#i guess I'll have another.

[brainyrot]

No one talk to me I'm busy

[verflares]

(click for higher quality!) draconified link concept ive been chipping away at this past week ..... here's my funny little compendium concept for him:

"A heroic spirit has taken the form of this bestial dragon. Unlike it's kin, this creature exhibits an extremely aggressive disposition. It appears highly territorial, and will relentlessly chase down those who disturb its skywide patrols - of which it seems to be endlessly searching for either a long-time vassal or foe. Unfortunately, it seems the spirit within has long since forgotten exactly who it was looking for…"

[whatlurksbean]

Hypothetical reigns

an exploration of where I think they'd be if they had been chosen by The Tide instead of Trouty.

Hake would fail, and sturgeon would rule with an iron fist.

[juncopandi]

You cannot convince me that this isn't what happened at the Old Sharlayan customs desk

[hyperfocusfeatures]

nothing could have ever prepared me for the day the walt disney company decided to tell me that charles xavier is canonically a puppy sub

[cowardlykrow]

yeah, and who do ya think knocked em out

[catwyk]

alex from the siltcord suggested supposed relics of the promised bride being passed around the parish and i kinda latched onto the idea !! couple notes + timelapse below the cut :]

this is HEAVILY inspired by the skull of mary magdalene, which is mounted in a statue

the dress is inspired by celtic dress

the patterns on the armbands are the same as the patterns on roemont's robes, since they're a basic traditional pattern in the parish

her cape clasp has a tessalated fishhook pattern

one of her eyes is growing out on a stalk :]

the way her body is portrayed as changing is very much the same as how i draw stanton's body changing

i really like the timelapse because you get to watch my thought process in her transformation and it kinda looks like she's transforming in real time :D

[theabigailthorn]

spent ages preparing to audition for a role I really really wanted and it's looking like (still unconfirmed) they might not even be holding auditions at all but have just given it to someone directly

which, meh, that sucks but that's the industry!

I'm just like now what? I spent a lot of my free time the last few months prepping and I genuinely don't know what to do with myself now!

[piningpercussionist]

Weed smoking girlfriends! But they can just be hanging out if you prefer ¯\_(ツ)_/¯ Happy 4/20!

[intheconfessiondial]

Redraw of the cape post, because that entire concept deserved better than the illustration I gave it.

[vanillazou]

2 weeks and 159 notes and now i'm wondering if i should've clarified on my labor day pic that the guy was supposed to be iceburg.

well whatever its mpreg monday have a burg (and burg jr)

[gomzdrawfr]

"Don't cry."

Simon said this whenever he knew you were about to cry, eyes glossy and watery, lips trembling.

trigger warnings: angst, childhood abuse (referenced + mentioned), canon-typical violence (referenced)

notes: this is an x reader fic, also apologies for the grammar and errors if any

read more to continue this short drabble

“Don’t cry.”

His voice was hollow, rough, forced out before the words had a chance to settle.

Simon said this whenever he knew you were about to cry, eyes glossy and watery, lips trembling.

It wasn’t gentle, nor a plea. It wasn’t meant for comfort or to keep you from falling apart. It was rough, low, and scratched at your ears in a way that made it hard to bear.

It felt more like an order, one you weren’t sure was meant for you or for himself.

“Just… don’t.” He repeated, the words more for himself than for you. Something swirled in his eyes behind the mask, a faint glint catching the light, like shattered glass.

“Simon,” you whispered, voice cracking, but he cut you off with a sharp edge, ending the conversation before it even began.

You thought it was because of the life he led—the danger and discipline that flowed through his blood. You thought he was telling you not to cry because he needed you to be strong. After all, he was a soldier—a man who had seen more violence, death, and despair than you could ever imagine. You assumed he couldn’t stand to see weakness, the vulnerability that came with it.

But there was more.

There was always more with him.

You didn’t know what those words really meant to him, how deep they ran, how they had been carved into his very bones, how they play on repeat in his head like a broken cassette tape on those colder nights.

You didn’t know that those two words were all he had ever heard growing up, the only comfort he could muster when his mum sobbed after another bad night, when Tommy curled up in the corner of the kitchen, scared and bruised, whispering into the dark.

Don’t cry. Don’t cry. Don’t cry.

He had felt helpless as a boy, kneeling before his family, wanting more than anything to do something—anything—but lacking the strength or power to act. He couldn’t make the pain go away. He couldn’t make the tears disappear.

Hearing those heart-wrenching sobs, those sniffles, those whimpers—it made him feel like that little boy again: lost, powerless, useless.

But the tears always came, and they never fixed anything. Crying didn’t make the bruises disappear. It didn’t quiet the screams. It didn’t make the shouting stop. All it did was twist his stomach inside out, wring his heart until he didn’t even recognize it anymore, and made his breathing all the more suffocating, like he was drowning in someone else’s grief.

It made him feel small.

Seeing those same tears in your eyes brought him back to that place. And he didn’t know how to deal with it. How to make it better.

He hated it. He hated feeling like that small boy again, hopeless, like he was failing all over.

Because Simon loves you, he truly does, more than himself, and yet he can’t bring himself to face you in these moments. 

Turning his back away from you, his head dipped lower, as if he were willing himself out of the memory that bubbled up, out of the pain that no amount of time or distance could dull.

Tears didn’t fix the past. They didn’t heal the scars that had been left on his soul.

“Simon-”

“Don’t cry… please.”

When he turned away, when he avoided your tears, when he grew distant whenever you broke down in front of him—it wasn’t because he didn’t care.

He just didn’t know how to handle it.

[ladypepsfanart]

Dude, Mr and Mrs Wayne are kinda scary

[lunarin64art]

That feeling when he can't stand to see you that way, no matter what you do, no matter what you say😩😭💔

[dollypopup]

I think it's interesting to look at the 'Mr. Bridgerton' scene as a backdrop for the eventual mirror scene. Firstly, in the fact that I think we've kind of misinterpreted it.

So many people are of the mind that scene's purpose to 'drag' Colin, but really, that scene has 3 primary functions. The first is to inform Colin that Penelope is aware of what he said of her, thus opening the door to clearing the air between them and providing an avenue for which Colin can apologize. The second is to establish the ground that they are currently on: Penelope has given up on the dream of Colin Bridgerton, in particular the perfect prince that can do no wrong, and has made it clear to him. It also creates distance between them that they will bridge.

But the third, and to me the most wrapped up in the mirror and the inner workings of their relationship is that it reveals how Penelope feels about *herself*. It's not necessarily an echo of what the ton considers her as, after all, we have a lot of evidence indicating that, for all intents and purpose, people aren't *unkind* about her, but rather that they ignore her. Audience members recognize this as Penelope's own shyness being the cause, she is often sitting off on the sidelines or not really talking to much of anyone, in the books she's referred to as the 'one who doesn't speak', and her LW business takes her away from being a character in the action of the ton to a bystander, kind of a self-fulfilling prophecy of sorts that perpetuates itself. Pen felt unseen so she became LW to have some power, but then LW herself must remain unseen and Penelope continues to be by design of her own making.

No, I think what it really reveals is that Penelope has incredibly low personal self esteem. We as a fandom has lauded that scene as her dragging Colin, saying that he's cruel and calling him Mr. Bridgerton is absolutely meant to create distance between them, but I don't think she's dragging him.

Because the person she is *actually* dragging here. . .is herself. And it is a general theme in her life. In Whistledown. Aloud. Even with Marina, when she complimented her, she assumes that she's lying. When Edwina says she's wearing a pretty dress, Penelope puts herself down and doesn't believe her, even when the compliment is genuine. In truth, Portia is not seen as being particularly unkind to Penelope. At least, speaking as someone who's mum was *awful* about my size and weight and outfits, Portia is. . .overall rather mild. She's not KIND and loving, not by a long shot, but she's also not targeting Penelope only. She's plenty mean and critical to Prudence, too, even to the point where she foists her off to her own cousin as a pawn piece. Penelope has low self esteem because of a lot of reasons, she's bullied by Cressida (I think a lot of girls are, she was pretty mean even to Daphne in S1) and her family isn't very tender to her, and she's not being pursued at every turn, but part of it is also her own perpetuation.

Listen to what she says "Of course you would never court me" "I embarrass you" "I am the laughingstock of the the ton". She sees *herself* as an embarrassment. She puts *herself* down. Arguably, more so than the ton does. She's meaner to herself than anyone else is, aside from Cressida. And honestly? Looking at Colin's face there. . .he is HURT that she considers herself this way. That she's projecting that onto him. Yes, he's hurt that he hurt her, of course he is, he never wants to hurt her. And yes, he's ashamed that he said he wouldn't court her the way he did and that in doing so, he validated her fears that she is unloved and unwanted, but also because. . .she already feels that way about herself. She's felt that way for years. And it's painful to care about someone, to see them as wonderful, and realize. . .they don't feel the same about themselves at all. I don't think Colin is out here feeling so wounded over the fact that she called him cruel and won't refer to him by first name anymore, but that he's most hurt by what she says about herself.

Because he *doesn't* see her the way she accuses. She says she never expected him of all people to be so cruel, but he feels the same way. He never expected her to be so cruel to *herself*. He wants to go somewhere private, not because she is an embarrassment, but because he wants to have a private conversation with her. Maybe assure her. Maybe explain himself. Maybe hash it out. But god Luke Newton's acting. . .he is *aching* for her. And it feels like he's going to do those lessons not in atonement for what he said (thank god) but to genuinely help his friend who thinks badly of herself. To lift her up. It's not about him at all, not about earning forgiveness, but about elevating Penelope. And that's. . .fuck, I just find that's just so heart stoppingly beautiful.

You can see, in that scene, how much he cares about her. How deeply and genuinely he adores her as a person. And just how painful it is for him to know he has validated, whether on purpose or otherwise, how poorly she feels about herself. How low her self-confidence really is. She is giving him a glimpse into the cracks of her heart, and when he sees them, he wants to reach out with both hands and make it feel better. Make her feel better.

After she says 'even when I change my entire wardrobe', he looks so fucking crushed. So 'don't say that'. So 'you really believe that?'. So 'God, I hate that you think that way'.

Because regardless of it all, he does love her. It's not romantic yet. It's not sexual yet. But he genuinely, truly, from the bottom of his heart, thinks she's wonderful. That was evident even in the 'purpose' scene. Every time Penelope opens up and reveals a facet of herself, he likes it. He likes her barbs and her dreams, he likes talking to her. He likes her. And he feels awful that he hurt her. And he feels awful that she's hurting herself. He loves her. He wants her to love herself.

And that's where the mirror scene comes in. Because the mirror scene isn't about sex, not really. Not entirely, at least. The mirror scene is about *intimacy*. The mirror scene is about being seen. Not just her seeing him, or him seeing her, but for Penelope to see *herself*. In a way, through his eyes. Because hers are biased rather negatively toward herself, which is evidenced in the 'Goodnight Mr. Bridgerton' scene, and in so many little moments we've already gotten where she's literally looking down on herself, feeling down. She doesn't necessarily *like* what's in the mirror, but he does. Because he likes *her*. And he wants to show her that he does. Show her that he finds her beautiful and have her recognize that in herself.

The 'Goodnight Mr. Bridgerton' scene is about Penelope revealing how she sees herself. The mirror scene is about Colin showing her how *he* sees her. The Goodnight scene is about Penelope thinking she means nothing to him, that he thinks of her the way she thinks of herself, that this is how everyone thinks of her, and the mirror scene is a direct response to that: No, he doesn't. No, he doesn't think she's embarrassing. No, he doesn't think she's a laughingstock. No, he doesn't think she's unappealing. And he doesn't think she should, either.

And he's going to show her that. Not just tell her, but show her. The mirror scene is so often a focus on Penelope, so much of Polin is in Penelope's focus, but approaching it from Colin's perspective and his motivations is so fulfilling, too. It's a glimpse into them in conversation, and a demonstrate of how Colin loves her. How Colin loves in general, openly and earnestly and altruistically. How he encourages her to be braver and more confident in herself, bolstering her because he just likes her *that much*. How he finds the most fulfillment and satisfaction in caring aloud. The mirror scene is a demonstration of his heart in reflection.

When Luke Newton said the first word that came to mind with the word 'Mirror' was 'Exposed', he doesn't just mean physically. He means emotionally, too.

God this couple is so fucking good.

[jimmyspades]

"Perhaps I should assume control... Just out of curiosity, if you were in control–" "I'd shut up and kiss you." ... "It's funny, I don't feel in control." BOSTON LEGAL 5.11 "Juiced" (Deleted scene)