#but shut up let me have this

[supervillain-smut]

Can't... Hrng... Stop... Thinking about... Garrett's... Waist! I need to pull him by it so badly!

[altocat]

god, this blog makes me so SAD that sephiroth and lucrecia never got to be in each other’s lives, flawed people or not. in a fairer universe, one where nibelheim never happens and sephiroth somehow finds lucrecia and frees her from the cave, describe a sweet/cute moment the two of them might have together. i’m sure their relationship would be very complicated, but they must have SOME sweet moments together, right??

It would be a very, VERY complicated relationship. I definitely wouldn't put it past Sephiroth to outright reject her for what she did to him.

That said, I also think he would find it in himself to--not exactly FORGIVE her--but to accept the idea of her as his mother. After all, he's done some pretty nasty things himself on Shinra's behalf. And I think his need for maternal warmth likely outweighs his capacity to reject her. Knowing what she did to him might turn him a little bitter and nutty for a time, but I also think the desperation for connection might be even stronger. But I don't know. That might just be wishful thinking on my part.

But enough spitballing. Cute stuff.

I'd love to see him, once the bitterness and conflict wears off, to see him being kind of shy around her. Sephiroth is cold and collected around everyone but around her he's clumsy and skittish and openly self-conscious. Like a kid. He has no idea how to start a conversation with her, fidgeting, weirdly boyish. Even calling her his mother feels weird to him. He's never had it before and he's scared.

After she's done apologizing for the millionth time, Lucrecia is very, very gentle with him, stressing that he WAS wanted despite the circumstances, that he is something special and precious and treasured. For a while, they simply regard each other, noting the resemblances, the incredibly distinct similarities. They are perfect mirrors of each other, perfect copies. And maybe in more than just looks. And that knowledge, in the end, might be enough to satiate them, just enough.

[crazydoodlez]

y’know what, fuck it! Christmas isn’t the only holiday that can have an eve!

Happy Spooky eve, Everyone!

[goldensunset]

did you know? if you do your laundry you can get your clothes back

[subsequentibis]

look i just think paladins are interesting because they're not might makes right, they're right makes might. my god only lets me hit you with the force of a thousand screaming angels because i helped that old lady cross the street yesterday. i think that's funny

[oh-no-its-bird]

SVSSS jokes about how SQH or SQQ make modern references and everyone looks at them in confusion are all well in good. Great even, Im a big fan. But I want to play with the "standards of modesty / purity are different in modern vs ancient times" thing and have them make a reference that out of context (or even with context sometimes tbh) is just absoloutley awful down bad filth

Like. SQH is hearing someone stirring porridge or smthn and absentmindedly going, "heh. That's what good pussy sounds lik— wait. Wait no. Wait guys no. WAIT GUYS NO GUYS IM SORRY—"

SQQ looks at him in disgust from behind his fan as if he didn't have the same reflex joke thought

SQH, seeing some random, oddly phallic shaped plant he wrote into the world: twitches like a man who wants to open a comment section that does not exist then reflexively mumbles, "damn I should call her"

MBJ: Who the fuck is her

[acidicmalware]

i love you when your computer screen goes back online

[hauntingsofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[itty-bitty-sunshine]

"You said you love me exactly the way I am"

[livwritesstuff]

thinking about this again so here's a part 2

Eddie wakes up to rain. Heavy rain, the kind that keeps the morning sky dark and bounces loud off the roof and the walls and the windows.

The rain didn't wake Eddie up. What did it was a pair of big, warm arms wrapping around him and pulling him in close.

Steve’s arms.

Objectively, this should be a good thing, and past versions of Eddie (even twenty-four-hours-ago-Eddie) would be goddamn irate with him for feeling anything other than vehemently positive about it.

He’s feeling bothered. He’d gone to sleep last night feeling bothered because Steve had sacked out approximately three seconds after they’d hooked up for the first time, and now he’s being woken up by Steve’s big arms pulling him in close and that has Eddie feeling bothered all over again because this isn’t how he thought this would go at all.

“G’mornin’ Eds,” Steve mumbles, the remnants of sleep in his voice.

And then he has the audacity to press a soft kiss onto Eddie’s bare shoulder.

"Y'know," Steve says, "I was gonna ask if you wanted to go to the diner this morning, but…sounds like it’s kinda fuckin’ gross out there. I can make us something if you want.”

Eddie sits up, suddenly feeling like he’s been left outta the loop on some part of this because Steve doesn’t even seem surprised to wake up and find Eddie still in his bed.

If there’s anything Eddie hates more than feeling bothered, it’s feeling like he’s left outta the loop, like there’s a piece of all this that he’s missing.

"Uh, what are we doing here, Steve?" Eddie asks, and he regrets it the second he sees Steve's face turn all hurt and confused.

"I don't —" Steve starts, pushing himself up on his elbow into a half-seated position, "What...what are you talking about?"

And isn't that choice of words just completely ironic?

"Oh, now you're interested in talking? Or are you gonna fall back asleep the second I start to-"

"Wait –" Steve interrupts, his eyebrows furrowed, "Are you all pissed off because I fell asleep?"

"I'm not pissed off," Eddie mutters, fiddling with a loose string on the edge of the sheets.

"What the fuck did you want me to do?" Steve argues, "Break out a deck of cards and suggest a round of poker? It was late! I was tired! I don't know how else to say it, man. You, like — you did a good job. Really had me beat, or whatever."

And, sure, Eddie allows himself to sit with that notion for a second before he shakes his head.

"I needed you to talk to me!” he exclaims, "We fucked, and then you fell asleep, Steve! Like it was just a fuckin' hook-up to you or something."

That confused look is back on Steve's face, but instead of being laced with hurt, this time it's just plain bewildered.

"What — Eddie," he says, "We talked."

Huh?

“Huh?”

“We talked,” Steve repeats, “Before we…you know, and I said that I like you and I said that I’m not really into the casual thing anymore, and you seemed pretty on board with all that, man, I dunno.”

And yeah, sure, Eddie sort of remembers that.

He definitely remembers when Steve pressed him against his closed bedroom door, and maybe he’d also been speaking at the time, but they’d been so close together and Steve had kept doing these little glances down at Eddie’s lips and there’d been this intensity in his eyes and Eddie had been pressed against Steve Harrington’s closed bedroom door.

There hadn’t been a single coherent thought in his brain, obviously, and yes, that included comprehending any of those words Steve might have been speaking so everything that had come out of Eddie’s mouth in response had been yes, yep, uh-huh, you betcha.

Eddie feels heat rising in his cheeks and by the looks of the amused smile making a home on Steve’s face, he’s not blind to what Eddie is currently realizing either.

“Fuck,” Eddie mutters, “I’m a fucking idiot.”

"Maybe," Steve allows even as he starts to pull Eddie back into his arms, "Breakfast?"

[a2zillustration]

Oops all codependency

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[[ All Croissant Adventures (chronological, desktop) ]]

[[ All Croissant Adventures (app) ]]

[jjkyaoi]

how different the atla main group and the lok main group are is Still the funniest thing in the world to me. like, the gaang are real sweet best friends, would die for each other and kill for each other, probably, a sprinkle of found family, friendships CAN last more than one lifetime, etc. and then korra has dated literally all of her three best friends. everyone in that group wanted a piece of the avatar’s ass

[willowser]

not to be so disgusting and gross about gojo on the dash but i think he's such a flirty, teasing idiot that, when you show him genuine and true affection, he goes all somber and quiet.

like you come up to him after dinner and stand on your tip-toes and hug him for no reason, give him a fat kiss on the cheek for no reason, and he just — lets you. doesn't say anything, just kind of hums and lightly places his hands on your hips, so gently you might not even know they're there. you tell him, "i love you, thank you for eating with me," and he presses his mouth to the top of your head, lips squished, and says it back, but there's no jokes, no teasing remarks. he just allows himself to be weak and to bask in it, for as long as he can.

[casualavocados]

You should stay away from me. I'm no longer with the gang. I didn't agree. Our boss already agreed four years ago. Pull over and let me out of the car. I'm your boss!

KISEKI: DEAR TO ME Ep. 01 / Ep. 09

[carnivalcarriondiscarded]

world's most annoying man is not allowed outside due to his inability to shut up

[unusual-ly]

I am Thinking About The Implications regarding Ted’s love interests

With Jenny, they were best friends, there was genuine affection and mutual feelings for each other but neither of them acted on it because they both assumed they didn’t have a chance, and then it was too late

With Charlotte, Ted was in love with her but she didn’t reciprocate, he was just one of the men she was having an affair with behind her husband’s back. He never lets himself be too vulnerable and open with her about his feelings, resorting to either yelling at her or just deflecting whenever she starts to talk about Sam. He’ll just take whatever he can get with her

With Lucy, he can actually express his feelings and be affectionate, but only because he’s playing the role of Konk. He has something to hide behind instead of being truly vulnerable. Even when he’s only talking to Hidgens, at least later in the episode, he stays in character, he falls into Konk’s speech patterns because he’d rather be him, in part because Lucy likes Konk. He even asks that she let him die as Konk just so he can feel loved by her

And then, before he’s approached by Sheila, we learn he does actually want to someday start a family, get married and have kids

After the misunderstanding with Jenny, Ted no longer feels he can be open and vulnerable about his feelings, puts up this front of only being interested in sex when he really does want a relationship beyond that, and only feels safe expressing himself truthfully to others when he’s someone else

Ted please for the love of god learn how to express your feelings in a healthy way I am begging you