#anna miles

[kapranosdiddler62]

the ONLY way what a day should be played

[multiverseofwonders]

They were told they can't another seafood boil this week

[scarareg]

[kittydoremi]

More stuff for my Frozen Sonic au

This au is heavily inspired by Frozen, taking some similar story beats from the movie. Tails is pretty much the role of Anna in the au. When Sonic's powers start to get out of control, he accidentally hits Tails with his ice powers, causing him to have a white streak of fur on his ear.

Not wanting to hurt Tails again, Sonic runs away, but in the process his emotions accidentally set off an eternal winter.

Tails sets off to find Sonic, both to help his older brother and to put an end to the eternal winter.

[amagnificentobsession]

I love how some jump right in with him. ♥️

He scares Selena 🤣

Anna Kendrick belts it out.

Georgia gets busted looking at swag! 😎🤣🫶

[yiaemiel]

sketches from my sketchbook lately (unfortunately all marvel related) + some random drawing I made in class a while ago

[drey-theintrovertedcake]

How MSM S3: Maximum Venom should've ended-

Sharing this for the second time, cause goddamn I love this edit.

[moe-broey]

Reposting this one on its own bc. It means So Much To Me. It means EVERYTHING TO ME.

[streetdogsthecomic]

Street Dogs Out Of Context #1

Some memes referencing to things that shall happen in the story!

Down the cut is some lore behind each of these funnies for context xD + the ref images used!

1- Daniel is the Chemistry teacher at Venatio Academy, and as u can tell his classes are rather- wild. 2- Caíque tends to get himself into some "situations" from time to time, and ofc he will drag his friends along 3- Danika will face spirits once learning how to handle her Hunter Gift, but that doesnt necessarily mean she will be too brave about it xD 4- Miles teaching about Anomalies be like 5- Camping at the Bloodhound Camp be like

[murkywater-art]

Spider-man: across the spider-verse if it was cool (and comic accurate, although I screwed with that a bit too)

[2346khith]

You know, in a perfect universe, Peter Parker and Mary Jane would be married with Mayday, Benji and Annie all being there kids and Kaine, Ben Riley and Jessica Drew being Peter clones/siblings and happy along with Peter retiring as spider man and being a science teacher with Miles taking up the mantel. Just saying.

[abbenai]

this has been sitting in drafts since i saw the movie for the first time and idc anymore so its going on main. its about ellen. its long as fuck because i have just been adding to this every time i watch it or read the script so soarrrryyyy

nosferatu resonated with me in the way experiences where pleasure and pain can blur. sometimes, we’re put into situations where we can’t distinguish between the physical responses our bodies have and the emotional or psychological toll those responses are taking. theres a process of dissociation, bodies moving and reacting as if they're separate from the person we are inside like possession or a curse.

ellen’s eventual sacrifice—offering herself up to orlok not out of choice, but as a last resort to protect the people she loves—speaks to the exhausting nature of living under coercion. she’s not choosing to free herself or embrace her desire; she’s submitting because she sees no other way to stop the destruction or to escape the perpetual violence that is being incited upon her. it echoes the idea that, when trapped in cycles of manipulation or exploitation, sometimes we make choices not to empower ourselves but to put an end to the suffering of others. her choice is one made from guilt, fear, and a desperate attempt to reclaim what little power she has left.

there’s also something horrifyingly familiar about this. the idea of being pulled toward destruction not because you want it, but because it feels like the only way to stop the pain, resonates deeply with the way suicidality can feel in the wake of trauma. it’s not always an active desire to die—it can be a passive, creeping understanding that the world does not offer you a path forward. that giving in to oblivion is easier than continuing to fight a losing battle. that there’s no one waiting for you at the altar but death.

but this coercion isn’t just about orlok—it’s embedded in the structures around ellen, in the way people see her, in the way power is wielded over her at every turn. when thomas suggests calling doctor sievers, ellen’s pleading response, “please, i’ll be good,” before adopting a soft, submissive expression reveals how she has learned to use performative compliance as a means of survival. this moment is devastating because it encapsulates the way coercion and power imbalances persist even in relationships that are supposedly built on love. she feels that resisting will only lead to further institutional scrutiny, so she fawns, deploying her body and her tone as tools of de-escalation. she is not trying to reestablish genuine intimacy—she is trying to retain whatever autonomy she has left.

after experiencing the violation of her bodily autonomy at the hands of orlok, she finds herself in a position where her only agency comes from anticipating what men want and offering it on her own terms. this is a painfully familiar reality for many survivors of sexual assault—the idea that reclaiming power often means negotiating with the very forces that have taken it away. for ellen, sex becomes less about pleasure or connection and more about maintaining stability, preventing further loss.

thomas, for his part, does not seem to grasp the full extent of what ellen is experiencing until he sees it first hand during the first act. he is affectionate but oblivious, well-intentioned but ultimately incapable of seeing beyond his own perception of their relationship. his love for ellen is not in question, but his inability to recognize the ways trauma has altered her means that his efforts at closeness often have the opposite effect.

the film does not frame thomas as a villain, but it does highlight the limits of love when it is not paired with understanding. ellen’s struggle with intimacy is not just about orlok’s assault—it is about the way trauma lingers, reshaping relationships, distorting the boundaries between love and obligation, comfort and control. thomas represents a kind of passive harm, the harm of good intentions that fail to see the full picture. he wants to save ellen, but he does not know how, and in his attempts to do so, he inadvertently reinforces the very dynamics she is trying to escape.

talking more about motifs of medical care in nosferatu, dr. sievers’ act of tying ellen up is particularly insidious because it is not born of overt cruelty but from a belief in the authority of medical intervention—a belief that his actions are justified under the guise of care. this is what makes institutional power so dangerous in nosferatu; it does not always manifest as explicit violence but rather as a paternalistic enforcement of control under the pretense of reason. sievers does not see himself as harming ellen; he sees himself as protecting her, both from herself and from whatever external madness he believes has gripped her. yet in doing so, he robs her of agency, reducing her to a patient, a body to be restrained rather than a person to be understood.

this ties into foucault’s concept of the medical gaze—the way institutions depersonalize those they seek to treat, transforming individuals into objects of study and discipline. ellen’s experiences with sievers reflect the historical treatment of women who defied societal expectations, particularly within psychiatric institutions where diagnoses like hysteria became catchalls for female distress, rebellion, or even simple nonconformity. sievers’ actions are not overtly villainous, but they are emblematic of a larger system that polices women’s bodies and emotions under the guise of care.

friedrich harding, by contrast, represents a more overt disdain for ellen. where sievers’ control comes from a place of institutional paternalism, harding’s comes from outright contempt. he does not see ellen as someone who is sick or in need of help—he sees her as a nuisance, a source of disorder that must be corrected or removed. his interactions with her are laced with a fundamental lack of respect; he does not entertain the possibility that her experiences are valid or that her suffering is real. instead, he dismisses her, treating her not as a person but as a problem to be solved, a loose end to be tied up.

harding’s disdain for ellen also reflects a broader social attitude toward women who disrupt the expected order. whereas sievers’ approach is shaped by medical rationality, harding’s is shaped by social hierarchy—he sees ellen as someone who should fall in line, and his frustration with her stems from the fact that she does not. his interactions with her are cold, and ultimately dehumanizing especially with his chuckle in the script after sievers suggests he restrain her. in this way, harding embodies another facet of patriarchal control: the belief that women who refuse to conform, who speak too loudly or feel too deeply, are not just inconvenient but dangerous.

ellen’s treatment by both men illustrates the ways institutional power and social power intersect to suppress those who do not fit neatly within their structures. sievers binds her out of a misguided sense of medical authority, believing that restraint is the best course of action. harding, on the other hand, does not even afford her the dignity of misguided care—he simply sees her as a disturbance to be managed. together, they highlight the inescapable nature of the forces working against ellen: even when malice is absent, control remains.

ellen’s interactions with von franz are also interesting to me. there’s a tension in the way von franz approaches the occult. for him, it is an intellectual pursuit, something to be unraveled, understood, and controlled. he’s merely an “able tourist” but for ellen, it is not theoretical—it is lived. her body and mind are at stake in ways his never will be. this reflects a broader issue in how trauma and violence are often discussed: those who study it from a distance, even sympathetically, still maintain a degree of separation that allows them to remain unharmed. ellen doesn’t have that privilege.

so while von franz might be an ally in the sense that he exists outside of institutional power, he is still a product of its logic. his role in ellen’s life is not one of savior or oppressor but of a deeply flawed intermediary—someone who sees her suffering, perhaps even wants to stop it, but cannot fully break free from the structures that dictate how he understands and responds to it.

i think this makes his character all the more tragic. he is someone who, in another world, might have been able to help. but in this one, he is just another man whose power lies in his ability to name and recognize (still more than i can say for the others), not in his ability to liberate, ultimately sending ellen to the grave when there could be another way he just isn’t privy to.

when von franz tells ellen, "in heathen times you might have been a great priestess of isis," he’s positioning her within an ancient lineage, one that existed outside of and often in opposition to the patriarchal structures that now entrap her. the cults of isis and other goddesses in the greco-roman world were unique in that they allowed women a degree of spiritual authority that was otherwise denied to them in public life.

isis, as a goddess, represents a paradox of power and submission, creation and mourning, autonomy and devotion. in the greco-roman world, her cult was one of the most widespread mystery religions, absorbing elements of egyptian traditions and adapting to a rapidly changing imperial landscape. she was a mother, a healer, a magician, and a mourner—qualities that resonate deeply with ellen’s role in nosferatu.

one of isis’ defining attributes was her mastery over life and death. in the osirian myth, she gathers the dismembered pieces of her husband osiris, bringing him back to life just long enough to conceive their son, horus. this act—both of resurrection and strategic reproduction—establishes her as a figure who wields power in the face of loss. ellen, too, operates within this framework; she does not fight orlok through direct confrontation but through sacrifice, using her body as a vessel to absorb and redirect his destruction. in this sense, her suffering becomes the means through which she enacts her power, much like isis’ grief becomes a transformative force.

isis was also associated with hidden knowledge, particularly through her connection to magic and femininity. the greco-roman isis cults emphasized this aspect, portraying her as the keeper of mysteries, a goddess who granted wisdom to those deemed worthy. ellen’s struggle with institutional power—the doctors, her father, orlok—mirrors the tension between feminine knowledge and patriarchal suppression. she is perceptive, aware of what is happening to her, yet she is constantly dismissed, overpowered, or forced into subservience. von franz’s comment about her being a “great priestess of isis” could then be read as an acknowledgment of this latent wisdom, a recognition that she possesses something beyond what the men around her can understand or control.

but this reference is deeply ironic. von franz sees ellen as someone who could have wielded power in another era, yet in the world they inhabit, she is reduced to an object of sacrifice. it also suggests a nostalgia for a lost past—one where feminine spirituality wasn’t feared or dismissed but instead held sacred significance. the reverence for priestesses of isis existed within a context where the feminine was celebrated, but that structure was later overwritten by patriarchal control, much in the way that ellen’s agency is continuously eroded. the tension here mirrors what happened to these goddess cults in antiquity—many of them were either absorbed into patriarchal religious structures or violently suppressed. the cult of isis, for example, was both venerated and feared in the roman empire. while it attracted women, slaves, and outsiders due to its promises of personal transformation and divine intimacy, it was also seen as a threat to state power.

ellen, in a way, embodies this dynamic: she is someone who carries the potential for power, but in a society that refuses to grant her the space to wield it. her ability to manipulate orlok through her own sacrifice could be read as a distorted echo of these ancient priestesses, who used ritual and devotion as a means of influence. but instead of presiding over sacred rites, she is forced into submission, her power existing only in the act of surrender.

this also complicates von franz’s role. his acknowledgment of ellen’s lost power could be seen as sympathetic, even admiring. but it also reinforces his limitations—he recognizes what she could have been, but he does not offer her any means of reclaiming that authority in the present. he sees her as a figure out of time, rather than someone who could actively reshape her fate.

so the invocation of the priestesses of isis is not just a throwaway line—it’s a moment that speaks to the historical erasure of feminine power, the way patriarchal structures co-opt and suppress it, and how even those who recognize this loss (like von franz) remain trapped in the frameworks that enforce it. ellen is not a priestess; she is a woman stripped of autonomy, forced to navigate her world through submission rather than through sacred authority. and in that, we see the long shadow of history repeating itself.

anyways in meta what’s especially troubling is the tendency to romanticize orlok’s figure—seeing him as seductive, as the archetypal “bad boy” who might somehow liberate ellen. but orlok is no liberator; he’s a predator, taking advantage of her vulnerabilities, forcing her to experience what should be a deeply personal, understanding of connection as something violent and detached. his actions are not about offering pleasure, but about consuming it, removing any semblance of consent or mutuality. and its a farce to think so imo. threatening to kill everyone you love in three nights if you don’t bed this guy is quite literally coercion.

this is a hard thing to confront because it’s not just a story about a vampire imo it’s a story about manipulation, and the ways in which pleasure is often weaponized against those who don’t have the power to stop it. the way nosferatu portrays the violence of pleasure is difficult to ignore, yet many do, preferring to focus on the allure of orlok, the fantasy of the vampire, and the seduction of the forbidden. but doing so misses the point. it's not about just fucking the vampire it’s also about acknowledging how deeply rooted in violence these dynamics are. pleasure, in this sense, becomes the mechanism through which that violence is carried out.

theres an interesting textual thread about how easily our experiences of pleasure can be distorted by power and how these distorted experiences can, over time, reshape our understanding of agency, consent, and personal autonomy. the film doesn’t just portray a supernatural predator; it critiques how we often turn a blind eye to the more disturbing implications of desire and power and class, especially when we are confronted with the complexity of trauma and exploitation. and sometimes, confronting that discomfort is the first step in recognizing how deeply those patterns are woven into our lives— dragging it into the light of dawn and whatnot— not just in the fantastical world of a vampire story, but in the real and painful ways we navigate relationships and our sense of self.

[thegeorgiatennantblog]

Oh my god I love this!

(for reference: Anna's baking post)

[mrwatermelaun]

Anna-May "Mayday" Parker (AMAZING! Marvel AU)

Character art from @2dswirl on Tumblr (link to post); homemade suit from Spider-Girl Vol. 1 #1 (Pat Olliffe, Al Williamson and Christie Scheele)

"There are so many stories of normal people who become heroes. That's my dad's story. Me? I was BORN like this. Powers and monsters and costumes? It's been my life as long as I can remember. For me, it IS normal."

Created By - Tom DeFalco, Ron Frenz, Mark Bagley (Mayday); Dan Slott, Adam Kubert (Annie)

First Appearance - What If...? #105 (Dec. 1997, Mayday); Amazing Spider-Man: Renew Your Vows #1 (June. 2015, Annie)

Origin - Human mutate, inherited powers from her father

Aliases - Mayday, Annie, AMP, Hotshot

Identity - Publicly known to be Spider-Man's daughter, but her having inherited his powers is secret

Status - Active

Bio

Anna-May "Mayday" Parker is the daughter of Mary Jane Watson-Parker and Peter Parker, the retired (mostly) superhero known as Spider-Man. Since her birth, Mayday has grown up with the mantle of "Spider-Man's daughter" and all of the attention + expectations that come with it. Despite not inheriting her father's powers, Mayday aspires to make the world a better place like her father has through more down-to-earth means.

At least, that's the public story.

The truth is, Mayday has been crawling all over walls and ceilings since she was a baby. Since she can remember, she's grown up admiring her dad and surrounded by all manner of heroes. Being publicly recognized as the daughter of a superhero isn't easy, and Peter knew that would be the case since the moment he decided he was gonna reveal his identity to the world during the Superhero Civil War. So he devised a plan: while the Parker family couldn't hide their daughter as Spider-Man's child, they could hide the fact that she had powers to begin with and give her the chance at a normal life.

To that end, Peter build an inhibitor chip that Mayday wears as a bracelet. While she has it on, her powers are nullified and she passes as a regular human. When taken off, Mayday has access to all of her powers and abilities. In Peter's eyes, the least he could do was give her daughter the opportunity to decide which type of hero she wants to be (one with a public or a secret identity).

Thus, Mayday lives a double-life:

During the day, she's a regular high school student. Popular with her peers (in part due to her dad's identity), a student council president, the top basketball player for her school and dating a caring boyfriend, Mayday is a thriving teenager.

At night (and some weekends), Mayday trains. She wants to be a hero like her dad and Peter agreed to train her years ago, under the condition that she wait till after high school graduation to go out as a superhero. Thus she is mentored regularly by her dad, the current Spider-Man Miles, and Daredevil.

Despite this arrangement, Mayday also inherited her father's inability to NOT help people, so she has several times used her powers in secret without her father's knowledge to protect civilians and fight criminals... an endeavor aided by her little brother, who in such occasions is the "guy in the chair" for her big sister.

A charismatic, headstrong, energetic and hot-blooded teenager (as well as a not-so-secret geek); Mayday waits and waits until the day she is finally given real web-shooters and can join the ranks of the superhero community with her father's blessing... and she already has a suit in mind!

Personal Information

Full Name: Anna-May “Mayday” Parker (Watson)

Living Status: Alive

Place of Birth: Manhattan, New York City, New York

Place of Residence: Queens, New York City, New York

Education: High school (Midtown High)

Occupation: Student (council president), basketball player for Midtown High

Languages: English, American Sign Language

Gender: Cis

Sexuality: Straight

Physical Characteristics

Gender: Female

Age: 15 (born February 17th, 2010)

Height: 5’7” (1.7 m)

Weight: 119 lbs (53.98 kg)

Eyes: Blue

Hair: Auburn

Skin: Fair

Ethnicity: American/Caucasian

Race: Human mutate

Other: None

Family

Parents

Peter "Pete" Parker: goofy dad and superhero mentor #1, AKA Spider-Man I

Mary Jane "MJ" Watson-Parker: cool mom and Mayday's super fan

Siblings

Unborn sister: sadly died from complications during childbirth

Richard "Benjy" Parker: smart and nerdy little brother, knows about her secret outings and helps her sometimes, has no powers, hard of hearing

Significant Others

Eugene "Gene" Thompson Jr.: egocentric ex-boyfriend, relationship ended badly

Reynard "Wes" Westin: sweet and sensitive boyfriend

Other Relatives

Benjamin "Ben" Reilly: deceased paternal uncle, has heard a lot about him from her dad

Kaine Parker: grumpy paternal uncle, visits every year at least once

Teresa Parker: fun and snarky paternal aunt, likes to visit the kids often

Gayle Watson: distant maternal aunt, mostly seen during family gatherings

Kevin and Tommy Byrnes: maternal cousins, only really sees them at family gatherings

Reilly Tyne: son of Mayday's uncle Ben and her cousin/genetic half-brother, currently under the care of Kaine Parker

Sandwich: the family dog!

Affiliations

Close hero allies: Mayday has met many superheroes through her father but her closest bonds are with Spider-Man III (Miles Morales) and Daredevil (Matthew Murdock), both her superhero mentors along with her dad. She's also close to the Fantastic Four/Future Foundation (especially Valeria and Franklin)

Group affiliations: None

Powers and Abilities

Enhanced strength, dexterity and agility, even more agile than her dad (can regularly lift around 6 tons, more with exertion)

Spider sense enhances her agility, speed and reaction time; also warns her of danger. Mayday's spider sense is stronger than her father's, meaning she knows EXACTLY what the dangers are and from where (sometimes to the point where she can sense dangerous events minutes or hours before they even happen). Due to training from Daredevil, she can also use her spider sense to guide her and fight while blind.

Can cling to any surface and climb/run up walls. Mayday can extend her sticking abilities to people/objects within a radius around her as long as there's connecting materials to them. She can also reverse her sticking ability to push objects away from her and add force to her jumps.

Trained in combat by her father, Miles and Matt

A bracelet made by Peter that functions discreetly as a web-shooter (to be used strictly for self-defense)

Very knowledgeable on a variety of science and technological topics

Pretty good artist/drawer

Good at taunts and witty retorts

OOU Commentary

I love Mayday and Annie a lot, as I'm sure most fans of the Spider-Marriage do. While I debated a lot if both should be included as their own characters, I chose not to for 2 reasons:

While they're not identical, I felt like there were not enough aspects that differentiate Mayday and Annie to justify having them both in this AU (and to have them stand-out from each other as characters)

I wanted to keep Peter and MJ's miscarriage as part of their story. To me part of Peter's core as a character is that he's relatable and, despite being a superhero, he deals with our same human struggles through life. To that end, a miscarriage is something a lot of couples/parents go through and is a very hard event to deal with but that can forge an even stronger bond if overcome (in this AU the miscarriage didn't happen bc of Norman Osborn's meddling or any such nonsense: it was just a complicated pregnancy with an unfortunate end)

As a compromise I decided to combine the two, with Mayday being the main pillar as the more established daughter and folding aspects of Annie into her character. I've also thrown in a bit of stuff from The New Ultimate Universe May, which may grow based on the development of her character in the (currently ongoing) Ultimate Spider-Man.

[bloodbuzz-ohio]

The O.C. 1x13 The Best Chrismukkah Ever

[ifidogaysomyself]

i think one of my absolute favourite things in media is when there's a character who on the daily looks just a bit mentally ill and honestly kinda Weird, so you just assume that they've always been Like That since it's been their default state throughout all of the story so far. but then there's like one episode where they show some kind of photo/flashback where the character is younger by a few years or whatever and they just look Very Polite and normal. bonus points if we actually GET the backstory for why they're weirder now because as one of my friends put it its like. What Happened King (i know what happened)