#hes a truly lovely person too

[critter-of-habit]

So I met Jessica Madsen (Bridgerton's Cressida Cowper) on the weekend and she is now one of my favourite people 🥹

Got her autograph, sat in on her panel, and thanks to encouragement from a new friend I also went along to a special lil event and got to chat with Jess over dinner for 2 hours 🫠 It was her, Sam Phillips (who plays Lord Debling and is also a joy of a human) me and 7 other lovely folk.

They were both really relaxed and chatted openly about the show - both love the change to Michaela and that there will be more queer rep. They asked which order of Bridgerton siblings we thought the show would be going with and seemed really amused at our guesses (I dont know if they even know what the order is themselves, they were playing very coy about it 😅).

A highlight of the night tho was early on I mentioned that I had to drive 2 hours to get home afterwards, and didn't think she even heard me. But then when she was leaving she touched my shoulder and told me "drive safe!" And I just 🫠 - so sweet she remembered 😭

Anyway, I am now forever a Cressida defender, my girl can do no wrong and deserves the world

[poorly-drawn-mdzs]

HOT, SINGLE, UNSTUDIED SPONGES. 3000 NAUTICAL MILES AWAY. Come sail the distance and read Tiger Tiger!

[vaguely-concerned]

on the one hand I think inner demons could stand to have a bit more romanced rook specific content, but on the other hand the underlying in-built implication that 'yours is the one true voice of comfort and safety in my inner world' is a sentiment and intimacy so way beyond the romantic or the platonic or any secret third thing you could care to name that it makes me lose my entire poor little mind a bit. it's so big and fundamental — near-existential — that in that exact moment at least the distinctions kind of seem irrelevant.

all the people lucanis' mind conjures up along the way are relationships he has that are unavoidably mixed and fraught in some ways even when they're also full of love (they are fraught BECAUSE they're full of love) — the good in them inseparable from things that hurt him at the same time. (it's about: the basic disorganized attachment patterns this poor guy is dragging around with him. careful with those, they're dellamorte heirlooms. what you love also inevitably hurts you and you won't be allowed to have one without the other, you have to surrender parts of your soul to hold on to what little you have left: this is the story up until now.) and the idea that rook isn't that to him — that beneath the fear of wanting them when romanced (which is more its own separate thing because within this psychology, actively wanting something and not just clinging on for dear life to even a meager status quo lest you lose it is in itself dangerous bordering on catastrophic), this is a relationship where there isn't resentment, or guilt, or shame, or dread, or rage, or self-hate, or any of the other emotions that keep him paralyzed, unable to move this way or that. no debts, nothing owed of yourself and your soul's substance except what you can freely and safely and happily give. love and freedom don't coexist — but, I mean, you're almost starting to make me think........... unless...👀👀👀. the unconditional and undramatic 'you are here and I am here with you, you can be exactly how you are right now with me and it's safe for us both even though you're afraid it won't be, I'm not going anywhere' acceptance rook shows him here that he returns to them in the big romance scene, when it's rook who needs it. the way he's just. standing there in the center of it all, like a child desperately helplessly waiting to be found, hiding in the place he hopes you'll know to look first. (rook does know. it's one of the first things they say in there.)

in short the most important room in his little mind palace for the romance is the very first room — the one where rook isn't. where, in fact, rook cannot be, because they disprove the entire structure of the place with their existence and presence in his life. with everyone else he's putting words in their mouths about what they think of him, and rook is the one who actually gets to come in to speak their own words to him — and have him listen. ('he'll listen to you, he always listens to you', 'your voice is a comfort'.) of course rook isn't present anywhere else in there — at the risk of stating the obvious to a tedious degree, they aren't one of the locks, they're bringing the key. in the very finest 'the messenger and the message' sort of way.

[odoraful]

details in snowy serenity | zayne ❄️

[ilynpilled]

jaime turning women down constantly more bc he is very monogamous and in love with someone else right now for the first time and is also kinda scared of actually having sex with someone other than cersei is sm better to me than “i respect the kg vows of chastity so intensely rn actually because i changed into a good and serious person” or whatever lol

[ruporas]

lonely

[ID: A limited palette of green and pink, Vashwood comic. The first page serves as a prologue. The first panel shows Vash speaking to someone off screen while Wolfwood is lingering behind him. A black arrow is drawn pointing at him. In the second panel, Vash is buying donuts in the distance while Wolfwood is once again in view, lingering. and the black arrow is drawn pointing at him. In the third panel, Vash is leaving a cubicle and turning towards his right with a slightly peeved expression. He sees Wolfwood, leaning against the cubicle, waiting for him, and with the black arrow drawn, pointing at him, implicating the consistent hovering of Wolfwood’s presence during Vash’s everyday. At the bottom of the page, they’re drawn out of panel with Vash turning to Wolfwood and saying with an irritated expression, “You’re really following me everywhere, huh?” Wolfwood responds, “What, you got a problem?” Vash responds without hesitation, “Yeah, kinda...”

The second page starts with a new day. In the first panel, Vash is seen alone, weighing apples in his hands at a mart, with crowds passing behind him. In the second panel, he turns to his right and starts to say, “Hey, Wolfwood...” In the third panel, he’s startled from seeing a stranger, whom he’d accidentally called out to when he was expecting to see Wolfwood. He says, “Oh, you’re not him. Sorry!” In the fourth panel, the stranger walks off and Vash muses, “Right, he said he had something to do today...”

The third page begins with a close up of Vash's miffed expression, the continuation of Vash's thoughts, "Now that he's not here, this is just like how I used to be, but... It feels lonely somehow. Oh well, I'll see him again tonight, like always." In the second panel, it shows Vash walking through the marketplace crowd, alone. In the third panel, the door panel is a close up of the door opening with a peek of Vash's head. He says, "Wolfwood!" In the fourth panel, Vash is holding a bag of food with a bright smile and says, "Are you hungry? I got you something to eat today!"

The fourth page begins with a shot of the room, two beds being highlighted, one of them being made properly with the blanket draped over the bed and the other with the blanket folded and pillow sitting on top of it. There's no sign of Wolfwood. The second panel shows Vash with a disappointed look as he thinks, "He's still not here?" The third panel shows Vash putting the bag of food on the table. Stapled to the paper bag is the receipt with a written note "For Wolfwood." Vash's thoughts continue "He does like to stay out so, I guess there's no reason to worry..." The fourth panel shows Vash sitting his bed somberly with his thoughts continued, "It's not any of my business anyway..."

The fifth page starts with a close up his blank expression as he looks downwards, thinking, "Even if he left completely... That'd be understandable and better for him. I'll just travel alone again... like before... Huh?" The next panel shows Vash's composure break, tears welling up in his eyes suddenly, as he didn't expect to cry. He starts to sob, putting his hands to his face to quiet himself and wipe at his tears, as he says, "Ugh... Dammit... I miss h..." The last panel shows Vash leaning over into his hands, still crying, and in the back, the door swings wide open with a bam as Wolfwood walks through with the punisher swung behind him. He shouts, "SPIKEY! You in here?!"

The sixth page starts with Wolfwood confused, looking at Vash and Vash looks back, just as confused, with tears in his eyes and snot out of his nose. Wolfwood starts saying, "Ah? You..." No longer in panels, at the bottom of the page, Wolfwood takes the Punisher off of himself and starts to walk towards Vash, continuing with slight concern, "What's wrong with you? Did something happen?" Vash, hurriedly begins to wipe at his tears, denying immediately, "No! No, I'm fine! Nothing happened!"

The seventh page, Vash points towards the table, with a hand still wiping at his tears and he smiles as he says, "I uh got you food. On the table." Wolfwood looks towards to the table and responds, "Oh. I was getting hungry, thanks." He turns his head back to Vash immediately after with an uncertain expression, knowing the other wasn't responding to his concern, and says, "But, I know you're an idiot with this stuff, so I'm reminding you again. Don't brush it off if it's an issue, alright?"

The eight page, Vash's tears have dried and he looks to Wolfwood with a soft smile and responds, "Yeah. It's okay though..." A panel at the center shows a side view of Vash approaching Wolfwood. At the bottom of the page, with no panel, is a close up shot of Vash's hand, holding onto the edge of Wolfwood's jacket sleeve, as he says, "Because you're here now. Wolfwood."

The final page is a back shot of both of them standing next to each other, Wolfwood's head tilted slightly to the left, not fully believing Vash as he says, "That doesn't answer anything, Spikey." Vash responds, "There's no need to talk about it! You should enjoy your food. Let's have a drink too?" Wolfwood responds, "Tsk, tsk. Fine, yeah. I could use one." END ID]

[musette22]

I just can NOT get over the whole Sebastian wanting to do a play with Chris thing, you guys. I know it's just a hypothetical at this point, but even just the concept is just so incredible? Like, Sebastian wasn't even prompted into bringing up Chris, he just did, like he'd just been waiting for an opportunity to do so. And then he says he wants to do a Broadway play with Chris? Even implies he's talked to him about it, that he brought up the idea with him repeatedly and is just waiting for Chris to agree to do this with him? Like, it might actually happen?

And what I maybe love most is that this means Sebastian has given this a LOT of thought. He's been going about his life, doing his busy important movie star thing, and meanwhile he's been thinking about Chris, and about how much he wants to work with him again, and how he wants to do this specific play with him that he loves, because he thinks they'd be great in it together. But at the same time, he admits that he'd basically do any play with Chris, as long as they get to work together again. He could've said he wanted to work with anybody, any of his former co-stars, all those people we know he's still friendly with because anyone who works with Sebastian falls a little bit platonically in love with him and vice versa, but no, he specifically says Chris Evans. Out of everyone he's worked with, he wants to work with Chris again for this, he's trying to get him, they're doing this, goddammit.

And another amazing implication of all this, imo: even though Sebastian's been very vocal about rejecting the idea that some people have that they get to tell him what to do and influence his life somehow just because he's famous (about which is absolutely right, by the way) -- he just kind kind of seems to forget all about that in the moment he decides to call on people's help to convince Chris to say yes to his idea. As though achieving that particular goal is more important than all of that other stuff lmao.

And listen, I know he's just messing around, and deep down he knows full well that we don't have any means to contact Chris anyway, and Chris is very good at protecting his peace these days so he's not going to be seriously bothered by anyone about this, but still, the fact is that Sebastian literally told us all to bother Chris, text him, DM him, make posters and send them to him, anything to get through to him and make him see the light. Like, Sebastian wants this bad. AND he knows that there are lots of people out there who would love to see him and Chris reuniting, on stage this time, and he's cunningly using that fact to get what he wants. It's kind of incredible. I just can't get over it, guys.

[bruciemilf]

Peter B admitting to Miles that the non stop tragedies and losses shaping their stories are hard, harsh, and , knowing they can do something about it, cruel even. Then saying the GOOD aspects essentially outshine them. But that's not true. That's a classic toxic positivity line, used to justify shitty, unequal politics. " But at least we have this one good thing" WE CAN HAVE THAT GOOD THING AND NOTHING ELSE. WE AREN'T MADE TO BE IN PAIN, AND PAIN SHOULDN'T MAKE A HERO.

What Miguel doesn't understand is they don't owe the world suffering.

[pepperpixel]

SAID HE LIKES CRAZY GIRLS,

BUT HE HATES WHEN I ACT CRAZY,

IT TAKES TWO TO TOXIC!

FINALLY!!! Finished these pics of jinx I’ve been working on!!!!! HOLY SHIT, these took so long…. But finally… they’re done… pls enjoy this art of my beautiful princess w a disorder. Featuring alternate colors for the big pic and also a closeup! Cuz I rlly like how both the lines and coloring on her face turned out… like the pink gradients w her eye… her deer in headlights expression,, like uve just startled a raccoon digging thru ur trashcan and r two seconds away from getting mauled.. m proud of it!

[turtleblogatlast]

[ cw: violence mention / death mention / ]

Will never stop thinking about how Leo, all alone in an endless void and being beaten again and again and again by the only other living thing around, still finds comfort in that space. The situation he was in was completely hopeless, and in any other circumstances he would not have escaped, at least not fast enough to save him from permanent (or even fatal) damage, be it physical or mental.

And yet, despite the bleakness of his situation, despite the agony and helplessness, all he needs is one glance at a crumbled photograph, one glance to remember his family, and that’s enough of a reason for him to smile.

Maybe that’s why his powers center around manipulating space - because no matter how much space is between them, no matter how dire his own situation may be, just the thought of his family, alive and okay, is enough to give Leo hope.

[erabu-san]

What kind of Introvert is Kinich do you think?

The introvert that is shy of People or "eww people?" 🤔

HMMM I don't believe he is shy, but it doesn't mean he dislikes people

It is kind of canon that he felt sometime alone, because he had no friends 😭 i think it is more "huh. People can't deal with me. Welp... that's how it is" his straightforwardness, rational thought and impassive face clearly doesn't help him. He talks only when he thinks it is necessary ??

[cookiedough77]

ok so marinette getting a short haircut is very much growing on me and then i was not paying attention in english class and thought of this:

adrien is blind and we live for it

i may make a part two

[poorly-drawn-mdzs]

I'm a doctor, not a miracle worker.

[First] Prev <–-> Next

[buccellato]

Going a little insane thinking about how from Knives' perspective, his olive branch for Rem was rejected by his childhood perception of her loyalty to humanity, but Rem was assessing the situation as both a ship official and a parent and definitely making the choice she thought would maximize his and Vash's survival chances...like, if she was following duty as a crew member first and foremost, she'd head immediately to the bridge and tell the boys to head to the escape pods via comms or something. But instead she spent valuable minutes ensuring that Vash and Knives were safely strapped in and ready to escape, and then turned around to minimize the ship damage. Plus she had no actual way of knowing whether the plant ships were on a crash course, either—and while tristamp Nai can survive completely without food and water, no version of Vash has been shown to be able to do so completely (plus all other versions of Knives are shown at least drinking lol). So from her perspective she didn't just need to save both her kids and the humans on board, she also would've needed to save as many dependents as possible just so the boys had a way to stay alive.

She did the best she could do as a parent in that scenario, and Knives forever locked himself into a traumatized child's reasoning for her actions and blamed her to cope with it and then never reassessed from the perspective of an adult due to his, well, issues with everything. That's rough buddy.

[zosonils]

an aspect of shadow's trauma that i've been thinking about a lot since the sa2 replay is how fucked his perspective of gerald must be after everything, especially assuming he was family to shadow just as much as maria was [which i do every day]. the man who raised you, created you from nothing but tissue samples and energy and hope, the man who could have easily decided you were a simple thing to be used and yet welcomed you into his family as easily as his own granddaughter, who treated you as a person when so many others treated you as a lab rat or a weapon or another soon-to-be-failed prototype, in a moment of unfathomable despair, decided you were to be a tool that would carry out his final plan. perhaps treating you this way was another symptom of his mental breakdown, perhaps deep down he's always seen you as nothing more than a thing to reach his goals with. you will never know, because he is dead. every comforting memory you have of him, every time he encouraged your curiosity or stayed with you during a test he could have observed from afar or told you how proud of you he was, forever tainted by the thought that it could have all been a lie. a variable in an experiment, a means to an end. how would you ever trust anyone ever again man i'm in shreds

[swedenis-h]

Acts and plays and performances