#is that he's a great father!!! and he is a good dad but does it matter when something is always more important? when you're not there?

[seasprincess]

cowboy!rafe x mayors daughter!reader

part 1 here

Warnings: smut, mdni, unprotected s3x (wrap it), praise, nicknames, nippl3 sucking, degrading if you squint sweaty man

Rafe had spent his evening in a east he usually does when being around you.

His hands in his pants touching himself to the thought of you in that dress.

That god damn dress.

He loves when you wear dresses, which is most of the time if not all.

He loves the way they flow on your body, the way they stop just on your thighs or the way that when you sit down and it rides up a bit it shows him what colour panties you’re wearing. God does it get him hot and flustered knowing what the panties he should be taking off look like. Jesus does he want to take them off. See that pretty pussy of yours.

But he know it can’t happen, he knows he can’t do that.

So he has to stick to his hand.

For now at least.

The sun beams down on your skin as you make your way to your porch. Sitting in that swing seat you got for your birthday. You practically live there.

It’s calming to sit there and just swing back and forth. And it also gives a great veiw of Rafe when he’s chopping up wood for your fire for that evening. Your father really does make that poor guy work. Working any job at this point. But Rafe doesn’t care. He wants this job.

He looks so good with that axe in his hands. Muscles flexing as he cuts the wood. His biceps on show due to his white tank top. Which he decides to take off in that moment. Like he wants to tease you more.

Your eyes are immediately drawn to his abs, the way they glisten from the sunlight and sweat. You could just lick them. Maybe when he’s less sweaty. He looks so good, you could just-

“Darlin’ it’s rude to stare.” Rafe’s voice brings you out of the trance and you look up at his face rather than his other body parts. He just smirks as he watches you swing back and forth. Back and forth.

“I wasn’t staring.” You were.

“Mhm sure.” He says as he takes his hat off to rub his for head of any sweat. Guess he does take the hat off.

“I wasn’t!” You say with a small pout, acting like a spoilt child. Well you are spoiled so that parts right at least.

“You know it’s okay if you were. I don’t blame you.” He says as he places the axe on the ground and starts making his way over to you. His boots clacking on the wooden planks of the decking as he reaches in front of you. He towers above you when you stand up, so when you’re sat down. It’s like a mountain and a rock. He leans against the wall as he puts a toothpick in his mouth and fiddles with it. Looking at you. “So when we riding again sweetheart?”

The nickname makes your heart skip a beat as a small blush forms on your cheeks. Making them pink and rosy.

“Oh um, I don’t know. Don’t mind.”

Rafe chuckles and rolls his eyes as he pushes off the wall.

“God you do give up fast.”

“I’m not giving up!” You retaliate as you sit up straight, defending yourself. “I’m just busy.”

“Doing what?” Rafe quickly says back as he gets closer to you. So close his knees are touching the chair you’re sat in. “Cause you look like you’re just sittin’ down to me, darlin’.”

Rafe’s hand comes to your chin as he makes you look up at him. Eyes taking in every feature of your face as his rough thumb rubs your chin.

“Do you know how wild you drive me baby?” Rafe says as he smirks down at you. He’s decided he’s had enough of your back and forth flirting with no outcome. He needs you.

Bad.

“Hmmm no.” You smirk back. Yes you did know. Of course you knew. But you didn’t think it was that bad. “My dad is out.”

“I know.” He replies before he leans down and kisses you. Softly and passionately. Hes wanted to do this for so long and now it’s finally happening. He’s finally getting his wish.

And of course you kiss back. You’ve been waiting for this hair as long as he has.

“Why don’t you show me that pretty room of yours baby?”

Immediately you spring up and slot your hand in his. Leading him to the room.

He wastes no time to push you up against the door as soon as you shut it. Hands finding the hem of your dress and pulling it over your head.

“So pretty f’me.” He says as his kisses move to your neck, biting and sucking. Causing you to whimper and moan as you squirm in his touch. You’ve needed this so much.

His hand slithers down your body before reaching your panties, earning a gasp from you as his finger brushes over your clothes clit.

“So wet for me huh?” He smirks. Almost like he’s proud of himself for making you like this just from kissing you. “Needy girl.”

Both his hands travel to your hips as he looks at you.

“Are you sure about this?” He asks as he scans your eyes for any doubts.

You quickly nod your head and reply a small “Yeah.”

He smiles before picking you up and laying you on the bed. Undoing your bra.

“Fuck you’re so pretty doll.” He says as his lips attach to your nipple.

You’re just a whimpering mess as you play with his hair. Tugging on it slightly as his hands slowly pull down your pants.

“Gonna fuck you so good sweetheart.”

Rafe discards your panties somewhere in the room before working on taking his jeans and pants off. And in a few seconds he’s naked like you. He climbs onto the bed as he holds out his hand.

“I told you I was going to tech you how to ride.”

You pick up on his words and start straddling him. Looking at him as he places his hands back on your hips.

You slowly lower yourself down onto him with a moan. You’ve imagined this for a while. And he is definitely bigger than how you imagined.

“Fuccckkk baby.” Rafe moans out as you start moving up and down. That good feeling building up every time you go back down. “Taking me so well.”

Rafes hands help you move as he watches where he enters you. This is so much better than he imagined. And gosh has he imagined this. A lot.

Your movements get more difficult as you keep trying to ride him. But it’s just too much for you.

“Rafey.” You say with a slight whimper. Immediately he picks up on it and nods.

“Shhh baby. I’ve got you.” He says before flipping you over and getting on top of you. Smirking above you as he renters you.

You moan again as he kisses the corner of your mouth, his thrusts fast and deep.

He needed this so of course he’s not holding back. “Good girl.”

He places a kiss on your forehead as you grip on his bicep. Steadying yourself as he just watches you.

Rafe lets out a moan as your legs start to shake. His finger slowly rubbing your clit, he wants you to cum. He needs it too.

“Cum baby. Cum on my cock.” Rafe says before placing another kiss on your neck.

It doesn’t take you long to cum after that. Just like Rafe wanted.

His thrusts slow down slightly as his dick twitches before painting your walls with his seed.

“Fuck baby.” He says as he kisses your soft lips. Smiling as he lays down next to you, arm wrapping around you as he pulls you closer.

You may regret this decision later.

a/n: there will be a part three 🥳 Divider- @anitalenia

tags: @littlelamy @maybankslover

[sage-nebula]

Caitlyn can say whatever she wants, but she's still wrong. She doesn't know what it feels like to be asked to ally with those who killed her parents because no one has ever asked her to do that. She compared two very different circumstances and no one called her out on it.

Jinx never denied that she and Vi were sisters. On the contrary, she's the one insisting they are! Yes, in s1e9 she says that Vi has changed, but she also says, "here's to the new us," tying them together as a unit despite how she has given up on Vi loving her. In s2e3 she calls Vi "sister" twice before their fight: "you've turned a new leaf, sister" and "never thought my sister would turn bluebelly." In s2e5 she once again addresses Vi as her sister ("lookin' good, sis"), and also acknowledges them as having the same father ("he's your father, too"), once again tying them together as sisters.

Jinx asked Vi if they were still sisters in s1e9, but never rejected Vi's answer that they were outright. She gave up on Vi being able to "love [her] like [she] used to," but never denied that Vi was her sister. Just that Vi could love her.

Vi, by contrast, was the one who denied Jinx was her sister. In s2e1 ("my sister . . . is gone"), and twice in s2e3 ("Powder's gone" and "I'm done pretending you're my sister—you're not. You killed her. I'm not gonna let you stain her memory anymore").

To be fair to Vi, she does call Jinx "my sister" once in s2e3 as well: "never thought mine [sister] would orphan kids." But immediately after is her denial of Jinx as her sister in a way that makes it seem as though she earnestly believes Jinx is a split personality, like a great big dumb-dumb. But that's just another example of the awful writing in this season, so what can we do.

Jinx is pissed at Vi in season two, and for good reasons, but she never insists they aren't sisters. That's all Vi. Vi only changes her tune at the end of s2e5 ("he's your dad, too") after Jinx is proven correct about Vander.

I loved the first three episodes of season 2, but I have to say that I do have issues with how Vi's character arc was handled.

I might change my mind on a rewatch, but it seems that the switch was flipped very quickly for her. When she first turns down the enforcer badge, she does so citing the fact that enforcers murdered her parents as the reason. This is a valid reason, and one that Caitlyn incorrectly says she understands.

(Caitlyn knows what it is to have her mother killed by an individual. She doesn't know what it is to have her mother killed by a police state that continued to beat and brutalize her and her loved ones as a child, and then be asked to join up with them. It would be as if someone suggested that Caitlyn team up with Jinx, in a way, but even then it isn't quite the same. Caitlyn does apologize later, but she apologizes for "springing the badge" on Vi; I don't think she realizes that their circumstances are still vastly different.)

But then two scenes later we see a drunk Vi lamenting how Caitlyn wants her to join "the peanut patrol" -- and this is a very trivializing way to refer to what is, again, an oppressive police force that not only murdered Vi's parents, but also physically assaulted her during her own childhood and did the same to people she loved. It's the very same police force that "saved" her from Silco by throwing her, at around age fourteen or fifteen, into a prison where she was starved and beaten for years. (She says herself that she would "lie on the cold floor, hungry and bloody" -- so yes, she was at times denied food.) "Peanut Patrol" is what you call mall cops or campus security; people without any actual authority or power to hurt you. It's not what you call a literal police state that has given you complex trauma throughout your childhood.

Then, immediately after that, we get Maddie gushing over how she looks up to Vi and how Caitlyn stood up for Vi's honor, and this . . . changes Vi's mind? Or at least makes her less hostile toward Maddie? Maddie talks about how "the sheriff betrayed us" -- but again, that's the same person responsible for throwing Vi into Stillwater and no one cared. They don't care about the people they beat and oppressed, they only care that they were betrayed. But Vi is just . . . okay with this. And seems to be changing her opinion because Caitlyn really fought for her right to become a cop uwu.

Then the staged attack (which no one knew was staged, but was) happens. And after that, Vi agrees to join up with Caitlyn and become an enforcer. Because she loves and wants to protect Caitlyn, I guess? That's the best reasoning I can glean from what we were shown; she was moved by Caitlyn vouching for her yet again, saw that Caitlyn was in danger during the attack, and then decides to join up. To me, it seems like it's all about her love for Caitlyn, which is extremely weak when, again, you compare it to the fact that enforcers killed her parents and she was oppressed by them her entire life, and it isn't like Caitlyn said anything in the episodes that would make Vi think that she wants to change that. (You could argue that Caitlyn vouching for her was enough, but Caitlyn saying that Vi is One of the Good Ones really shouldn't have made her feel that way.)

And then there's the 180 her opinion did on her sister, which I think hurts the way they transitioned Vi into being an enforcer even more. What we're supposed to understand is that Jinx firing on the council is what made Vi change her opinion entirely -- even though, moments before that, she was trying to reassure Jinx that everything would be okay after Jinx killed Silco. Yes, Jinx had her "here's to the new us" speech, but I still don't understand after all this time why Vi didn't speak up when Jinx said that Vi couldn't "love [her] like she used to." Just earlier in that scene she was saying that she did, that nothing would change that. And she lets her go that easily? She doesn't try to say anything more, she just lets Jinx continue believing that she was right?

I understand that Jinx chose the "jinx" chair. I understand that Jinx was asking Vi to do horrible things (namely, murdering Caitlyn). But even after that, Vi was telling Caitlyn not to shoot because, "please, she's my sister." So even after Jinx wanted Vi to kill Caitlyn, Vi was still trying to reach her. Yet Jinx blows up the council -- a council that Vi herself has witnessed wanted nothing to do with helping fix the Silco problem, and she has no idea that they were deciding on peace in that moment -- and Vi suddenly turns. As if Vi herself hadn't encouraged Powder to keep making bombs in their childhood, promising her that one day they would work. As if Powder didn't grow up under the mentorship of a big sister who wanted to bring the fight to Piltover herself one day.

I think showing more internal conflict within Vi would have helped. If she had chosen to join the task force because she wanted to make sure that Jinx would be alive when brought in, because as appalled as she was at the carnage (because violence is only okay when she does it) she still loved her sister, and was willing to fight her but didn't want to kill her, that would be one thing. But I think the writers made a mistake that a lot of writers make, which is that, they know the character's inner thoughts so well that they think it'll be obvious when it isn't. The shift in Vi's character seems entirely based on "Jinx did a Big Violence and I'm not okay with that even though I always encouraged her to do it when we were kids" and "My new girlfriend loves me and I love her, too" and it feels disconnected with who Vi was even in the last episode of season one.

(Well, the "completely giving up on her sister" feels disconnected. Vi was always upset with Jinx doing violence, as we see in their reunion in episode six of season one, because again, violence is only okay when she does it. Her little sister, who she again encouraged to make bombs and promised Powder that they would work someday, is just Not Allowed.)

With all that said, I do think -- or hope? -- that we're supposed to see a logical disconnect within Vi. During their confrontation in the temple, we get an exchange where Jinx points out the awful things that Vi has done since becoming an enforcer -- plastering the wanted posters so that others would stop Jinx for her, and especially poisoning the air of the undercity. Not only did Vi rationalize that course of action a few moments prior ("we cleared the streets to keep people safe" -- you aren't keeping people safe by suffocating them, Vi! you should remember that from your own childhood!), but then she says, "I'm done blaming myself for your mistakes," which -- what is she talking about? Jinx isn't the one who put the wanted posters up. She isn't the one who flooded the Lanes with the Grey. These are actions that Vi, along with the task force, took. Those are her mistakes. Ones she should take accountability for, but is refusing to. Instead, it seems she's now blaming Jinx for her mistakes and wrongdoings. Which is kind of funny, because it's like, Jinx has done plenty wrong. Why not blame her for shit she actually did, eh?

Oh, but on that note: "I never thought my [sister] would orphan kids." It took me a moment to remember that the child Jinx orphaned was Ren, but I mean, Vi, sweetheart, you and Jayce killed a child last season when you were busting up a shimmer factory. Don't you remember that? Again, this is "violence is only okay when I do it." Vi definitely has a hypocritical streak going on when it comes to Jinx, and I think that we are supposed to recognize that. At least, I hope we are. I'll have faith in the writers that we are.

Anyway, those are my thoughts on that. I'd like to specify for anyone who has read this far that, no, I do NOT hate Vi, although right now I'm definitely more on Jinx's side because I think it is always morally right to oppose the police state, and again, Vi is coming across as a hypocrite. (Also stupid as fuck because, girl . . . Jinx is Powder is Jinx. Your sister grew up. Jinx did not "kill" your sister and is not "staining her memory." You are acting like a clown. Get it together.) But characters having flaws is a good thing, as it makes them more interesting, so it's okay that Vi is a hypocrite. I just wish that it got explored a bit more, especially re: her decision to join the enforcers and flood the Lanes with poison gas to "protect people" lmao.

Anyway. Can't wait for episodes 4 through 6!

[eliotquillon]

i have to imagine that at some point during chase and cameron’s fwb era, chase went back to aus for a trip. what about a time zones/jealous cam drabble?

sorry this took me FOREVER and is also not really jealous cam but more…pining cam?? argh. but i tried :) set between fetal position and airborne

In the end, it isn’t House who goes on vacation after they discharge Emma Sloan. It’s Chase; he walks into work one morning, a rare day when they’re not both riding in together, shoulders hunched and face pale, and says, “House. I need to talk to you.”

“You know I hate it when you do that,” House complains, but he must see what Cameron sees: the sunken gaze, the tense fingers. Who died, Cameron thinks, but his parents are both dead already. He leads Chase to his office and shuts the blinds. Cameron looks, and looks, and looks. Chase does not look back.

*

“I’m going out of town for a few days,” Chase tells her at lunch. They are attracting stares: the whole hospital knows they’re sleeping together now, no thanks to House. No thanks to me, Cameron thinks, a little guilty, and pushes another forkful of salad into her mouth. “Can you check on my stuff while I’m gone?”

“Out of town?” Cameron presses, selfishly wanting; she regrets it as soon as she says it. Chase presses his lips together, pushes his fries sullenly around his plate. Cameron is all too aware of the choreography. In two hours, the nurses will all be whispering about the big break-up—false for all the obvious reasons, but also because there’s nothing to break up. “What happened?”

“I have to go to Melbourne,” Chase says flatly. “There’s an issue with my dad’s will.”

“But I thought he cut you out of it,” Cameron frowns. She doesn’t mean to be insensitive with her bluntness. She only means to clarify; she had been shell-shocked, when he spat it out bluntly all those months ago, not at the specifics but at the mere concept of it. It’s the sort of thing you hear about, vague family gossip about a friend of a friend, but surely, Cameron had thought, it didn’t really happen. Surely people—mothers, fathers, great-aunts—were never really so cruel as to deliberately strike someone out with their last act in this world, not for no good reason. Chase spears a fry, and does not eat it.

“He did,” he says heavily. “Including the stuff he had no right to cut me out of. Can you do it?”

No, Cameron thinks. I couldn’t do it. I couldn’t handle it. I’d be a sobbing mess, not coming into work every day to flirt with a colleague and snipe at Foreman and save people’s lives. Not casually discussing it over lunch. But that isn’t what Chase is asking.

“Of course,” she says, “just leave me the key.”

*

She gets into the routine of it easily enough. It helps that she knows her way around Chase’s apartment already—though, of course, she knows the bedroom best. Cameron stops by every evening on her way home from work to air the place out, sort the mail, check there’s nothing spoiling in the refrigerator. Chase left at the last minute; there are still clothes in his laundry hamper, a towel on the bathroom floor, electronics still plugged in. When she turns on the TV out of idle interest, it is automatically tuned to a sports channel. Cameron laughs, and the way the sound rings out across the empty room makes her feel absurdly guilty.

It would be so easy to pry. She has the experience, after all—years of snooping around patients’ homes, always careful to put things back where she found them, and she’s far more familiar with Chase’s habits and floorplan than she is theirs—and, secretly, she has the desire. Without him here to distract her with his hands or mouth or terrible post-sex cooking, it is easier to admit her own curiosity to herself. It is easier to admit that she wants to know him beyond the scope of what he has already told her. But easier isn’t the same as easy. Cameron closes windows and throws out expired milk. She ignores the bedroom. She always leaves the key behind.

*

It isn’t that she misses him, at work. It’s simply lacking for a case—House is due to fly to Singapore the day after Chase is scheduled to return—and there’s scarcely anything to do. She has brief, cordial lunches with Foreman, spends the mornings doing clinic duty and the afternoons catching up on House’s permanently-backlogged charting. It is all very companionable; she has always liked Foreman well enough, save for the times he has given her reason to be annoyed, and without Chase to wind him up Foreman seems to return the sentiment. He only tries to broach the subject once.

“About you and Chase,” he starts, and Cameron’s pen leaves a dent on her chart.

“I don’t want to talk about it,” she says. It’s the wrong answer: she should’ve said, there’s nothing to talk about. It’s what she means to say, but for some reason her mouth won’t form the words. Foreman sighs, and his eyebrows make a grand leap of frustration, but he just nods.

“Don’t bring me into it,” he warns, and this time Cameron doesn’t bother trying to correct him.

*

Melbourne is sixteen hours ahead of New Jersey. It is natural, Cameron thinks, to wonder what he might be doing. It is natural, given the circumstances, to wonder if he’s alright. It is not natural to wonder if he misses her, but she finds herself doing that anyway. His voicemail beeps with messages; the sound of the dialtone makes her so irritated that she has to fight the urge to delete them all at once.

*

“Thanks,” Chase says when he comes back to work, jetlagged and small-looking and yet, Cameron hopes, a little pleased to see her. “You didn’t have to clean up after me.”

She didn’t mean to. She didn’t even want to, but her hands were idle and his phone kept beeping and once, while she was intercepting a delivery he must’ve forgotten about, she heard a strange woman’s voice ask about him on the speakerphone, words garbled through the closed hallway door. In Cameron’s experience, it is easier to resist temptation if there is something to be tempted away from. “I don’t mind,” she says. “Did everything turn out alright?”

“More or less,” Chase shrugs. He leans close; he still smells a bit like stale plane air and, Cameron imagines, a certain kind of foreign-ness. “Come over tonight?” he asks in a hopeful undertone.

Cameron is sick of his apartment. She would rather not examine why. “Come to mine,” she says, decisive, and rises to greet Foreman.

[wisebeth]

why does the pjo series have to unnecessarily villainize goddesses (hera & athena) or show them as silly ladies (aphrodite & demeter) BUT posiedon and apollo are somehow shown as the coolest/most likeable gods, even though arguably, they're right after zeus on terms of corruption?

ares shown as the worst god after zeus and hera amuses me. last time i checked, he was the patron god of amazons and literally killed a man for attempting to rape his daughter but guess who cursed women for rejection? apollo. guess who raped women when they said no (aside from zeus)? posiedon.

[aviolettrose]

I feel like, if Jason was ever de-aged, Bruce wouldn't leave his side and be the best dad ever for him (he sees it as a second chance)

[furornocturna]

AHHHHHHHHHHHHH!! I LOVE YOUR ART!! Your style is so cool and Luigi looks simply adorable! Lookit him!

I’m glad you loved my ramblings! I return to offer more, if you so desire…

I love the idea of Luigi’s wardrobe having some more “dapper” apparel in it. Wanting emulate his Count/father plus he just looks good. But that wouldn’t be his only form of dress. Luigi is fully allowed freedom in clothing choice, having a broad variety of both formal and casual dress, along with more familiar overalls and dungarees for when he gets up to Mr. L’s mechanic work. Mimi is wholly responsible for the size and variety of Luigi’s closet, and teaching him how to have good taste in fashion.

Mr. L absolutely does exist albeit very differently in this. A “superhero” persona to hide his identity both for the protective reasons you listed, but also for Luigi to have versatility in going on both reconnaissance and combat missions and not be recognized. But another idea I’ve weaved into it is still incorporating magical interference. This Luigi grew up having learned the ability to act from both Mimi and Dimentio, so he knows how to play a convincing persona, but would still struggle with being able to follow through with hurting the heroes. Especially if he’s gotten to know them more from interacting with them on prior undercover missions.

Dimentio uses a combination of artful manipulations and secret spellcasting on Mr. L’s mask to get Luigi in the mindset/motivations to have actual malice toward them to follow through with disposing of their enemies. It ultimately fails however as Luigi’s own will and inner magic is able to override the spellwork.

Luigi just has that effect. You can’t not love him!

Nicknames! That’s really cute and a great way to set up angst for the messy truth coming out. I also created another for Dad!Bleck to use, “mon petit cœur” French endearment meaning “my little heart” (which, fitting for the themes of love and hearts; and I’m making Bleck fluent in French because guys, his character is the most dramatic, romantic and lovelorn in the French translation. Making Luigi trilingual in this au! He learned Italian from Dimentio :)… have fun with that).

Yeah, their fight is… oof.

And on the subject… I’ve had these ideas for ages and I’ve actually written a bunch of scenes out for them?

In relevance to the thread, I screenshotted (sorry for the awkward cropping, posting on mobile) ones specific to one of their father-son interactions:

And from their fight:

I wish I didn’t have to go into work rn so I could infodump more on this. There’s so much more in store to share on this, the dynamics for Luigi’s other relationships in the castle, particularly with Dimentio (this one… prepare yourselves). But also the new bonds he ends up forming with the heroes as worlds clash and collide along with Luigi’s uncertainty on whose side he’s on anymore…

He wants answers.

And so does Mario, for that matter.

@severalratstiedtogether come get ur food

I love seeing so many people share their appreciation of Team Bleck being a family and wholly adopting Luigi as one of their own. Now I’d like you all to consider:

What if… Count Bleck found Baby Luigi while he was separated from his twin, and then he and the other raised him as part of the family into adulthood?

NOW THATS INTERESTING... we don't know the timeline at all of when count bleck lost timpani and also recruited the other minions so you could really get flexible with this one i imagine

a grown-up luigi encountering the red-clad hero of prophecy and being so startled because it's the first time he's ever seen someone who looks like him...

[stagefoureddiediaz]

Eddie’s arc gonna be so so so good this season

The Chris stuff is going to hurt so bad and break me but healing is coming for them both and I’m expecting a Chris-tmas episode reunion of father and son

[thelovers-thedreamers-and-me]

the downside to being a sitcom neighbour sort of person is that when rough things happen and emotionally fuck u up a lil bit, it also sounds completely made up

[ari-a1357]

The City’s Yours - Iris and Sholmes animatic

I started working on this in November and finally got around to finishing it lol. I love Iris and Herlock’s father daughter bond so much 🥹💕🧸🐇

[brainfilehasstoppedworking]

Me while holding Takaaki: I bet he's a great dad, sure, he ain't perfect, but he tries. He just loves his son, his silly lil guy who he wants to protect from the world. But they world just completely fucks 'em over, but shit, he just wants to see Taka smile and he's so proud of his boy.

Some of the fandom: Yeah...

Me:...

Some of the fandom: *makes Takaaki the worst father ever*

Me: FUCK!

[g00seg1raffe]

Can i share something that happened to me last year

I'm minding my own business and this guy who I kind of know but wouldn't really consider myself friends with (trauma bonded on a school trip last year and haven't spoken since) comes up to me like hey, what are you doing? And I say: world-building the ancient history of Lord of the Rings. And then I proceed to tell him all about the various genocides of the first age, with a side note on Maedhros' Quenya name, which literally means 'the hot redhead who's third in line for the throne', with his mother name meaning 'hot damn', his father name meaning 'third of the king's name' and his nickname meaning 'redhead'. Then I explain that loads of elves get nicknames, like Gil-Galad and other people who I can't remember.

And he goes cool, can I have an elvish nickname? And I say sure, what do you want it to mean?

And he goes: big daddy

and I don't know what's more embarrassing: a) he thought that, b) he asked that, or c) I could translate that off the top of my head.

[selfinflictedgunshotwound]

having twin peaks thoughts & theories bc i just started watching the return (i know spoilers ofc) and i have literally nowhere else to put my thoughts so i'm just gonna dump them here.

obviously i don't every single thing about twin peaks was meant to just be like... One Thing and that's it. i think there's room for interpretation for a reason butttt the one thing i just keep going back to about the show is just that. like. it's about the corruption of innocence and the perversion of family. of cycles of violence and abuse. children being sexually taken advantage of by "trusted" adults. teenage prostitution rings. barely a single relationship in the town wherein people aren't cheating on someone/cheated in the past. bob being "the evil that men do" (tbf this is technically just albert's theory but i choose to believe it) and now this weird thing with judy/the experiment (are they the same thing? idk yet) being the thing that CREATED bob? there's this weird thing i get with the black lodge/waiting room like... good people can't survive there without disappearing completely (nonexistence) or being permanently changed (in the case of annie, ig)

and then ofc you have the tormented souls being trapped there (laura, maddy, caroline(tbh idk what was going on w her doppelganger being there?), leland(he was originally a victim too, i'm getting there)) because of the things that were done TO them. i was thinking like. in regards to the frogmoth that crawled into sarah's mouth (when she was a child) and everything that's going on w/ her in the return (watching insanely violent things on tv, "eating" men, etc.) ... compounded with leland's story about bob "I was just a boy. I saw him in my dreams. He said he - he wanted to play. He opened me and I invited him and he came inside me." ... mr. c's introduction song being a twisted version of "american woman" (i've heard this is also related to diane's doppelganger, as well. makes sense) w/ the stand-out lyrics (aka the backwards ones) being "all my headstrong women... don't let em put you in a corner. make em salute you like a flag on the fourth of july." and sarah palmer having a shortened and remixed version of "good man" blaring in her house that just repeats the lyrics "i'm a good man. i'm having fun." like. there's smth to this i'm not insane...

anyways to go even FURTHER... there being specific emphasis on being in the right time and the right place. opposites (giant and dwarf, young and old, black and white, etc.) and the planets jupiter and saturn.

the experiment violently killing that couple that was watching the glass box bc they were having sex? or because they were(n't) watching? or both? the experiment very obviously being the thing inside of sarah but it pulling off it's own face within sarah and revealing a smile that looks eerily similar to laura's (even if not exact... ppl are such pedants about things being exact in this show where literally everything is drenched in like 8 metaphors at any given time) AND the laura in the black lodge/waiting room removing her own face in the exact same way. it's weird that in this instance, laura's dialectical opposite or opposing force is her own mother who she claims she has so much in common with. but this goes even a step further because when the experiment spawned in the glass box, it has a gold orb (or smth like it) like the one laura's like... spirit? was born from? AND APPARENTLY there's a little clip of what sounds like sheryl lee's voice saying "gone" or "the one" or something like that while the experiment is flying towards them (not unlike an owl) to kill them... hm. not to mention the experiment has a proboscis-like knife that comes out of its mouth that it uses to kill the guy sexually harrassing sarah at the bar... and carrie page has a dead guy in her motel room that has a hole in his head... could obviously def just be a bullet-wound LMAO but idk let's have fun w it!

i do think there's a crazy connection between sarah, laura, and the experiment/judy/whatever. "the room seems different... and men are coming. something happened to me. i don't feel good..." obviously, i will be able to make more connections and add to this theory as i watch more but from what i've seen i think there's a huge connection to children and how easily it is for them to be taken advantage of (literally every member of the palmer family was taken advantage of as a child when an evil entity entered them. i mean. how more on the nose can you be!!) or for their innocence to get stolen (prostitution, drugs, murder, becoming child brides to abusive older men... the list goes on). and there's obvious themes of intense sexual violence and dreams and blahhhh. it's like 5:30am and i'm theorizing about a show that will never have an actual answer LMAO... to be fair though it's not ABOUT actually "solving" it for me. i think most media works well when you get what you want or need from it and just kind of make that The Point and, for me, twin peaks will always be about the tragedy of laura palmer before it's about anything else!

i really do like that theory that dale cooper is just like. an entity that laura dreamed up to save her originally but in the end, after she had finally escaped being laura palmer and that life and that house and her trauma, he ended up bringing her right back to it. it's like. how does that not make people insane?

[velvetreds]

me when i want to eat suna as in nom nom nom likr chicken fry but i need to be normal

[carefulfears]

i’m ready for the californication analysis like i’m ready for presents on christmas day

i actually cannot w y'all sdjkfsk

[infizero]

blah blah blah YES norman was going to allow ruby to partake in contests. doesnt change the fact he beat him up lol!

[todayisafridaynight]

tsutsumi gotta be the funniest choice to play sawashiro since he really does encapsulate his casting career of both action roles and being dad of the year (most of the time)