#but i needed to get it out

[teddybeartoji]

neighbor!toji finds you sitting in front of your apartment door late at night as he's coming home and at first, he's really not planning on saying anything. he still doesn't know you, he hasn't talked to you – the most you've gotten is a look and a nod whenever you happen to take the elevator with him or when you just bump into him on your way out. and he really isn't the type to make small talk but with your knees pulled to your chest and your head rested on top of your hands, you look miserable and toji finds it very hard to ignore you.

he keeps stealing glances at your curled up figure as he searches for the keys in his pocket and it's only when he's got the door open, he swallows the weird lump in his throat.

"y'wanna come inside?" his voice is raspy, tired, but it does the job of luring you out of your little bubble.

there's a moment of silence.

toji isn't stupid, he knows the dangers of the world and it doesn't take him long to realize how strange his offer might sound. his eye twitches out of sheer embarrassment as he averts his gaze, rough fingers fidgeting with the keys in his hand.

"that would be really nice actually, yeah."

there's no suspicion in your tone, nothing that would indicate that you're thinking what he's thinking. toji's mossy green eyes meet yours and he's met with a look he knows all too well.

exhausted.

"just so i can charge my phone?" you're already trying to apologize for yourself. to tell him that you'll only stay for as long as you need, afraid that you're bothering him.

but he just gives you a hum, patiently waiting for you to push yourself off the ground. for a moment, you stand next to him in front of the door, waiting for him to step inside first but when he gestures to go in before him, you don't argue with him. your hushed 'thank you' doesn't go unheard.

his apartment is tidy. probably even more so than your own. it looks surprisingly cozy – the light isn't a big, bright one but a dimmed down one instead and the sight of his big couch makes you let out a soft sigh. from the corner of his eye, toji observes you. he hasn't had anybody over in a long time and now here you are.

he tells you to take off your shoes and to take a seat while he goes to look for a charger, giving you the perfect opportunity to take a better look around the place – dvd's, old magazines and newspapers, a few movie posters and one singular plant. it's not a lot but it still feels like a good home.

at the sound of his voice, you snap out of your thoughts. your fingers brush against one another as you take the charger from him with another 'thank you'. a

"you're not going to kill me or anything though, right?"

...

for a man his size and his age, he feels a bit small under your gaze. you're blunt more than anything and he's just a little caught off-guard by your question.

"no."

"that's good."

you break the eye-contact to look for a place to plug in the charger and he feels relieved. "you feel safe."

you say it like it's nothing.

"i wouldn't've accepted the offer from anyone else, i think. well, maybe from the lady across the hall but then again, she'd just scold me for being up so late and i'm way too tired for that."

the words slip from your lips as if they're light as air while toji needs a second to really hear you, to know that he isn't making you uncomfortable. that in your eyes, he isn't scary or threatening in any shape or form. perhaps you're just naive for putting your trust into a stranger like this but toji still can't help but feel a little warm inside.

he doesn't say anything and you don't mind his silence. you do thank him a third time and let your lips curl into a proper smile when he almost unintentionally raises his brow at you – like it's weird that you're doing that.

he ends up bringing you a glass of water before joining you on the couch, both of your eyes set on the tv screen and the show that plays on it as you eakt for your phone to come alive again.

it doesn't feel wrong to just be with him like this.

it's right enough for you to let your exhaustion sneak up on you. your eyelids grow heavy without you even realizing it and then you're already dozing off on your neighbor's couch.

your quiet snores are so unfamiliar, the mere idea of somebody being able to fall asleep in his presence so surreal that he's left sitting there dumbfoundedly. regardless, he reaches for a blanket before throwing it over your body ever so carefully and turns down the volume of the tv as to not disturb you.

a stranger, a neighbor. somebody, who makes him feel a bit more alive. a silly comment, a blunt reply. a smile and a thank you.

a push to keep on going.

[berlingotesque]

Watched Hazbin Hotel. The brainrot is real, guys.

[gjdraws]

I was briefly possessed by the spirit of Ray Vecchio

[detentiontrack]

It doesn’t excuse her behavior, but Sasha’s actions in reunion are so much deeper than “these gross frogs are annoying and I don’t want to share my best friend with them”. Sure, it may be some of it, but it’s so much more than that. (A rambly analysis of Sasha Waybright’s behavior and what led up to her suicide attempt in reunion)

Sasha perhaps had the most traumatic entry into amphibia. She went from hanging out with her friends on Anne’s birthday to being suddenly transported into a bizarre unfamiliar world filled with scary creatures she’s never seen before. And immediately after that, before she even got a chance to process, she was held at spear point, arrested, and thrown in prison in horrible conditions. It’s unclear for exactly how long, but for at least a few weeks to a month, she was kept in that prison being constantly interrogated. At this point she had no idea where her friends were, if they were even ALIVE or in the same place as her, and she didn’t know if the toads would decide to torture or even kill her.

She had to use every single manipulation tactic she had ever learned (most likely from her traumatic childhood) just to improve her conditions and chance of survival. It’s written as a joke and glossed over in the show, but that entire situation is HEAVY and TRAUMATIC. And she is 13 years old.

Sasha’s introduction, her very first perception of this strange new world, was one of trauma and pain and fear. Anne was alone and then she met the Plantars. Marcy was immediately taken in by the newts. Sasha was completely alone and for all she knew, she was the only person in that entire world that she knew she could count on.

And then…. She receives news that ANNE is there. She went from torturing herself mentally thinking about all the scenarios where she possibly lost her friends forever, to learning that there’s HOPE. But even then, the only evidence is Anne’s singular shoe. She doesn’t know if Anne is hurt or even alive. She only knows that this scary strange toad captain who is holding her captive is interrogating her on the whereabouts of her friend. Realizing that even the captain of the toad army doesn’t know where Anne is, she feels like NO ONE does.

Finally, after prison break, she’s out. Not only is she out, she is lieutenant of the entire toad army. Again, she is 13 years old. She got there by desperately manipulating her way into freedom. Suddenly, she went from being captive in a cell for a month, to having the mission of finding both of her friends alive and finding a way to get them back home AND also becoming an entire lieutenant soldier in order to uphold the end of her deal with captain Grime.

FINALLY after a really long time of trying to find her friends, she receives word that Anne is alive and well in Wartwood. And everything changes. The hope she’s been running on has been refilled. And if Anne is alive, Marcy might be too. She learns that Hop Pop is the face of the frog rebellion, but due to the news about Anne, she’s sort of tunnel visioned. People forget that before reunion, Sasha probably didn’t even really trust Grime. Later in the show they have more of a familial relationship, but at this point, their alliance is purely out of convenience. She doesn’t trust him. But she NEEDS him to get home. And he needs her. So when she learns that Grime needs to smash the rebellion, she only thinks of amphibians as the people who have kept her captive and tormented her since the moment she got there. She thinks she doesn’t owe them anything. She just needs to get home with her friends. She’s willing to do whatever it takes.

They make a plan and arrive at Wartwood. She finds out that not only is the frog that is charged with starting the rebellion Anne’s FRIEND, but she has a new family, and someone she calls her best friend. Sasha’s entire world shatters as she hears that Anne replaced her. In her mind, Anne replaced her and started over exactly like her parents when they divorced and started new families. Anne was the only constant in her life, and now not only is she replacing her, she’s also aiding and friendly with the very creatures that have been traumatizing her. This is earth shattering to her. She can’t think straight. She feels raw emotional pain and has NO time to process it. So she does the only thing she knows how to do. Continue with the plan.

She thinks that maybe Anne will realize that they’re just frogs, and this entire thing will be over and they can go home, like how things were before. She’s not the same Sasha that originally got transported to amphibia, but she expects Anne to still be the same Anne.

She’s so caught up in the emotional pain and trying to cover it up with the happiness and relief that comes with finding Anne and (in her mind) being SO CLOSE to going home, that her world ends AGAIN when Anne takes a stand against her. She takes a stand against her for the first time in their 8 years of friendship AND it’s the replacement best friend AND an amphibian that encourages her to do it.

She didn’t mean to fight Anne, but the white hot rage took over her body. She got through her entire childhood by being ANGRY and fighting back, and this was her knee jerk response.

When toad tower crumbled, her change of heart that led to her suicide attempt wasn’t due to her believing that everything she did was wrong. She wasn’t quite there yet (as shown in toad catcher). It was in response to the fact that Anne was doing fine without her. It’s the fact that Sasha thought she was so replaceable, Anne allowed a strange evil creature, who is also highly annoying, to become her new best friend and companion. Anne didn’t need her. Anne was better off without her.

So she let go.

[heteromerous-rhyming]

i think that i've figured out why i don't like show sally.

ok like don't get me wrong, virginia kull?? she ATE with that interpretation. her acting?? amazing. like i could truly get the core of her character.

it's just that i don't like the character the writers give us.

cw: discussion of abusive relationships, of toxic family dynamics, probably a good bit of generational trauma. I don't really get into details except with stuff shown on the show and written in the books but i wanted to be safe.

as someone from an immigrant household, as someone whose mom works a part time minimum wage job, as someone whose seen and been there as my parents fought, i just really really dislike sally's portrayal in the show. and it's partly because of poseidon and partly because of gabe (mostly because of her character in general but yeah, lets get the men out of the way first)

I feel strongly about poseidon in his relationship to sally very specifically. i don't mind his relationship to percy either books or show. but it's pretty damn clear to me that this show was written by someone who's never experienced sally's situation, of being the single working parent with an absentee partner (or in gabe's case a partner who literally ahHHHHHh). because from the beginning, from sally's reaction and snark to gabe, I felt like something was wrong or off, and it was Specifically the show because i read the books and i watched (some) of the musical and i never felt that way towards either of those. i'm not saying that my family situation is sally's (don't have a god for a father for one), but. by all accounts sally knows that this is an abusive relationship, the only reason that she's with gabe is because of the protection he offers percy. i have to assume that this is true because sally jackson turning gabe to stone is something i'm assuming is staying in the show, and i remember this being mentioned by grover? or someone in the first few episodes. and the cord that struck in me was not the traditional (that is, visible, defined, i don't like this word but i don't have a better one) abusive relationship but relationships in my community, of women staying with husbands because of their children, women outright saying this, women who know the world is cruel to single women and to single mothers specifically. sally, to me has never been under any illusions that gabe is any sort of relationship material. she has never been under any illusions that poseidon would be able to help in any way.

and that crux of sally's relationships made her first scene in the show all that more jarring. but it's not anything specifically that i can put a finger on. and maybe i'm wrong for this or maybe i'm expecting too much. but. sally doesn't have the resentment or the quietness or the bitterness or even the loudness that i expected. you have been the only true caretaker for your child, the only one in the house that really puts food on the table and on top of that is expected to do emotional labor? to cook and clean or at least pick up the food?

but she treats gabe like he's an annoyance. someone to brush off. and you see the manipulation tactics from gabe, you do, but.

its not that i want sally's spirit to be crushed. my mother's spirit wasn't crushed. the women in my community, they laugh, they cry, they watch silly tv shows, they have lives that they live, and in many cases they live well.

but the women that i know are also angry. they are either on fire or they used to burn. when they banter with their partners it often turns ugly because they are tired of the same damn argument day after day, because often the trivial things that are asked are compounded and compounded and compounded because you live in the same house, there is no escape, there is no private space, not really.

it's new york and sally works a job to support an apartment and her family. they are not well-off. sally has no support network we can see, and how could she? poseidon mentions that she has no one to talk to about these things, her parents are clearly out of the picture. all this to say. there is a certain understanding of class that exists within the books that was excised, i believe unknowingly, from the show, and it is the worse for it. there is a tiredness, a worn-down-ness from being low income that sally had in the books, but in the show i only see a struggling first time single parent. i don't see the complexity of a woman who literally gave up on finding a fulfilling relationship to be with a man for her child. i don't see the complexity of a woman working fulltime and still getting demanded from at home. and i didn't realize that I wanted to see that until I saw the show. i didn't realize that that was what i loved about the books.

i hate that they tried to bring poseidon back into sally's life as this perfect man who through cosmic forces can't help. i hate that sally calls him, i hate that he says he'll listen. but most of all i hate that sally just accepts him, falls into him. it's really hard to be a mother when your partner doesn't seem to help you parent in any way, even if he cannot help you. he's a greek god, there's no way in hell that he can begin to understand the lengths that sally has gone through to sacrifice and survive, the very human things that she's done. sally in the books thinks of poseidon as a sweet memory, almost a fairytale, and it's clear that this story is the one that brings her comfort. poseidon is a one night stand, a sweet stranger, she understands he's not coming back. but this poseidon comes when sally calls, and that i cannot believe. i cannot believe that she still thinks of him as the fairytale man, that she accepts him so easily if there isn't that distance. i cannot believe that there is no resentment, that she still puts faith in him as her god (the first episode when she talks about him just felt so wrong to me) if he's not a memory, but a recurring figure. this is not a story of star-crossed lovers, sally feels too real as a human being for that.

sally finds trust, finds contentment, in the books after percy leaves home, after she no longer has to put up with gabe for his safety. she does not find poseidon again. she marries a human man, a very ordinary human man who cares for her. poseidon visits after she is in this relationship and its an amicable one. he is percy's father but also distant memory all in one. sally has the strength to survive a terrible relationship and still find a way to heal and live fully after that.

but the anger. the fire was there. she turned gabe to stone. she reclaimed her life with her two hands.

you don't kill a man for no reason. you don't kill a man without emotion.

but it's that reason and that emotion that i don't get from the writer's room. and it just makes me deeply sad.

[leaderfuzzy]

If I have to get misgendered and deadnamed at work then Fionna does too. It’s only fair.

[ID + full image under the cut!]

[ID: Panel 1 - Fionna greets Gary at Buttery Buns in the morning while he’s working. She has bags under her eyes cause she’s fucking tired and it’s the morning before she goes to work. Sje’s wearing a brown apron and In the place where her nametag would usually be, there is nothing. She says “Hi Gary” Gary responds by saying “well hello stranger!” Fionna is visibly confused

Panel 2 - Gary elaborated by saying “..your nametag?” Fionna Looms incredibly frustrated as she screams to the sky “AAAAGGHH, of course I lost that stupid thing again!” Gary says “Does it really matter though?”

Panel 3 - Gary does the think emoji face and ponders “You’d think everyone would know you by now” Above him is a frame from the Fionna and Cake episode “Cheers” where a crowd of people cheer for Fionna and Cake after they defeated the Scarab. Fionna says “Yea you’d be surprised.”

Panel 3 - Fionna describes a recent experience where she had her nametag, and the Fionna-world version of Wildberry Princess says to her “I remember you! You’re that guy Finn!” (This is both misgendering and deadnaming). Fionna’s face in the flashback and the current situation is full of frustrated resignation. Gary responds with “yikes” as he hands her her coffee. Fionna is trans. End ID]

[goblinontour]

“Don’t you think it’s disrespectful?”

This was bad, he thought again. Bad, but too bad he didn’t care.

“I could get up if it’s too disrespectful for you, Alexander.”

[yandereforme]

Yan!Captive Royals au

You were the second daughter and third born into a noble family of four children. That meant people didn’t tend to give you a second thought, and you could see more than your siblings, since you were basically invisible. While your elder brother is being groomed to take over the Lord ship, your elder sister was being groomed to marry, wealthy, and your little brother was being taught the ways of a swordsman, you had no path and were seen as useless. You were able to do it you’re pleased, as long as you avoided your family. That meant you knew about the captives in the basement, and you hated it.

The captives were originally just a passing thought, but then you found out they were a sickly girl a year younger than you, a pregnant woman, and a boy who was even younger than the girl. You immediately started visiting them and helping them, though the boy was suspicious. You eventually realized that he responded better if he thought it was an exchange, so you ‘traded’ extra meals, blankets and clothes for stories and lectures on etiquette.

You quickly learned the pregnant lady was named Vera, the girl was named Kara, and the boy was named Darrow. You grew to like them, and could tell they were fond of you, even though Darrow hid it.

Then, Vera noticed a bruise you got from when your mother had dragged you into place in the family portrait. You dismissed it, and didn’t notice how they all seemed a little more attached to you and aggressive towards any talk of your family.

Then, after your old tutor was fired for no reason, you got a new tutor who believed in discipline above all else. He often instructed the kitchens to not allow you certain meals if you messed up in a lesson, making it harder for you to bring the others food. He also often bruised you, which you hid, not wanting to upset your friends.

The first time he drew blood, while punishing you, you were shocked. You were so shocked, that you didn’t think to cover any of your injury from your friends. When you went to see them that night, and they noticed, you tried to push the side. But the maternal aura from Vera, and the combined pressure from Kara and Darrow caused you to confess everything. You even ended up falling asleep there.

You awoke to the sounds of guards rushing around. You tried to get up, but Vera held you close and shushed you. You could hear the fighting outside, but were too groggy to realize that the guards were fighting someone else.

Then, the door was broken down, and three men stood at the door, all in different uniforms. Each of them cried out a ‘your ladyship’ ‘my lord’ ‘my duchess’ as your head spun. You couldn’t really process the words around you, just the feeling of being held by another guard who reminded you vaguely of your ex tutor.

You were being carried out of the castle by the time you realized what was going on. You had always been sharp though, so, despite the oddness of the situation, you still noticed the archer at the top of the castle. You moved before you thought, jumping in front of an arrow that would’ve gone straight into Kara’s heart. Your vision went hazy after that, and you fell unconscious, completely unaware that the duchess of Elderwood, the heir to Corera’s throne, and the princess of the country of Jaya now all considered themselves indebted to you, and all wanted to keep you.

If I get more than 50 notes on this, I will write from one of the yan’s perspectives.

[moonfulmoony]

Full fledged Danny tribute because he deserves one and if VCARB isn’t gonna do it, Tumblr will.

So I got into F1 as many newer fans do, through DTS. Specifically, I think I fell in love with F1 due to none other than Daniel Joseph Ricciardo. It seems insane to think I’d just turned it on so I could find the appeal that someone close to me does and that day led all the way up to now.

Danny, if you couldn’t tell through my posts, was (oh god that feels horrid to write) and will always be one of my favorites. I don’t think it would be an unfair assessment to say that my adoration for him was the reason I first got hooked on to F1. Of course now, there’s many other reasons, including the fact that I simply enjoy the sport, but Danny deserves the credit for being not only my first favorite driver but also for making me interested and giving me a reason to finish DTS.

All in all, though, I think it’s more important to immortalize his legacy and impact. How many fans, who, just like me, love F1 because he introduced them? How many fans saw him in the DTS and fell in love with the sport and him? How many people has Danny single handedly given copious amounts of love and hope to?

I don’t think Daniel actually realizes how many people love him and how many are up in arms about RBR and VCARB’s blatant mistreatment of him, but I hope that there’s someone telling him about this. He may never see the amount of support he’s gotten from fans, non-fans, and even other fandoms because he isn’t very active on his socials (and probably doesn’t know about Tumblr), but I hope he realizes that no one stands with RBR or VCARB about this.

Thank you so much for introducing this sport to me, as well as many others, and providing us with some of the best memories, love. I hope you enjoyed the butterflies as much as we did.

Enchanté, 3 will always be one of my favorites.🫶

[jingerpi]

smth not enough people talk about is how the capitalist class literally can't kill us all, nor would they want to, because they need us.

they do all this fear mongering to keep us in check, to put down the individual proletarians who are the most disagreeable to the establishment, etc, but they require us for their system. our oppression will never be "complete", they will never win.

the key difference is that we don't need them, while they can't say the same. labor makes everything. the bourgeoisie only exists in its conflict with the Proletariat, they can never kill the Proletariat as long as they, the bourgeoisie, exist.

the same goes for many other oppressed classes too btw. they may be able to kill us individually, but they can never kill all queer people for example, it's fundamentally impossible. so long as the gender binary, heteronormativity, and the patriarchy, exist generally, so too will queer people exist.

it's by our very exclusion that they draw their power, and I get it... that's scary because it means they'll always want to oppress us. but it's also freeing, because it means they can never do away with us, they can never put down the struggle of the Proletariat, of Women, of Queer people, of the Imperialized. our struggle will continue until all humanity ends as we know it, or we win liberation.

the bourgeoisie can never defeat us.

[paperclipninja]

Ok, I don't know exactly where this is going but I can't stop thinking about the fact we got the Crowley/Aziraphale meet-cute in the opening of season 2 and the way the layers of storytelling utilised the same literary conventions our fave demon and angel were inspired by when trying and get Nina and Maggie together.

We get to see Aziraphale and Crowley's understanding of romance and love, or more importantly, their understanding of what they think it should look like, through their misguided set up attempts, and this primarily reveals to us, a) they're both hopeless romantics and b) they have no idea about the subtle and real indicators of love or a burgeoning relationship between two people. But that's ok, they're celestials whose only reference points are books, films and each other (the most unreliable sources of all, exhibit a: Aziraphale telling Crowley Maggie has a 'pash' on Nina).

You know who does know about those subtle indictors of love and blossoming romance? The very human people watching the show. And so throughout the season we witness a series of tropes and moments that indicate Aziraphale and Crowley are indeed the ones whose love story is unfolding, and as viewers we are drawn into certain conventions that we are conditioned to assume will play out and resolve in a particular way. The nebulae creating meet-cute, the ongoing forbidden relationship that continues to build, the friends to lovers dynamic through the centuries and of course, the comfortable and cosy present-day lives, with 'our car' and 'our bookshop' and drinks at pubs and a relatively open existence together.

With each insight into the past, we catch the cues that indicate the developing affection, trust and care between the two; the way Aziraphale looks at Crowley when he realises the crows are goats, the way Aziraphale and Crowley cover for each other with Job's children, the bullet catch ('nough said) and the drinking of wine afterwards. When humans engage with literature or film, we understand the subtext of such moments, something angels and demons seem to miss as they focus on the overt gestures of romance and love in storytelling as confirmation of its existence.

In the present day, its the perching on the same chair, Crowley knowing the angel's different tones, the way they pop into the room at the back of the shop for private conversations, Aziraphale grabbing Crowley's arm, Crowley answering the bookshop phone with, 'Fell's bookshop, we probably don't have what you're looking for and we wouldn't sell it to you anyway'. While these are only a few of the prompts we are given, our brains piece together this storytelling along with the body language and expressions throughout, understand that all these aspects combined flag a romantic relationship developing and so we are swept up in the love story.

The way the flashbacks are interwoven with the present day is disorientating, because we are simultaneously seeing the sweetness and complexity of the developing relationship over time while in the present, Aziraphale and Crowley begin to fall out of step. Yes it starts with Gabriel's arrival and Crowley vs. Aziraphale's reactions and responses (there are many excellent posts that discuss this in great detail), but any misalignment isn't happening all at once, it in itself is like a dance; they move apart but then move together again, as an audience we think oh no, tension! oh good, that's resolved! However the neat trick here is that with each move apart as the individual characters undertake their own journey within the story, the distance grows a little greater. Meanwhile the interactions between the two characters do not necessarily shift dramatically and the set up through the storytelling still suggests that any threats are ones they will face together and it will be ok in the end.

Even the ball, I wanted to be all *swoon* and swept up. Everything that was happening on my screen told my brain that it should be feeling excited and full of all the feelings of seeing these characters finally starting to make a move, like I should be feeling giddy like Aziraphale seems to be because, just like the attendees at the ball and the very literature that inspired it, there's the music and the soft lighting and the smitten little angel face. But it's all those things and also none of those things, because as has been so brilliantly pointed out in this insight, this is all juxtaposed with the demon invasion happening outside and Crowley's futile attempts to convey the seriousness of the situation to Aziraphale. Crowley is doing the movements but he's not part of their dance in that moment, the dance they've been doing for centuries, and as a viewer it feels off kilter.

But we've seen their story unfold, we know that the love and the relationship is all there, and once again we see Aziraphale and Crowley fend off Heaven and Hell, both taking individual risks to do so and protect each other. Heck, we see that an angel and demon can put their differences aside and disapparate off into the universe together, our brains are poised, but also wary at this point because it can't be this easy, can it?

Crowley has to have it explained to him why their plan didn't work, Maggie and Nina sit him down to do so, and in that moment we are also being told that you can't just be pushed together, the timing has to be right (cue small alarm ringing in the back of my head). Despite this, and we know Metatron is never good news, we, as viewers, are held precariously in the hand of the storyteller as Crowley's emotional declaration clashes with Aziraphale's news in a way that side steps the expectations that have been building throughout the season. The final moment of Aziraphale leaving hits SO hard because the expectations many of the storytelling conventions set in motion are subverted at the very last minute. And it's absolutely brilliant.

Just to be clear, I know there is far more complexity in the show, the characters and the storytelling, and tbh I don't even know if any of this rambling makes sense. But the fact is, my tiny mind is just awestruck at the layers of meta in the way our no.1 angel and demon are calling on literary conventions to try to make two people fall in love, while we're watching these conventions in action showing us two people falling in love. The result?

The most incredible tension, yes between the characters and their sudden divergence (which was actually not so sudden after all, we were just a bit distracted), but also tension in the storytelling as the duality of the love story and the individual character stories collide head first in that final moment and we are left trying to untangle our expectations from the reality of what has unfolded.

(that last paragraph should probably have been the whole post honestly)

[roshellow29]

Idk why but I feel the need to rant about trolls band together so here's a warning for SPOILERS.

TL;DR I'll be talking shit about major conflict parts in the movie that I wished were handled differently >:((((

Please take caution (and a deep breath) reading this because I'm very bad at making sense when I ramble ok? Ok les go

OK SO.

The movie was great, loved the songs and I enjoyed branches family shenanigans, including supportive girlfriend poppy I've been WAITING FOR THIS (ifykyk)

But here are some things that bothered me that they could've definitely done differently

1. JOHN DORYS ENTIRE CHARACTER ARC- jd is great. He's actually my favorite! He's a cringefail boyfailiure and I love him for it. In the movie, his whole thing was that he was basically an ass who didn't listen to his siblings and always pressured and bossed them around. Cool, that's established. What's not is, Why??? It's really the whole "perfect family harmony" thing I guess.

Because later in the conflict he says that it was "hard being responsible for four younger siblings" (which bitch me too were litteraly the same) and that all they needed to be was perfect. what I don't understand is why? Why the whole perfect harmony? Where did it come from? They didn't say it was a big thing or that other bands did it? Would it get them more fame? Would it mean that they're perceived as the perfect brothers or something?? Also, why wasn't the grandmother more involved with the kids?? Did she pressure him to care for his siblings because their parents weren't involved or something? That's just one thing that's not really explained to me ig 🤔

And the whole thing that bothers me with jd is that he doesn't do the cliché "branch I'm sorry I was an asshole brother, and I wanna be a better troll to you and our bros. And blah blah blah" like they skip that entire potential jd apology??? I was expecting that with a hug?? I WANTED A HUG WITH BRANCH AND JD OK. He genuinely cares about him!!! You can see it, he really does. He's just bad at communicating. Like extremely - so they skipped that and just made him go, "We'll follow ur lead branch," and that's it.😐 no apology. No proper character development. Just him going "ok yeah I'll follow u one time." LIKE HUH. (This also includes the other siblings cuz they dipped on branch the same, and none of them said sorry!!)

OH and another thing. WHY WERE CLAY AND BRUCE SUCH ASSHOLES TO JD. ESPECIALLY CLAY. like I completely get it, he was an asshole, he pressured and bossed you around, we know that. But that was 20 PLUS YEARS AGO??? Like no you don't have to hug him but damn why r yall so cold???

I'm thinking that because I'm p sure they went no contact at all after they broke up. So how r they so sure he's still the way he was before?? (I mean they were kinda right but still) like you could've been super happy and then get disappointed later when trying to practice hitting the note. It would've made more sense to me idk. Like it just bothers me that they straight up ignore him- it's mean! (But I can't be too mad I mean they all have their reasons ig 🙄)

While we're on the topic of the family, on to my next point.

2. ROSIEPUFF AND HER DEATH. I think it was handled HORRIBLY. Like the whole movie I was just like "plz don't skip over it plz don't skip over it." And then branch drops the bomb on them right (which still caught me off guard like damn) and THEYRE DUMBFOUNDED, GREAT. And then after that there's NOTHING. NOTHING!?!??!?!?!? they don't mention it they don't apologize to branch for what he went through they don't take two seconds to mourn her they're just like "wait she dead?" And then fucking move on like. Why???? they don't question how, they don't question when branch was living in solidarity for 20 years, nothing. and I'm mad as fuck because that was part of Branches entire CHARACTER ARC in the first movie!! They don't mention he was gray they don't mention he didn't sing they don't mention anything. He went through that for 20 YEARS, ALONE. and they don't mention it. I rlly hated that- like they rlly didn't care.

Anyway.

Third smaller topic that I thought was gonna happen

3. I thought clay was gonna end up going, "actually yknow what, I AM fun" and then embrace himself because hes most definitely goofy. But nah they left him trying so hard to convince himself he's serious, and tbh he just came across as branch 2.0.

Alright moving on!!

4. I'm mad they didn't include a little flashback of viva and poppy being inseparable until the escape happened. Like I know popps was an infant but at the same time troll kids talk the day they're born, so it would've been nice to see them be together at least once before they separated.

Also.

I WANNA DECK PEPPY IN THE FACE. you lost your daughter and instead of MOURNING her and spreading her memory you decided to act like she didn't EXIST. WHY. like he was obviously depressed and sad but why didn't you tell poppy stories of her when she was a kid or something? And keep her memory alive??

(And sure. There's the thing with "They weren't gonna give poppy a sister until now" but I feel like they could've at least made poppy remember a small flashback is what I'm saying.)

Idk. I just wish it was handled differently like why is peppy keeping so much shit to himself lmao.

Oh yeah and then there's just my little nitpick and it's that I wish they included the troll leaders in the wedding sequence ok they're all friends they should've been invited ok I just wanted to see them again 😭(totally not saying thus cuz world tour is my fav but I am)

Anyway, yeah! I think this is just what mainly bothers me about the movie. I just feel like the conflict was handled poorly. But either than that it's still a good watch. I like it a lot :D

If you read this far, God damn you like to read, and thanks for dealing with my stupid thoughts!

If not, that's OK lol.

[rileyslibrary]

Okay, I have to get this off my chest, or else I’ll combust. Thank you all for the love on the recent Price’s Surprise Cake fic, but truth be told, it was posted by accident, and it was too late when I found out. 🫣

And if you happen to ask how something can be posted by accident, I’m here to tell you that either Tumblr decided to act out, or I absentmindedly placed it in queue rather than in drafts. Since I don’t like blaming my shortcomings on others, I believe it’s the latter. I’ve started using the queue on my main for reblogging art, and I think my brain acted similarly in this case.

Although the story was finished, it needed some minor editing (that I’ve already done), adding a title or a description, and, most importantly, fixing some inaccuracies that still bug me but can’t be altered cause they’re part of the fic now.

So, instead of crying over spilt milk, how about I present you with the inaccuracies so you and I can laugh together: 😅

I wanted to change the fruit tart to apple pie or something that doesn’t need to be refrigerated because who the fuck leaves a fruit tart out of the fridge for so long apart from the part where you get to eat it? Fruit will go bad (you know how already cut fruits taste/smell when you leave them out for too long), tart (that bottom/biscuit part, I don't know; I’m not a baker) will get soggy, not to mention how candles don’t sit upright when you place them in the cream.

Candles. Where are the candles?? Although we do know Price’s age, I wanted to include a sparkly question mark candle that the reader would hand to Ghost along with the box to hide. I thought it would add more to his irritability by seeing that 👇

The timing, omg that still bugs me. Price wants to meet in an hour, and Ghost tells the reader to return in half an hour FOR WHAT?? Why hide the cake in the first place if it’s just for an hour?? Might as well lock yourself in the broom closet with the cake if it’s for thirty minutes. Not only that, but if the reader were supposed to pick up the cake in half an hour, that means they would have to take it with them in the briefing room and therefore ruin the surprise. They’d either have to do it BEFORE the briefing or AFTER, where the reader would run down to Ghost’s office to pick it up.

See? The maths. They don’t add up.

Phew 😮‍💨 Now that I let everything out of my system, I can relax.

[writerfae]

I kinda am thinking about Aiden and Theo now. More specifically, Aiden reacting to Theo getting engaged

[laurelindebear]

Saturday nights have been D&D/TTRPG night for...a long long time now. But at the moment I'm not taking part, and it feels...weird, and sad. My group is still going, but about a month ago, before we went on our trip away, the session ended with something of a falling out and it brought to a head all the problems that have been building up for me for awhile. Rant and just...being sad below.

The group consists of 7-8 people: myself, my husband, his brother (and sometimes sister in law), and four of our friends. Husband and brother in law normally take turns DMing. They're both pretty good DMs, but we use a lot of homebrew and allow a lot of stuff that isn't in the rules, and power creep has become a real thing.

Main problem I have is that at this point, three of the (currently) seven people are actively harming the fun for me. One of the people is husband's oldest friend and they used to be closer but they don't have so much in common now. They have always been annoying (eg calling us on the phone every single day when we first got married, before always-online services). Despite having played TTRPGs for decades, they never remember what their spells or abilities do, whether we're playing, what time we start, etc. They and they alone have trouble with the dice room (somewhat conveniently - we swapped to using a room with dice rollers years ago in part because we simply didn't believe their actual rolls with physical dice (we're playing on voice, not in person) - they're also a habitual liar about pointless things like that. Maybe most annoying is that they are always playing another game at the same time (usually World of Warcraft), and not something that's easy to tab out of, or which only uses half your brain. I level fishing etc while playing a lot, because it's so boring otherwise, but it doesn't take my attention. But because of this, they are only ever half-aware of what's going on, at best. They get bored of their characters before the end of every campaign, without fail, and often have them get killed off/reroll in stupid ways because they think its funny.

Person two is a friend who is just kind of obsessed with finding ways to 'break' and game the system to make their character overpowered. At the end of a previous campaign they decided they were going to one-shot kill the ultimate big bad by summoning a herd of...oxen or something way above the guy's head and dropping them on him for massive damage, because it was funny. It only half-worked, partly because the DM wasn't keen on having the final battle go that way, I think, but you get the idea. This time they're trying a multiclass build specifically to do ludicrous amounts of damage every fight, which works because of the way we handle short and long rests and healing. Then there's the fact that all their characters are super greedy and have to loot everything, even when it's detrimental to the party; and that their go-to special thing to do to anyone they don't like or anyone we need to question is to shove stuff up the person's butthole. (They also enjoy being very cold and evilish and acting without consulting the group.)

Person three is my BIL who I've talked about before. Sometimes we get on ok. But we have very different values and we can clash a lot. He's borderline obsessed with the military and military loyalty, and he's actively proud and defensive of British colonialism. (!!!!) He also is very precious about male gaze, and criticism thereof, to the point of acting very personally offended and harmed by how 'women on television/ in films/ in games can't have big boobs now.' In this campaign he's been very metagamey, where no matter what we encounter (we're jumping between universes) he knows exactly who and what everything is and doesn't hesitate to explain it all to us. He may have encyclopedic knowledge of all TTRPG systems and critters, but his character absolutely wouldn't. He's also very bossy; he gets cross if he feels he's the only one putting forward plans and strategy, but as often as not when anyone does suggest a plan, he immediately jumps in to say how terrible it is and why it won't work - even if it will. He's loud and can be aggressive and I'm pretty shit at assertiveness, although sometimes if my husband is DMing he'll actually tell me, off mic, that my plan/idea is a good one and to keep going with it regardless of BIL's dismissals. In this last campaign especially, he's been obsessive about sex and boobs and everyone in the party getting laid every adventure, when that's really not what most of us are about.

Anyway, the last game I played turned into a mess because we got transported to your typical 'warworld coliseum battle royale' type world run by a super powerful wizard or lich or something. We were fighting some of the guy's minions and doing ok, but Powergamer decided it was too dangerous and taking too long so he tried to attack the big boss, despite hints from the DM (husband) that it wasn't a great plan. As a result we all got Meteor Swarm-ed and Doesn't Pay Attention died (again).

As we were in the process of escaping, I had a wild thought to try to pickpocket the boss, or maybe sneak something from his balcony while he wasn't there - I was playing a rogue and my stealth and sleight of hand were very good. I mention this in just a thinking out loud way, and get screamed at by BIL because 'THIS IS A LEVEL 36 MAGE CASTING LEVEL 18 FIREBALLS, OF COURSE HE'LL BE ABLE TO SEE INVISIBLE, WHAT ARE YOU DOING' etc etc. Somehow when other players do something bonkers and risky - say, diving off a zeppelin into a tower window, telefragging a castle, or using a weird demonic artifact to bring a Mecha Joan of Arc back to life, whose programming is essentially to destroy all humanoid life - it's more likely to be taken as funny, or 'haha it's your funeral but do whatever', but for me, no, I'm an idiot and how dare I even think about doing that random thing? Nevermind that neither his character nor anyone else would know what 'level' the bad guy was because that's not how RP works, characters don't have stat books on them! I lost my temper and just said something like 'ok well I try and I'm dead then, forget it', and left the channel, and I haven't been back.

So now I'm without a group, and...it sucks. My husband is sad, and I'm sad. But I don't want my RP games to be all powergaming and sexual assault and celebrations of colonialism and getting shouted at. It's not fun. And it just wasn't fun...but I wish it were. It so often has been. Maybe it will be again. But right now I feel lost and a little bit alone and it's coming at really the worst possible time, with autumn being a historically very shitty time for me and this year with my stress about politics making me both physically and mentally unwell on the daily.

[ash-short-for-trash]

honestly i hate tony stark so fucking much, i saw a post talking about how clearly steve is in the right during captain america: civil war and resparked by outrage at tony in that movie and just in general

like the sokovia accords clearly violate the human rights of enhanced individuals and steve has a very strong sense of justice, when he sees people being mistreated he steps in, that’s why he’s such a good hero and tony want to sign them because he feels bad about a person they couldn’t save. that one of tony’s big problems, he can’t accept that he cannot save every single person but steve is a soldier he understands that he can’t save everyone, it sucks and he wishes he could but he can’t so he just tries the best he can to save as many people as he can

and honestly tony has no right to be like “we have to sign away people’s basic rights because the robot i built turned evil and we couldn’t save every single person” like bitch you were a weapon’s dealer for years i absolutely hate the way pietro and wand maximoff are treated in the mcu cause taking two jewish and romani characters and stripping them of their identities and having them work for the fucking nazis is disgusting but they have every right to hate tony

tony’s weapons have probably killed thousands and after he decides to stop making weapons instead of using all his money to help those whose his weapons have hurt he decides to build a super suit to fight crime in LA

also tony isn’t an enhanced individual, he has no fucking right to tell a bunch of enhanced individuals that they should give up their rights