#i have lived with her my entire life

[an-absolute-nightmare]

dude i have issues

[do-you-know-this-queer-character]

Do you know this queer character?

Castiel is Queer and Agender or Genderfluid, and uses varying pronouns based on presentation!

[silusvesuius]

nnnnnnnnnnnnno maa'am

[gingermintpepper]

Obsessed with the way Evadne's relationship with Apollo is described. Obsessed with the way Apollo was especially gentle with her because she was sheltered, hidden away and hadn't had any sort of experience with love prior to Apollo (and due to it being described as her 'first learning Aphrodite's joy' through Apollo', it was probably her first time even being attracted to someone). Obsessed with the way when she runs away, she stops in a violet patch to give birth. Y'know, violets, very famously the flower so strongly associated with Aphrodite that they were used in love potions? Those violets. Obsessed with the way that when Apollo realised his lover was going to have to deliver their child alone, he sent BOTH the goddess of childbirth and ALL THREE OF THE FATES to help and support her. Obsessed with the way that Apollo sends snakes to feed his baby honey straight from their fangs because Evadne abandons their son out of straight primal fear when her stepfather finds her and how the description of that honey is 'sweet venom' [ἰός] of the bees and is DEFINITELY a poetic pair/pun with [ἴον] aka violets and that every single thing about this relationship, conception and birth is a complete and utter fairytale down to Evadne's insanely overprotective stepfather having an immediate change of heart when he learned Evadne's child was an actual, legitimate Son of Apollo and the babe, after being cared for by his dad's honey-fanged snake buddies, was found perfectly healthy five days later swaddled in a blanket of violets (y'know the flowers so strongly associated with Aphrodite that they were used for lo-) and they called him Iamus aka Boy of the Violets which is AAAAAARRRR I AM GNAWING AT MY ENCLOSURE

Iamus was made of love. Everything about him was surrounded by deep and profound love and like, let's not even talk about his whole Thing of when he came of age and was like "I need to find out what my purpose is" and he literally had a Disney Protagonist moment where he ran out into the wilds and was like "Father!! Grandfather!! Tell me what I'm supposed to doooo!!" and then APOLLO FUCKING ANSWERED AND LED HIM TO ONE HIS TEMPLES ENTIRELY BY TALKING WITH IAMUS AND LETTING HIM FOLLOW HIS VOICE FOR THE WHOLE JOURNEY LIKE -

What do y'all know about the kind of SSS tier romantic escapades Apollo had fr?

[pettyprocrastination]

whoever this beloved anon was I am so touched by your kindness! You definitely didn’t have to do this but I am so happy you enjoy this idea and I will happily expand upon it for you!

this is just a collection of word vomit bullet points for the time being but I will happily answer any and all questions about this pair!!

warnings: violence, angst, child death (Sarah Miller), foul language, the same warnings that apply to tlou, reader is Sarah's mom and described as having similar features to her. 

So the general Idea is that you and Joel are happily married before the outbreak. 

You had been Sarah's mother, his high school sweetheart he got pregnant when neither of you were old enough to have any reaction to the pregnancy test other than a fucking panic attack in one another’s arms. but you made it work 

you both worked but made time for one another and your sweet girl, going to museums every other weekend and joel insisting on swooping you off for a date every now and then 

nothing special. He knows you’re more of a diner gal than anything too fancy that makes you both feel out of place. 

On his birthday in 2003, you had planned to tell him that you were pregnant again. But the memories of your own fears of motherhood from all those years ago begin to swirl through your head again and you get cold feel. deciding to tell him the morning after

it is his birthday afterall, you want to focus on him. 

but when you’re woken up in the middle of the night because tommy needs to get bailed out, Joel kisses you sweetly one last time before promising he’ll be back and you can’t shake the feeling that something bad is happening. 

its you that shakes sarah awake that night. shouting at her to put on her shoes when she’s still rubbing the sleep from her eyes because you’ve been listening to the radio for the past two hours, calling joel again and again and again praying for him to fucking pick up but to no avail. 

Sarah, bless your little girl’s bleeding heart is the one who insists you check on the adler’s against your better suspicions and when you find the eldest looming over her daughter, blood and sinew dripping from her mouth, you grab your daughter hand and burst into a full sprint until something slams into your back and sends you tumbling onto their front lawn

its how joel finds you, struggling to keep the once sweet old woman, whose now nothing more than dead eyes and gnashing teeth straining to snap at your pulse point as you push against her while sarah shrieks before your husband runs forward and cracks her skull with a wrench. 

there’s hardly a moment of pause, just enough for him to pull you up and into his arms before he’s ushering you both into the car with an urgency. 

when the truck crashes, you get separated from them. Perhaps at Tommy’s side when the flames rise and create a wall, separating you from your husband, or maybe pulled into the mob of chaos when trying to escape from those already infected-

all joel knows is that you promise you’ll find him: just get sarah to safety and you’ll meet him at the river

Poor thing is already so frightened, held in her father’s arms with tears streaming down her face insisting they can’t leave you they just can’t but her father kisses her forehead and reassures her its going to be okay 

“we just need to be brave, okay babygirl? Your mama’s real tough, she’s gonna be alright.” 

he isn’t sure if he’s saying it to his daughter or himself. 

but when he comes to the river you aren’t there. Only a soldier who points a gun at the scared little girl in his arms and then he loses everything

its when the light is gone from his daughter’s eyes that he realizes. His voice cracked and raw from sobbing that he looks around to see his brother with drawn in shoulders and tears in his eyes but his wife is nowhere to be found. 

Tommy says you got lost in the chaos. Everything was so loud, so sudden that he turned around and suddenly you weren’t there. 

Joel wants to go back but its Tommy that stops him, that dulls the red in his vision to a sad faded pink because his brother points at the orange horizon not too far from them, so much of the city is already in flames. 

“We’re gonna find her, but not there.” 

So Joel searches. for the first year spent in the world post-outbreak its all he did. 

He became a smuggler because of it. 

Information came at a price and he needed to be able to fucking pay it, whether it be in blood or ration cards. He was willing to do anything to find you or any thin thread that lead your way. 

But it’s Tommy that asks him to give up. Not in those words of course. 

The youngest Miller knows better than to say something so cruel that would make his brother, the only person he has in this world turn on him. 

But his voice is worried when he asks him one night in Boston when he hasn’t even had the chance to wash the blood from his knuckles 

“You think she would have wanted this for you?” 

the fight that followed his words was brutal. Vicious insults and scarred fists slamming against each brother until they're both too tired and bloody to continue. Each leaning against a wall for support and Tommy’s wavering voice breaking the silence. 

“I don’t know where she is, Joel. But I do know you're gonna get yourself killed if you keep lookin’ for her.” 

All he can do is nod. 

It’s a few days later when he meets Tess. Who has heard plenty of stories about the elder miller’s brutality and wants him to put that muscle to good use for some extra profit. 

It begins his new life. One that empty and cold but one he can live. 

Until of course, Ellie comes along. The sweet and incredibly opinionated girl that makes him become something akin to the man he thought died twenty years ago. 

its when he’s traveling with Ellie, that it happens. When a warm familiarity has settled between the two because so much blood and pain has been shared he can’t help but see her as something close, something bright even though all he can force himself to utter in her reference is “cargo” 

when theyre traveling through the woods as Ellie chatters away, probing his memory about a movie that may or may not have existed thirty years ago because her descriptions of the plot are incredibly odd he hears a voice shout for them to stop and finds himself staring at a man- no, a boy- pointing a gun at them. 

Ellie stills, but Joel can see enough to know that from the lanky figure and dimpled face that he’s young. Maybe twenty, twenty-two at the oldest, but his eyes dart from Joel to Ellie with a pinprick of fear that allows Joel the time to charge forward and slam him to the ground before wrestling the gun from his hands. 

He has enough to time to tuck it under the stranger’s chin before he hears the sound of the safety being turned off and finds himself looking up and seeing a gun just inches from his face. 

Joel’s head whips around when Ellie’s voice calls out his name in fear, he turns to see another stranger holding her a gun point, shoulders drawn back and a shadow cast over their face by the had obstructing their identity. 

“You hurt one of mine, I hurt one of yours. That a fair deal?” 

Its takes him a moment to recognize you. It’s been so long since he’s heard your voice, the sweet tease when you would poke at him each time he woke up late despite the fact that you reminded him to set his alarm the night before, the times you’d chide him with a harsh “Joel Miller!” whispered in public anytime he was able to grab you a bit too passionately to be appropriate in public but the laughter in your voice let him know you were never truly mad at him. You didn’t know how to be. 

But that sweetness is buried under a cold rasp that cuts through the air as you point a rifle at the scared little girl in front of you.

“You think I won’t?” You’re older now, skin covered in scars from a life he didn’t know you got the chance to live and your eyes are cold as they regard your husband. “Put the gun down and get the fuck off of him, I won’t repeat myself.” 

Joel mumbles your name in awe. The woman he loved, the woman he mourned the one he fought so hard to find stands before him like some sort of hallucination and suddenly the world feels like its spinning until you bark orders at him again. 

“You’ve got five seconds Joel, make a fucking choice before I make it for you.” 

He looks down and realizes the boy under him, the one with the bleeding nose and snarling face has your eyes and his dimples. 

“One.” 

The one above him has Sarah’s hair. Soft brown curls that shine under the sun. 

“Two”

Wait. No, they both do.

“Three.” 

Twins. Jesus fucking Christ you had twins. 

“Four.” 

Joel holds the rifle up above his head and the one boy standing snatches it from his grasp, tossing it to the ground and kicking it far from his reach. He slowly stands, allowing your son- dear god your son- to scramble to his feet. 

Your voice softens just for a moment. “You okay, Duke?” 

Blood stains the bottom half of his face from where Joel slammed his fist into the boy’s nose just moments before, but he nods nonetheless. 

Now, they both stand on one side of you and he can see the resemblance clear as day the same way he would whenever Sarah was by your side.

When you order him to hand over his bag, he does so without question before telling Ellie to do the same. 

She watches him with wide eyes, her hands still up in the air but gaping at her companion as if he had grown a second head. 

“Joel!” “Just do it, alright?”

He doesn’t miss the way you watch their interaction with narrowed eyes until she tosses her bag to you and you slowly lower your gun. 

“Now, you want to tell me what the fuck you think you’re doin’ at my home?” 

[ozzo-the-wozzo]

Trying to explain Adrien’s subplot in miraculous to anyone but it’s literally just this:

[highlynerdy]

母后 您的人屠儿子回来了 Queen Mother. Your butcher son has returned.

母亲 儿子回来了如今过得很好 Mother. Your son is back and living well now.

-Ep. 2 & Ep. 7 / Kill Me, Love Me

[thelaurenshippen]

the way that silver said "I will stand here with you an hour, a day, a year" to flint and "I will wait a day, a month, a year, forever" to madi....I'm sick to my stomach. who is doing unhinged devotion like this man

[mothric]

last night i was watching a gravity falls clip and heard the name "Pacifica Northwest" spoken out loud for the first time in roughly eight years and i had to put my phone down and stare at a wall while my brain detached from its stem like an untethered balloon. i relocated to the pacific northwest two years ago. specifically to oregon. what the fuck do you mean that's her name

[aq2003]

see normally i try to avoid and dislike using "they're ooc" as a criticism bc it's been historically used to flatten out a character's flaws. i want to use any possible in universe route to explain what's going on regardless of whether it aligns w authorial intent or not. anyway i think ten is ooc in girl in the fireplace

[superhousecat-once-again]

Unfortunately now that I’ve finally seen it, I 100% cannot stand the Solavellan ending and like I knowww that’s in large part because I’ve been functioning on a different level with the ship the entire time but it’s just sooo forgiving of Solas and sooo tragic for Lavellan and does not include the most fascinating element of their dynamic to me which is ‘Solas starts to see the value of the current world because of how much Lavellan loves it and is so deeply part of it’ and in fact fully discards it because Lavellan just fucks off to fade prison for “true love”

[akkivee]

the pivotal points in bat’s past 🤔

kuukou

age ????- his best friend moved away

age 14: attained a higher level of asceticism than his father, met hitoya who helped clear an assault charge on some good will that went awry

age 15: left home to flex his talent, got humbled quick lol but met ichiro and vowed to grow stronger

jyushi:

age ???? (presumably 6)- received amanda from his grandmother

age 13- started middle school where he ‘befriends’ iyogi

age 14- has been a victim of bullying for a year and the bullying escalated to the point his grandmother was killed. met hitoya who made sure iyogi ain’t seeing the light ever again and a little later helped jyushi find the will to keep living

hitoya

age 14- loses his brother

age 23- upon receiving a tip, he decided to change majors from being a doctor to a lawyer in order to jail the guy that bullied his brother. broke up with jakurai after a disagreement

age 31- meets kuukou and jyushi for the first time and we see the fruits of his lawyer efforts

[lovesodeepandwideandwell]

how come I love leading class and reading groups and small groups and lectures and conference papers and book clubs

and I HATE leading Women's Bible Study

[unsurebazookacore]

hot take, mike and el arent in love, because they are fourteen

well i guess mike is fifteen but still like as someone who has been fourteen/fifteen

GUESS WHO I WAS NOT DATING:

A. THE LOVE OF MY LIFE

B. MY FUTURE SIGNIFICANT OTHER

C. ANYONE WHO I WOULD BE ABLE TO SAY "I LOVE YOU" TO AND ACTUALLY FUCKING MEAN IT

D. ALL OF THE ABOVE (the answer is D by the way)

LIKE Y'ALL THEY ARE FOURTEEN

THEY MET WHEN THEY WERE TWELVE

"I knew right then and there in that moment that I loved you" MY ASS

[rubberduckyrye]

You guys ever think about the tragedy that is Junko Enoshima? That she wasn't a sadistic girl seeking out to hurt others for sadistic glee?

Because everything Junko did was her trying to emotionally abuse herself? That she wanting to feel something so badly that she hurt the people she loved most, and even brought about ruin to the world, simply to destroy herself with it?

[carefulfears]

how do you see mulder leaving in season 9? scully giving up william? how do they deal with these things? (their guilt, resentment, futility, etc)

i know i have a realllllllly unpopular opinion on all of this but as i've said recently, i just don't think there's anything easier on earth to convince mulder of than "things are safer if you're not here."

i usually come back to doggett's confusion in the beginning, the way he keeps asking and arguing and scully just keeps saying "he's gone" and shutting it down, until the end of the premiere when he realizes: "oh my god. it was scully. scully made him go."

god, it's sad. it's hard to talk about. i teared up trying to write this, as much as i am fonder of the storyline than most. i don't find it unrealistic or out of character or unfitting of the narrative. it doesn't mean i don't feel it's heartbreaking. i have such a hard time thinking of mulder missing that baby. not even having the chance to put up a fight, walking back into empty rooms. the show as a tragedy, finding your burden again, etc. the x-files as the gap between teary smiles at baby kicks to screams in a jail cell. as what it was in the beginning: unknowable answers to insurmountable grief.

and i just think about mulder's dramatic emails, writing that he doesn't think he can survive being away from them. spender looking at the baby and telling scully he's heard "so much" about him. mulder being tortured by soldiers, saying he's just thinking about his son. keeping 1 baby photo for 15 years. "i just missed both of you so much."

scully's fertility treatments and her prayers and her tears and her "last chance" and her miracle. and how deeply unfair it is, what happened to her. i don't think a single one of us could say what we could do if people kept breaking into our homes to suffocate a child we were still nursing. she didn't ever want to do it alone, that was never the plan.

but scully desperately wants to keep everybody safe. she thinks she’s keeping everybody safe. it’s hard to be starbuck. it's this conflict i keep talking about recently where you really start to notice how controlled she is by fear, how difficult it is for her to balance it all. my favorite visual on this is the gate at the house in i want to believe: every day the way she pulls up to it, gets out, opens it, pulls through, stops, gets out, closes it. repeat in reverse. and then she comes home and she says "the truth is, i worry about you." and that he's too isolated. turns around and shuts the door, leaves the house and locks the gate.

i wrote a bit a few weeks ago about scully's protectiveness and it made me think about what a trap it can be, how defending lends to fear and fear lends to defeat. to standing in a church 25-years deep and saying "i failed." in the tags of that post i asked "could they ever recover from her exiling him from being with their child because she was afraid it would kill him?" and said i don't know. and i don't, i don't know.

but i think there's something so brave in saying: i did the best i could, and maybe that wasn't right. it's why ghouli is one of my favorite episodes. scully sobbing to her son that she's sorry. she's sorry he doesn't know them. she wanted him, they loved him. "i was trying to keep you safe. i hope you know that." and she thought she was being strong, but maybe she was wrong.

things don't always shake out the way you want them to. it was always mulder that called their son a miracle, and mulder doesn't believe in miracles. mulder believes in the world, and the search, and the after.