#i am DEEPLY unwell :)

[howdify]

TRESPASSER!

[achromatic-bot]

I can't tell whether they are a pair of teenage girls experiencing infatuation for the first time or an elderly married couple because WHAT DO YOU MEANNN dan called him up just for a chance at waving to him from across the city.

[hornyverymuch]

I love them :33

[sugarandspite05]

teen van setting her adult self on FIRE.

"you never actually cheated death. it was always an even trade"

no, she has not. she found the will and strength to miraculously survive in the worst of the worst, multiple times. but this being verbalized is so important, and this has weighed on her for her entire life. she's known as the girl that cheated death. that can't be killed. everyone tells her, knows, and acknowledges this. but she’s terrified of the fact that maybe she hasn’t, all this time. she’s afraid every near death experience was a trade for someone else’s life. knowing or unknowing, and what that means for her as a person. her value. and she doesn’t want that. and she doesn’t want tai to become that for her either. she wants her tai back for her in her final (please god no) moments. but does she still have that will in her…

“maybe im just lucky.

lucky?

we don’t get to be lucky.”

[tecnestheim962]

gimme your worms your brain worms

I have thousands of those and all of them look like this

[novelconcepts]

[attention-all-pickpockets]

people who don't like get lonely are probably better off that way because this true despair shit ain't for the weak...

[leonsliga]

manuelneuer:

Die Schale ist wieder in München! 🙌

The title is back in Munich! 🙌

[fatallyfaee]

I need a cigarette and a loaded gun.

[nexischillin]

I will never forgive the person who pointed out to me that Geto always chose Gojo. Even when he walked away, he was still choosing Gojo

Geto wanted to make a world of jujutsu sorcerers where the weak ruled the strong. A place where he and Gojo could live happily without the burden of protecting the weak.

A place where they would have all the time in the world. They were at the right time wrong place, so Geto wanted to make that place.

[lesbianslugreaction]

Guys, guys, guys. You don't get it

THE CAPTAIN ASSOCIATES HAVERS WITH WAR, WHEREAS HAVERS ASSOCIATES THE CAPTAIN WITH PEACE

Like, listen: The Captain has always seen their relationship and his feelings for Havers through the context of war. War is the reason they met, the only reason he ever got to know him. And the societal war, the discrimination against queer people, is what keeps him from acting on his feelings. To him, being with Havers feels like fighting two wars at the same time: the very real one they're facing, where they might die any moment, and the more emotional war, the thing that forces him to repress and deny his love for Havers thanks to society's expectations.

Furthermore, the fact that he never fought at the front haunts him. Havers did, though, and the Captain feels like he's broken for not "really" fighting in the war. He feels embarrassment, guilt, and shame because he never got to follow Havers to the frontlines, never got to prove his worth to him. At least, that's how he sees it.

Havers, on the other hand, sees his relationship with the Captain through the lense of peace. Their time together at Button House was undoubtedly the most peaceful he felt during the war. He fights at the frontlines, get injured there, and doesn't see the merit in experiencing the horrors of the frontlines, contrary to the Captain. To him, their relationship is defined by peace; after all, it's only after the war ends that they're reunited. Sure, it ends... badly, but it's peacetime nonetheless, and Havers gets the chance to see his love again. He gets to hold his hand, he gets to connect with his Captain for the last time and he is able to say goodbye in relative peace. A mercy he never had at the frontlines, surely.

Thus: Havers is grateful the Captain wasn't hurt by the war the same way he was, whereas the Captain thinks they should have fought together at the front. Havers was broken by the war, and his Captain was broken by never experiencing it. But maybe they can find peace together, wherever they may get the chance to meet again.

(I hate it here. I am screaming, crying, writing a fic etc. etc.)

[beskars]

need to cook silco his favorite meal and then get him in the shower and wash his hair for him and kiss him all over and then give him a massage and then play with his hair until he falls asleep in my arms

[veyronvenus]

those two twinks from the orange team want me dead

[queer-omens-in-the-archives]

so we've spent the past three months writing MelloNear daily, and we've worked on enough different pieces in that time that i now have some Thoughts as to the narrative purposes they each tend to serve in our own works (this is not. about canon though i suppose it DERIVES from their canon dynamic. this is very much about how we personally play with the blorbos)

by and large Mello serves to drive the plot, regardless of the position he is put in within the universe. we don't even have to actively be trying to do anything with him -- even in our more Near-centric pieces, as long as Mello is present? his emotions, whims, wants are what shapes the trajectory of the story, his emotional beats are the beats that drive the plot forward. he feels, he impulses, he injects stuff into the sequence of events. things happen because Mello wants them to (or pushes Near to make them happen if/when he himself cannot).

meanwhile Near is much less of a driving force for the plot and more of a reflective force for the story. he isn't IRRELEVANT to the plot, he doesn't do NOTHING, but most of what he does from a plot progression standpoint is reactive. like, he acts not because of an inner drive, not based on his own wants or needs, but largely when his circumstances require action of him. (by circumstances i don't just mean Plot Events. sometimes what he reacts to are his own emotions, like in sweet atonement, when they are so overwhelming that he cannot put them aside to strategise effectively anymore -- the keyword here being "effectively", because even then his first response will still often be to try to strategise.) by and large what Near does do is provide space for reflection, for thought, for analysis. things happen to him, or through him, and he thinks about them a bunch, and he'd leave it at that if Mello wasn't pushing him.

so they make for super neat storytelling when you figuratively drop them together in a jar and shake them around, because it's like. Mello pushes Near into action Near wouldn't take on his own; and then Near adds weight to Mello's direction, provides a deeper sense of spacetime, fleshes out the places where Mello takes him that Mello wouldn't necessarily stop at or consider on his own. like at their core, in the way we write their dynamic, Mello Does and Near Is. and mixing them up, you get: all of the essential elements for a compelling story!

and obviously im not like, talking in absolutes, none of this is true 100% of the time or the only possible reading of them, nuance exists etc etc. but that's the general trends we're starting to notice in our own MelloNear writing over the past few months

[dog-woman]

okay this but imagine it's made by someone who has ever edited a video before and i don't know has any eye for visuals.

house and cuddy and wilson and their whole thing

which is to say, when wilson says he needs you he means he needs us, we need you, you need us, us, us us.

someone do this again but better, please.

[tecnestheim962]

I wish I knew how to make edits because you don’t understand how much I NEED an AMV of Wasteland but instead of Jinx it’s Ruby because wtf. Though 90 percent of it would just be V9E8 because, once again, wtf

I am not okay