#dum dum unhinged my beloved

[just-slightly-chayotic]

the 00008 on his collarbone haunts me. what does it mean. am i insane? probably. but what does it mean.

[xoxoemynn]

tag your most hard working fic writing mutuals uWu

Oh, buddy, I am friends with SO many extremely talented writers who work their absolute butts off to give us incredible fic and I know I'm going to miss people, so I'm going to cheat a bit and rec some recent-ish fics written by beloved mutuals. Would 100% encourage you to check out the linked story and then their entire collection of works because they are all fab. 💕

The Detectorists AU by @monksofthescrew. Two-part metal detecting AU. It is so atmospheric, so rich and tender and nuanced with some really incredible timey wimey stuff intertwined. I'm a little biased because I beta read these, but I think of them so often. Just a master class in story telling.

Respawn by @glamaphonic. This is SUCH a fun AU where Ed and Stede are both streamers. The concept works SO well, and the flirting and banter is top-tier. I know next to nothing about video games and I've still been able to follow along easily, squeezing my cheeks and kicking my feet the entire time.

wanna fly away (I don't know where my soul is) by @ghostalservice and @petrichorca. Speaking of fics I love where I know nothing about the concept, this is an Animorphs AU where Stede is just the most precious alien whom I would 100000% die for. It's such a fun, rich, layered story and I'm eagerly awaiting to see where it goes. Also just love this description of it: Our story is about finding one’s place in the universe (actually and figuratively), plays with the transformative nature of morphing and the power to change one’s body, and explores two individuals from wildly different backgrounds falling in love.

Moonstone Mage Championship by @blakbonnet. Holy crap, the WORLD BUILDING. Meow's mind is a wonder. I truly don't know how she does it, but I am literally in awe of her work on this fic. One of the most creative and detailed stories I've ever read.

Different Names for the Same Thing by @oatmilktruther. I have been rotating this fic in my brain ever since it was posted. I don't even have proper words to describe how gorgeous it is. It's basically my soul now. Abs' gift for blending humor and tenderness and making you feel the love between Ed and Stede is unparalleled.

My Father's House by @trans-top-stede. Owen describes this as "a t4t theatre au (kind of)" because it is about theatre, but it's mostly about gender and families and the healing power of queer art" and YES. It's beautiful and tender and hot and that last line has stuck with me ever since it was posted.

Gold Rush by @abigailpents. Potentially the sweetest AU I've ever read. Just pure love and romance. Just let yourself get swept away. It is lovely.

Tree Change by @clairegregoryau. I am constantly in awe of all the work Claire puts into her fics. She is operating on a whole other stratosphere and it's incredible to watch. Tree Change is a little teaser for what promises to be an incredibly unhinged Kinktober and I am just rubbing my hands with glee for what's to come. (ba dum tss.)

Matching spark and flame by @bizarrelittlemew. My current read that I am devouring, it's so fucking good. Everything Ida creates is just pure magic, and this one is no exception. Also extremely excited for the OFMD Fic Club discussion on this one later in the month, so be sure to read and join the server so you don't miss out.

I know I'm missing a bunch, but this list is already getting long and I need to get back to some beta work. Kissing all my writer mutuals on the forehead and giving them all the good writing vibes. May your muses be ever loquacious and cooperative. 💕

[saenora]

ITS A WRAP!!! AAAH TO ALL THE FOLKS AND SPOONS who became a part of my crazy tumblr family i cannot fathom into words how much each one of you holds dear to me heart! thankyou for existing on this unhinged app and wilding out this 🤌 experience by letting me be a part of your worlds!!! KISSES TO ALL MY WIFEYS AND HOES !! NEVER STOP BEING YOURSELF!! GRRR I LUVS YOU LUVRSS <33

and for the giveaway!! we had about 30 entries which is huge! thankyou all for joining and making this a hit 🤍 A BIG SHOUTOUT to @deskaisers fo helping me with the giveaway literally held hands grrr & being the my beloved menace to the society always ! ily 🤍

DA- DA- DUM WE HAVE A WINNER!!!

🤍 @rinterlude CONGRATULATIONSS LUVR !!! 🤍

it was quite overwhelming and honestly i wouldve lovedd for each one of you recieve something from me but it wasnt possible rn! (possibly in the future) so take care everyone 🤍 pulling you in a big crushing hug and getting you all hot coca ☕️🤍

wheel spin under cut

[monstermaster13]

The Return And Rise Again of The Dum Dum Queen

Where we last left our protagonist Nathan, he was now cursed with the curse of turning into a plus sized female were-aykroyd and this female were-aykroyd conspired against him to humiliate him in a myriad of ways but most importantly in the way brought on by the creator in the earliest version of his universe’s tale but luckily he had foiled her plan and stopped her from taking over him completely. But the master was not going to be deterred from this, oh no, he wanted her back, he wanted that dum dum were-aykroyd back and he knew just how he would do it!

One evening Nathan was returning home from work having recovered from the humiliation transformation from the previous night when he saw his ‘master’ waiting for him in the apartment…’Uh hi, master.’ He greeted him, sheepishly blushing. ‘Hello, my beloved dum dum! How did you feel after your transformation?’ ‘I feel slightly better than I did last night to be honest.’ ‘Well that is good to me, dear!’ ‘You don’t need to call me that when I'm not her.’ ‘Oh but sometimes I just like calling you that name, dear.’

Nathan felt a bit confused by this but he knew that this was part of the master’s plan…’I forgive you for what you and she did to me last night. I know she can be out of control at times, even a little unhinged. It’s her lovable dum dum persona that talked you into this and you fell for it, yet you love her.’ ‘Yes, she is an unpredictable chaotic message of a were-aykroyd but she is my beloved dum dum, and my dum dum queen. Since you two share the same body that means there is going to be some conflict between the two of you, which is natural so nothing to worry about!’

“She is dangerous, how can you honestly say there is nothing to worry about?”

“She may be dangerous and scary but I can help the two of you become one.”

“I would rather not…”

“But it will be good for you.”

Having no choice but to listen to him and trust him, Nathan decided to go into the kitchen and follow his ‘master’, his master had a plan to make it so Nathan and his dum dum were-aykroyd alter-ego were one and he knew exactly what he would do, he explained he was going to condition him and turn him, to give him ‘her’ thoughts and memories. He pulled out what appeared to be a milk bottle of sorts. ‘What is that, master? Some kind of drink that will bring out the dum dum in me?’ ‘Well yes, it is.’

The master gave him the special milk bottle and Nathan started instinctively feeding from it, his head started to feel a little bit fuzzy as he felt some of his intelligence that he normally had as a human fading away, he drank more and more of the milk in the bottle and it sent feelings of warmth surging through his body, his human intelligence and his memories of himself slowly drifting away and being replaced with memories of being a were-aykroyd, giving him the memories and personality of his dum dum persona as he drank all the milk in the bottle, and happily ate the food his master was serving him. He was finding it difficult to think but it wasn’t like he needed to think anyway, he was a dum dum were-aykroyd mentally and his thoughts were focused on food, loving his master and also of being her.

A couple of hours later he was taken to the bedroom as he felt sleepy and he drifted off to sleep on the bed, as he drifted off to sleep he had dreams of a plus sized female were-aykroyd and growing to become like that were-aykroyd. He had many dreams of growing, feasting and transforming.

When he awoke from his dream, he felt very different. ‘Master, I have a question. Where are we?’ ‘Well this is the home of your human, hardly a place for a dum dum were-aykroyd to live but it’s a nice place.’ ‘Yes, I don’t remember having so much scientific stuff and horror novels though. Is my human a fan of these?’ ‘Well of course he is, and you and he are one and the same.’ ‘We are? But this isn't my body though. This is a thin male human body, not my glorious thicc were-aykroyd dum dum one!’

‘Don’t worry,dear. I will fix that!’ ‘You will? Oh that sounds very nice, master.’ ‘Oh indeed it is, and indeed it does, you will be back to your true form in no time!’ ‘You will help me turn into my real self?’ ‘Oh yes, come with me and I will show you.’ The master showed Nathan to a special room that was located upstairs where he began to get him ready for the preparation of the transformation.

This was a special room filled with things that would be useful for turning someone into a were-aykroyd and he made some special food for his ‘were-aykroyd’ including some dum dum food which he began to give Nathan, Nathan happily feasted on the food as his stomach gurgled and growled, a sense of warmth filling his body as he felt more and more like he belonged with his master.

His stomach gurgled, filling with fat from within as his stomach slowly inflated and pushed against his shirt…his shirt straining as his stomach slowly fattened up and inflated as his his stomach grew fine brown hairs on them, he couldn’t help but rub his stomach as it inflated, pushing against the buttons of his shirt and sending said buttons flying onto the floor as his chest and torso also fattened and broadened.

He groaned as he saw two round formations slowly pushing out on his chest, developing into a pair of plus sized breasts as the hairs formed on his chest and torso, his shirt was tearing up in a few places. ‘Oh yes, now this is just like my natural body!’ ‘Of course it is, dear. Your natural body is very soft and beautiful, and you are as well!’

The shirt he was wearing strained even further as he developed a slit of hair between his plus sized breasts, he groaned as his arms broadened, growing hairs on them as did his hands, fat was building up in there as well but he could still use them to hold things and to rub his stomach, he knew that having ‘her’ thoughts and personality made him think that he was ‘her’, he looked over at his master and had such warm dum dum thoughts of feeding and growing…’Yes, I love to feed and grow! I am a good dum dum that loves to grow out of human clothing. These human clothes do not fit me so I will outgrow them!’ ‘That’s the spirit, such a good dum dum, yes you are.’

Nathan moaned a couple of times as his shoes slowly began to creak and burst open as his feet enlarged from them, his feet enlarging and growing as two of the toes on both feet shifted to become webbed and he looked at his hands which were filling up as his fingernails lengthened, becoming ‘her’ signature long nails. His shoes slowly burst apart revealing his much larger feet as his stomach continued growing and pushing against his belt which was straining.

His belt slowly strained and began to unbuckle itself as his stomach inflated further, making him feel oh so good about gaining this body as if it was ‘natural’ to transform into that form, the swelling sensation reached his legs and his hips as his rear inflated, his jeans slowly straining and ripping as his rear continued to inflate and grow, his jeans ripped open to reveal his shorts as his privates altered into the more feminine variant.

He blushed before looking at himself in one of the mirrors, he knew it…that this was his or rather ‘her’ body as his shoulders and back broadened while his neck filled up with fat, and his hair grew longer and longer and darkened. He groaned as his eyebrows thickened and his forehead elevated and his eyes widened, eyelashes blossoming around both as one of his eyes turned from brown to green.

Nathan now looked more and more like he was turning into a plus sized were-aykroyd as his nose enlarged and developed a cleft in the middle, his lips becoming kissable as his face pumped up and his features morphed to look Aykroydian but also more feminine as his voice also underwent a similar change. With a few more steps of the transformation, his mind and personality merged with ‘her’s turning him into her, the dum dum queen herself.

His or rather ‘her’ transformation was completed as she was taken to a special area which had a bathtub full of mashed potatoes, she jumped into the tub and swam around in it as it was absorbed into her skin, adding to her mass. The mash potatoes were put on her body and rubbed on it, making her grow bigger and fatter. She slowly grew in height to 6’1 as she found herself becoming one with the mashed potatoes.

Over the course of several hours, the special bathing treatment had worked on her, fully making her the dum dum queen and the queen of her master’s heart, she was back and she couldn’t have been any happier. As she fed and fed, she felt like she was being treated like royalty, she most certainly was one happy dum-dum.

Her reign had once again come to fruition, and now she had access to all of her ‘human’s tech, she could use it to her advantage, she set off with the help of her master to spread the philosophy of the dum dum life-style. She drained the fat from several fat acceptance Onlyfans influencers to add to her own body which made her stronger, she put humans with fat fetishishes under her control and transformed them into fellow dum dums and she reigned over them, she was their queen and the queen of the dum dums. She had made a triumphant return and she had plans.

She set up a shop with her ‘husband’ selling dum dum food that was made to fatten up humans and transform them into were-aykroyds too, creating a cute dum dum mascot to grab attention, the store became very popular and helped bring in her reign as the queen.

Being the queen of the dum dum were-aykroyds had a lot of perks, as she could be a successful buisnesswoman and a wife who wasn't subservient, in fact she was her own woman, and the kind of woman who could handle herself, she was silly, yes but not stupid.

And so with our hero now spending his nights as ‘her’, it was for certain that as this dum dum queen, things would definitely be different from then on, the queen had truly emerged and come back.

[londontheatre]

L-R Lucy Robinson (Debora), Lisa Stevenson (Tamara), Alex Lowe (Bill), Todd Boyce (Michael) & David Leopold (Curtis) – Late Company – Finborough Theatre – Photo By Charlie Round-Turner

Jordan Tannahill, the writer of Late Company, does a really clever thing: he carefully and reverently constructs a character for us with all the trimmings – the peccadilloes, the emotions, the highs, the lows – and the secrets – but it’s a character we never see. Yes, Joel Shaun-Hastings, teenage son of Politician Michael and artist Debora, is absent from a family dinner with guests because he is deceased: death by suicide, a victim of vicious social media victimisation by school mates and possibly, a victim of parents who could not feel his pain because they didn’t know anything about it.

This is a powerful piece of writing. The guests are Bill and Tamara Dermot with son Curtis, the principal perpetrator of much of the vilification of Joel, and the dinner, a year after Joel’s death, is a kind of snake oil supper, a ritual memorial repast to heal the wounds, mend the fences, build the bridges – all the clichéd metaphors that can be thought of to bring together two families divided by a beloved son’s suicide. Closure is the signature dish on the menu: it’s what they all want. No such luck.

The two husbands in what turns out to be the sacrificial slaughter of the scapegoat known as Curtis are both of the mind that “this is not going to work”. Curtis’s mum, Tamara, whilst heavily protective of her son, is willing to give it a go for some peace of mind, some of that “closure” for nightmare wracked Curtis. But it’s Debora who’s the driver of this runaway truck that is out of control and about to mow down all in its path: she’s out there on that precipitous ledge of anger and grief and closure to her means someone has got to pay and it’s Curtis, not unnaturally, who is in the sights of her sugar-coated dum-dum bullets.

Lucy Robinson as Debora cuts us to the bone with her taut, uncompromising and at times caustic dialogue. She doesn’t take any prisoners and she is forensic in her search for the weak links in the frail armour that the Dermot family has attempted to pull around them in the face of vitriolic attacks in the press and example-type punishments by the school. Robinson’s skill is to play the victim whilst manoeuvering the shock troops into position for the surgical strike, unflinchingly releasing the cobra bite on the most vulnerable of opponents.

She’s nasty: but we can’t help desperately searching for some sympathy for her. It’s a consummate performance, one that drives the drama of the piece and fuels the unrelenting momentum of a wretched story that has no winners, only losers. Her one soft moment, as she views a YouTube film by her son that she had not realised existed, is tempered by the steel in her eyes that says, yes, Curtis may be today’s soft target: but they’ll be another one tomorrow, and the next day…

Smooth talking, urbane, compromise-monkey Michael, Debora’s husband, Joel’s father, is played with exquisite timing and laconic languor by Todd Boyce. The guy’s a politician. Despite all the evidence to the contrary, Michael states that his son wasn’t gay because he never said that he was and is not here to speak for himself. Cleverly intertwined in the script by writer Tannahill is the suggestion that Michael was perhaps happy to glean the sympathy vote after Joel’s death. Boyce handles this really well and shows us that the politician can switch on the charm whenever the situation demands but can also revert to the aloof-and-distant setting as required. Was that the father that Joel knew and possibly did not love? – enquires Curtis’s dad, Bill.

Bill (Alex Lowe) smoulders and seethes and is way out of his comfort zone when his black and white view of the world is challenged and put under the microscope. The play is set in Toronto but I was surprised at just how similar the political scene, as described, is so akin to our own – I hadn’t heard of “Red Tory” until Corbyn came on the scene but this play was written in 2012. With our own election in the process of cranking up, Bill would, I think, be classed as Watford Man – happy to embrace a technologically changing world at the same time as clinging rigidly to his dyed-in- the-wool ideas of class and gender and sexuality. He, demonstrably, did not have much time for Joel and the teen’s ultra-camp antics and sees Curtis as more sinned against than sinning. But he’s way out of his depth and can only cling to the slowly sinking life-raft of the old world order. Lowe gets this to a tee and gets it across in a kind of soft-soap belligerence that briefly bubbles over when he – or Curtis – is put under extreme pressure. It’s a performance par excellence and provides the simmering undercurrent of dissent that is a strangely soothing counterpoint to Robinson’s full-on attack-bitch.

Lisa Stevenson as Tamara, is all things to all women. She wants this attempted rapprochement to work and is too naive to understand that there isn’t a snowball’s chance in hell of that happening. She’s been seduced by some pleasant email correspondence between herself and Debora and believes that only good can come out of the dinner party. How wrong can you be. Stevenson creates the dichotomy of Tamara’s character with precision and skill, showing compassion and empathy and tolerance and affection before flaring into snarling defence in the face of the vitriol with which Deborah bludgeons her son and her family. Curtis may be the fall guy but Tamara is Miss Gullibility. Stevenson paces this carefully and acts as a well-intentioned shock-absorber for the off-road havoc that Debora is inflicting on all before her.

Short straw in this come-dine-with-us mayhem is drawn by David Leopold as Curtis. Like any slightly bolshy teenager he mumbles and grumbles his way through the embarrassment maze that he is being forced to negotiate. He doesn’t say much at all at first but it’s great credit to Leopold that he maintains a brooding presence in the proceedings. His “off-the-ball” acting – glances, uneasy shiftings, dubious reactions – whilst the adults debate and argue – are priceless and we see in his portrayal the gradual realisation that the flamboyant and annoyingly provocative Joel was actually living – existing – in a hermetically sealed environment at home with a regularly absent father and a decidedly unhinged artist mother. Her art adorns the walls of the immaculately manicured house – strange, metallic, framed reliefs and unfathomable sculptures: there’s a brilliant moment from Leopold as a vacuous piece of smooth lead is pointed out as a notable piece and he gives it a surreptitious glance of innocent incredulity that seems to sum up his view of the household, with the mental angst-fuelled rider “WTF am I doing here?”

So the performances are right on the money throughout the show but it takes a special kind of direction to establish the permeating feel of intimate intimidation. Director Michael Yale’s first great decision in pursuing this aim is to reconfigure the flexible bijou acting area at the Finborough into a corner space with two sides of audience seating allowing the dinner table to slot neatly into the inverse apex. This provides the intimacy, this allows the audience to have the impression that they are in that house, in that dining room, seated at that dinner table. Combined with Designer Zahra Mansouri’s effective set (and excellent costumes) Yale’s clear, precise and sympathetic handling of Tannahill’s script ensures that here there is a piece of theatre in it’s purest form – direct, engaging, intelligent and relevant to our rapidly changing world.

Late Company is a play that does not compromise: Tannahill and the Company, Stage Traffic, with its scintillating cast, perspicacious director and astute designers are determined that the audience is not going to duck the issues, either.

Late Company by Jordan Tannahill

When you wake up in a cold sweat at night and you think someone is watching you, well it’s me. I’m watching you. And that cold sweat on your body, those are my tears…”

One year after the suicide of their teenage son, Debora and Michael sit down to dinner with their son’s bully and his parents.

Closure is on the menu, but accusations are the main course as good intentions are gradually stripped away to reveal layers of parental, sexual, and political hypocrisy – at a dinner party where grief is the loudest guest.

Written with sensitivity and humour, Late Company explores restorative justice, cyber bullying, and is both a timely and timeless meditation on a parent’s struggle to comprehend the monstrous and unknown in their child.

CAST TODD BOYCE DAVID LEOPOLD ALEX LOWE LUCY ROBINSON LISA STEVENSON

Directed by Michael Yale Designed by Zahra Mansouri Lighting by Nic Farman Sound by Christopher Prosho Presented by Stage Traffic Productions in association with Neil McPherson for the Finborough Theatre.

Venue: Finborough Theatre 118 Finborough Road London SW10 9ED http://ift.tt/NsSQwL

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