literally anyone other than himself, Steve would be right there with him.

Instead, he can't contain his snort of laughter. Eddie was perfect; he was a possessive and drunken dog, barking up the wrong damn tree. Steve loves him.

"You're laughing," Eddie states plainly, even as his doe eyes manage to grow even more round. Steve can't help it, it just makes him laugh more.

"Treason." Eddie declares. Then using the belt loops to keep Steve captive, he leans in and blows a raspberry on his neck.

Steve lets out an unattractive squawk, his laughter melting into Eddie's as he pushes his boyfriend's face away — to which Eddie simply lets himself go limp, his face cradled and held up solely by Steve's hands.

"Christ," Steve says between his laughs, shifting his hand to hold him more tenderly. Eddie smiles dopely, then puckers his lips and closes his eyes.

Steve rolls his eyes, entirely too endeared. "Alright, c'mere," He gives in, leaning and kissing Eddie, short and sweet. When he pulls back, Eddie's eyes are open, starry and gazing up at him. He gives a dreamy sounding sigh. Steve's heart fizzles, like it's full of pop-rocks.

"Ready to go?"

"As long as it's with you, baby." Eddie says, sounding every bit like he means it.

[australet789]

"Alastor is a villain because he chained poor Husk 🥺"

I think you all forget THIS is the Husk that made the deal with Alastor:

The Husk that was so careless and selfish that was gambling SOULS, to the point he gambled his own soul away to save his powers.

[maggotmoment]

transfem vyncent save me. save me transfem vyncent save me

[ef-1]

If I think about the double standard and the disparity with which the media handled Daniel in comparison to everyone else I may lose my mind.

[tales-of-the-ghost-zone]

DP x MCU crossover

Sometime after Howard and Maria Stark’s death, Hydra decides to try and make a clone of Tony Stark, that’s infused with Super Soldier serum. They were hoping to get a super smart super soldier that they could control.

And thus Danny was born.

At some point when he’s like 2 or 3 one of the Hydra agents whose been his handler since he was born grows a conscious after witnessing the most recent experiment the other scientists in the lab put Danny through. They take Danny and run away from the lab. They don’t get away clean tho, they had to fight their way out of the lab and they were injured in the process. They wind up in Amity Park with baby Danny and come across the Fenton Parents. They hand Danny over to them and tell them to protect and look after the kid. And then they die.

The Fenton parents adopt Danny and raise him as their own. Danny grows up not knowing he’s adopted or that he’s a clone and a super soldier. The ghost portal accident happens when he’s 14 like cannon. The reason he survived and only half died is because of the super soldier serum in his blood.

Eventually, after the whole events of the Danny Phantom series has passed (minus Phantom Planet because fuck that horrible ending to the series). Danny, after defeating Pariah Dark, is now the king of the ghost zone. He still doesn’t realize he’s a clone of Tony Stark. Despite the fact that he looks exactly like a 17 year old version of the man!!!

And then New York happens. A portal opens up in the skies above New York, and aliens come pouring out of it! You bet your ass Danny hightailed it over to New York to help out the group of heroes that were trying to stop the aliens. He’s super hyped to fight aliens!!! He’s just having a blast zooming through the skies of New York, around skyscrapers, throwing punches and ecto-blasts at aliens, helping out the other heroes.

Meanwhile every time he helps one of the Avengers they all double take when they finally get a look at his face. Cause like yes this floating glowing child has glowing green eyes and Snow White hair, but the rest of his face looks like a very young Tony Stark. After each encounter with the boy the different Avengers call Tony over the coms to ask his status and to reassure themselves that Tony hadn’t been de-aged and given super powers mid battle.

Tony is the last one of them that meets Danny. He’s super annoyed at the fact everyone keeps calling him over the coms to ask his status. Like yeah he’s not a super soldier and doesn’t have powers, but neither does Romanoff or Barton!!! And unlike them he has his own super suit to protect him. So why is everyone calling in to check on him?!!!

And then finally Danny comes zooming around a building chasing after Loki’s chariot, shouting sarcastic quips at the god, while firing green blasts from his fists. And Tony just kind of blue screens for a minute. Jarvis has to take over piloting the suit for a minute while Tony reboots. He’s def got the surprised Pikachu face going on. Finally he reboots but Danny’s already flown off to deal with something else.

The battle comes to an end, the portal closes, the world is safe, and all the Avengers all head towards Stark tower. Danny sees them and where they’re headed and decides to meet them there. He’s been the only super hero around for a while and he wants to actually properly interact with these new hero’s!

Imagine his shock when he actually finally comes face to face with Tony Stark and finally realizes how much he looks like the man. He starts panicking thinking his mom had an affair with the man 17 years ago and just passed him off as Jack Fenton’s son.

Absolute chaos ensues as assumptions are made. DNA tests happen. They realize that no he is not Tony’s kid, he’s Tony’s clone. More assumptions are made. No body is having a good time.

[batcavescolony]

Batman: Under The Red Hood

This is so interesting. Im gnawing at this bone. Jason sees Gotham as Evil, an evil that has to be beat into submission. So he makes The Red Hood, he believes his way is better then Batman cus he does what's needed (kill). He whole heartedly believes that this is for the betterment of Gotham. Then on the other side we have Bruce who saw the worst in Gotham and decided to see the light, to see the best in Gotham, to have hope that people can change. He doesn't kill, cus it's not right, cus it's not his place to be Judge Jury and Executioner. He whole heartedly believes this. Now I'm not gonna say who's right (because their’s no correct answer) but they fundamentally want the same thing, the betterment of Gotham, but neither has asked the important question. Does Gotham want to be saved?

[drolta]

Me watching everyone who knew Tera for years immediately start treating her like a monster despite knowing she was forcibly turned into a vampire in order to spare Maria

[dykedvonte]

Mini rant below and in the tags, the only time I’ll talk about this and my personal take on it.

The way people talk about hypothetical male Anya on Twitter and the idea of how Mouthwashing would play out if the genders were swapped makes me remember how people still don’t take sexual assault and rape with male victims with the same gravity, especially when the perpetrator is female.

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[spiderwarden]

Breaking tumblr by confessing that my findings have me deducing she is bisexual with a preference for men.

[bean-spring]

Never defending what Helena did but there is still something deeply saddening in having to infiltrate somebody else's life (somebody who, mind you, wasn't even considered human) to experience the tiniest bit of real, human connection. You start to wonder who's actually more human, if the one trapped and forced to work yet still conserving their free thinking and will to be able to love and be loved, or the one who, despite seemingly having it all, lacks the most fundamental part of living: Love. Care. Protection.

[atopvisenyashill]

i don’t think rhaenyra would call it like a condition on her love, i think in slightly different (safer) circumstances jacaerys could eventually prod her into talking about harwin and yet i do think jacaerys feels like there is a sort of condition on how much she is capable of loving him because she refuses to be direct with him about the harwin of it all, and it’s not even really on jacaerys for being resentful because it’s like - she knows what it’s like to mourn a parent when you’re young and she knows what it’s like to feel undermined by the parent you are supposed to be the heir of, but she completely cuts off his ability to mourn & understand his own father even in privacy with her (she Will Not Speak The Truth even when he asks when they’re alone and she does that TWICE!!!), and pretends like it’s not a horrible thing to do to him. but if she admits that she maybe hurt jacaerys’ feelings when she refused to tell him anything about his father even after his father died & then got remarried .2 seconds later and just expected him to roll with it, then she also has to admit viserys hurt her by marrying her best friend .2 seconds after he killed her mom and that completely destroys the way she has conceptualize the last two decades of her life. he’s telling her directly as he is capable of to her face that something has gotta give and she is saying “i don’t know what you’re talking about everything is fine.” well eventually, that’s just not gonna work anymore lmao.

[katyspersonal]

Lrb dear god, this reminded me of that time when Alfred-chan got sooooo mad at my post explaining why fans should respect bisexual headcanons for Maria and Malenia instead of pretending like they're canonically lesbians and that they get oppressed and erased by mxf ships with them. They kept vagueing that post for like a MONTH in their blog including in tags under reblogs of Maria fanart, passively-aggressively changed their url to character+sexuality to "spite" me and then even made a sockpuppet account to start shit with me in the comments.

They deactivated when me and Val completely obliterated their "you cultivate lesbiphobic following by telling people why they should respect all sexuality headcanons instead of acting cultish or assuming their experiences and stereotypes equal canon confirmation" garbage with actual facts and logic tho but I screenshotted everything fjthfgfj (I learned to document everything the hard way after they've changed the she/they pronouns to they/they pronouns ONLY to accuse me of misgendering, so thank you for making me wiser I guess 😎). Even more vile, as they, a white person, larped as an Arab in that sockpuppet to hold even MORE "privilege" against me in discussion gjtjfh Because for them race, gender or sexuality are just badges of honor and dishonor, they don't see these as traits of actual human beings. And Dr Eugene X, who worked with them and weaponized her race to accuse everyone who disagreed with her of racism, didn't bat an eye at such a terrible act too?? As usual, rules are not for their friends, lol

It is not even the worst thing Alfred did, and yet all of this just, just, JUST because I wrote a point on why bisexual headcanon people did nothing wrong and there is no ground to claim something is canon when it isn't. 🤦‍♂️ Like, they were soooo convinced that I hated lesbian headcanons and that I'd feel angry if they called Lady Maria a lesbian, when what I was angry at is this exact toxic behavior in the fandom. No matter how much you like a headcanon, don't be a bitch about it. Maria doesn't """belong""" to any gender or sexuality, she belongs to anyone who likes her and is invested in her complexity as a character!!!

Yet, apparently, common Malenia simps / Finlay shippers are no better than common Maria simps / Mariadeline shippers. Just, wild how after shit like this, many people have the guts to claim that it is "sexist redditbros" who are the biggest problem of creators in the fandom. 🤦‍♂️ They'd actually blush if they encountered what such self-proclaimed "feminists" do to their own (!!!) over headcanons. 🤦‍♂️🤦‍♂️🤦‍♂️

[petr1kov]

playing silent hill 2 remake :) anyway, so far it's actually way better than i expected, especially in terms of gameplay. i think they captured the oppressive atmosphere from the town quite well, and the combat still feels quite rough around the edges, as it should be - i was afraid it would feel smoother like the RE remakes and make you feel like an action hero instead of an average person fighting for their life. even most of the cutscenes are okay to me, and i like this new iteration of james (even if i miss his weirdness).

the only thing i really can't get behind so far is maria. her role is still the same but she was the character who changed the most in this adaptation, even accounting for the tone shift. i really think they failed on making her mysterious, confrontational and vaguely threatening like the original. she acts too soft and cute most of the time, like they're afraid of making her seem too unlikable (or too seductive), but she's coming across as kind of bland instead, which is a shame

[thesupernaturalhouse]

I just want yall to know I am drawing smth for the accidental overlord vaggie, someone requested it and it's basically-

Vaggie calculating how many people owe her favors(gave her their soul)