#let me know if this is okay too friend!! :)

[thebrainrotsreal]

Drew this real quick because I fucking love these two so much ???? Especially Bee. I wish they interacted more so badly. PLEASE.

Also learning how to draw these guys.. slowly.

[stupid-elf]

Growing up with strict, neurodivergent parents while neurodivergent yourself will have you as an adult acting like you've recently escaped the feywild. What are the tricky rules? Is everything accounted for? How do I ensure I don't accidentally step over the line into Impoliteness. You know the consequences aren't death and dismemberment but you might look down one day and find you've lost your shadow and all of your friends if you're not careful

[b0nelessdoodles]

was feeling the sad beige mom in my soul tonight so had to doodle a her 'cause its a crime i don't draw more mystic flour tbh

also have my dumb message to my friend about it

[dont-be-a-gonk]

I can imagine an array of horribly tragic and dramatic scenarios happening to Johnny and V without feeling any remorse, I truly am above such pointless emotions update: thought of them happy and cried

[butterflysonnets]

yes i'm rooting for m*leven breakup because byler is neat but mostly? i'm rooting for m*leven breakup for the sake of el and mike.

to me, their romance was always a puppy love born out of a combination of social pressures, naïve curiosity, and a lack of true understanding regarding intimacy and romantic love and what it really is. it was real in that they do truly, deeply care about each other and they are close friends, maybe even shared an attraction, but a maturing romance is so much more than that. they've grown up and out of being boyfriend/girlfriend, and that's okay! i think television/film needs to show more often that most of us don't have definite "soulmates" or first childhood loves that we spend our whole lives with. it doesn't mean these relationships meant nothing and didn't impact us, it just means they've run their course and that something else is in the cards, and this is part of life!

i've always felt el was at her best and most confident self when broken up with mike, discovering who she was and what she liked alongside another girl her age instead of just relying on mike for mentorship on how to live in the real world. she deserves more of an opportunity to find herself, her autonomy, and her independence, and to love who she is, and she's made it clear she's felt insecure in the relationship with mike because she isn't being loved and understood the way she wants, needs, and deserves from someone who is her partner.

also, it's okay if mike doesn't love her in "the way he should". he is not obligated to love her romantically and stay in a relationship with her just because she's a girl, because she "needed someone", or because he cares about her a lot. he shouldn't be pressured into a romance if it's not truly coming from his heart. he deserves freedom to find out and honour who he is, too, instead of just staying in his non-functional first relationship — one he got into as a child, essentially — and defining himself that way because it's what's expected when a boy and a girl are close. he loves her in some way, yes, but it's okay if he doesn't feel comfortable or secure being her boyfriend anymore, for whatever reason that is. he's felt insecure too, and that's valid and it matters.

they are their own people and are steadily growing and changing every day. they need time to figure out who those people are, and it's become clear (at least in my opinion) that those people aren't meant to be a couple at this stage.

they deserve freedom. they deserve to grow up and be authentic to themselves and not feel like they need to lie for the sake of a relationship. they deserve to move on from this version of their relationship that isn't making them happy and rekindle the best part of their bond: their strong, beautiful friendship. they don't have to be a couple if it doesn't make them stronger and better and happier people.

i think it would be healthy and wonderful for a show, especially one consumed frequently by young adults, to show a relationship starting, progressing, and ending on good terms in this way. sometimes things don't work out, and that is okay.

[lovesickeros]

☆ i dream of embers

{☆} characters arlecchino {☆} notes no au, drabble, gender neutral reader {☆} warnings none {☆} word count 1.1k

The House of the Hearth is quiet — or, if you really wanted to be precise, the rats scuttling through the walls are working around the bubble you exist in. The children dare not tempt fates hand unless you asked for them by name, a contradiction. An order to the rules — they mustn't approach you with trivialities, but they must listen if you speak. Your words carry more weight than gold in this house, whether you know it or not.

A tenuous position.

You haven't done anything to earn their reverence, their almost acrid fear — but Arlecchino has. She wields her silver tongue with as much ease as her polearm, ensuring your care in her absence. Her devotion, her service, is felt in the warmth of her chambers, the silks she adorns you with, the bed so soft you feel as though you melt into it. A gift, a promise — a gilded cage need not be something undesirable.

You've grown used to the encumbrance of her presence, these days. The deep timbre of her voice, honeyed yet melting into something rougher, quieting into haunting silence as if she seeks not to disturb you. Dim candlelight is all that illuminates her broad frame as she slowly presses the door open and closed behind her, pallid skin streaked with darkening red, her bottom lip smeared with it like lipstick. There is a tension to her shoulders even when she sets aside her polearm, out of sight and out of mind, harsh lines on her face visible in the deep furrow of her thin brows.

Here, she let's the weariness settle deep into her bones — it's just the two of you, even if she hasn't acknowledged you at all. Still, it's a vulnerability she shows no other, even if that vulnerability is hidden behind layers of barbed wire and teeth.

You watch rather idly from the bed as she wets a cloth in a basin of water, the bed creaking beneath you as your feet sink into the plush rug beneath. You know from experience that trying to help her is like trying to soothe a wild dog, but your knuckles brush over the sharp line of her cheek anyway, free hand stealing the soaking cloth from her hands when her jaw flexes and tenses beneath the pads of your fingers.

It is only then that she looks down at you, eyes as sharp as blades yet so indescribably warm — like a flame licking at your skin, burning so deep you feel it linger for weeks after. Arlecchino is not soft, far from it — but she blunts her jagged edges for you anyway, brushes her lips against your knuckles and allows you a moment of adoration. Carves her worship bone deep in the ghost of her touch against your lower back as she leans down, let's you wash away the blood certainly not her own, never blinking as if you'd simply up and leave if she stopped looking at you for even the smallest moment.

You are well aware she is caging you in. You let her.

Though she is still stiff as a board up to the moment you set the washcloth over the side of the basin, her jaw flexing again, a moment of consideration given. She is not used to soft and brittle things, though — not used to touch that does not lead to steel at her throat, in her gut, carving out softness like a butcher carves up meat, section by section.

But this affliction of affection is stronger than the discomfort, at times.

You almost half consider letting her take the room and have a night of proper rest, but she is faster than you — a calloused hand tilts your head back, half lidded eyes glinting beneath the weight of exhaustion, her thumb firm against your bottom lip. She could kill you without even blinking, you are aware, but she is nothing but careful with her touch — not soft, not Arlecchino, but there is adoration in her touch. Like thumbing a locket portrait, trying to imprint their features into memory by touch alone.

Her touch is fleeting, but the warmth lingers long after — you don't need to be touching to feel the weight of her attention. She stokes the flames of the dying fire, has one of the children bring a fresh pot of tea, lingers even when she doesn't have to. You're sure her desk in her office is far more comfortable to work at, but she'd crammed a small desk into the room anyway, stayed even long after you fell asleep most nights. You never did get to stay up long enough to notice her slip in beside you, nor wake up early enough to find her there with you, but the heat lingers — she leaves breakfast at your bedside table, a small note of affection if she's feeling particularly sappy. Even when you don't see her, she makes sure you feel her presence however she can.

Neither of you need to speak to express it. The silence is..oddly comfortable, filled by the shift of paper or scratch of a pen, the clink of a cup or crackle of fire. It's a little too easy to get lost in watching her work, masking a smile whenever she glanced back at you with a question on the tip of her tongue that goes unsaid.

It's better that way, you both think. The silence was best left undisturbed — as if trying to break it would be like breaking the mirror to each others lives. You don't busy yourself in the affairs of the House of the Hearth, and she doesn't make you. It's better that way, too. Maybe that makes you naive, blind even, to the bodies at her feet piled so high she could drown, but you don't want to give up this fragile tranquility.

So you let the dull scratch of a pen lull you to sleep, try not to smile too much when a hand reaches out in uncertainty to cup your cheek, thumb brushing over your cheek with so much affection it makes it hard to breathe.

It's a tenuous balance, but come the next night you will wipe the blood from her cheek again and she will care for you the only way she knows how — distant service.

And when you wake up to an empty bed, warm despite the fires long burned out, you'll still feel her presence in the allure of a warm drink and pastries at your bedside, a note tucked beneath the plate.

Just like the day before, and just as you expect tomorrow to be. But one day you'll gently pull apart the barbed wire and be let in — not today, no, but someday. It's a slow process, but you're patient enough to wait — and when she let's you in, you'll tend to the scars that it left like you've always done.

One step at a time, one day.

[lanternlightss]

sometimes i wish nameless bard somehow were still alive because i would do anything to see other characters’ reactions to him casually saying “my venti”

[iwanttobepersephone]

So, homeless Halt huh?

What, right after leaving Clonmel and bedore meeting Crowley, or a fully new context au style.

The first option, yes!!!

I decided that 17 was FAR too young for TEY, so I kinda just added 3 extra years in between leaving Clonmel and meeting Crowley, making him 20 at the time of TEY. (Well, technically, he was 19 when he met Crowley and turned 20 like 2 weeks later, but that's being unnecessarily detailed lol)

I like to think that, because Halt was a prince, Pritchard could only teach him the skills in isolation, and not how to use them. Y'know, like learning how to pick a lock on some little play toy you out in your lap, and then having to actually do it on a real door. So, these 3 years were when Halt had to transition from aiming at a target to aiming at an actual animal. There were also things like how he knew logically how to set up the tent and then realized that actually doing it was just different enough to make him feel dumb.

This also, btw, puts Halt as a homeless, jobless, (illegal) immigrant who speaks the language at a 3rd grade level during the height of Morgarath's rule. So. He had ���fun!! ✨️

By the time he met Crowley he understood the language a lot better (3 years of actually living in the kingdom will certainly help with that) but he still kinda struggled a bit. I like to think that he can't pronounce Morgarath's name and always ends up calling him "Morgor", "Morgaah", or simply, "lighting man". Why? Because it's entertaining, that's why

The fic I'm writing takes place when he had JUST moved to Araluen, and wasn't quite so stone faced yet. In the fic he finds a group of other homeless people, mostly other immigrants, who let him stay by their fire that night and help him fix a couple things from his saddle bag. It also centers heavily around his relationship with his old horse, Declan, from before he got Abelard, and how that horse was his only reliable source of companionship

[ohitslen]

I am here, once again, with my Ao No Flag propaganda

These two specific panels of Toma were the thing that made me think over a year ago “Man. I want to be like that too” as in KAITO drawing expression because—

The subtle shift of emotion, it’s present all throughout the manga, but this is what sold it for me. For no particular reason, it’s not even the best example, it was just what sealed the deal to me

[ratatatastic]

lmaoooo maffhew wanting the knot immediately and having to wait for sasha to catch up with that is so deeply funny like. this omega is not subtle and you’re not a stupid alpha babe! can only imagine what benny has to say to maffhew about it once he catches on and stops banging his head against a wall

idiots to lovers is always great but especially when its two people who would be hitched with 10 kids by now if they stopped being dumb for a single second like its that easy and yet...

to me they very much fall around the same time (infatuation at first scent if you will) just that sasha takes some time to get there not because he's dumb (okay he's a little dumb) but in the sense that its like "this person is very interested in me, i can see and recognise that but theres so much cognitive dissonance in my brain right now between knowing that intrinsically and finding that hard to believe so i unintentionally play dumb because obviously i'm reading too much into things it cant be me they're interested in haha that'd crazy but they're being awfully touchy and flirty with me wow"

but also it takes two to tango and we have to acknowledge that and this is when i would love to bring up the ways in which this man decides is the best way to go about that because he is a catholic school girlie... there's so much hilarity to be had here especially because his flirting is very uh how you say... a little ass backwards if you will especially considering dynamics

"I make it a point to keep the door closed when we're alone in a room together! That's basically a clear invitation that I'm down to fuck!!! Im basically asking to be ragdolled on his knot!!!"

and Benny just pinches the bridge of his nose like "I don't know how to explain to you in a way you'll understand that not everyone went to Catholic school."

But saying that Sasha does side-eye the door knob heavily when Maffhew goes over to close it the first time and he starts sweating like he just got dragged into a game of 7 Minutes in Heaven he did not sign up for and he's 13 again and oh god he got paired with a really cute girl, and he hasn't even had his first real kiss yet and-

And then absolutely nothing happens because Maffhew is just waiting with a polite expectant smile (because his work here is done, he did the heavy lifting know it's Sasha's turn) and this is when Sasha's dynamic classes training kicks in and he basically scolds himself for even assuming in the first place because this is clearly a show of trust (correct) not an invitation for extra circular activities (incorrect buzzer noise) and it basically becomes "This Omega really trusts me, I'm honoured especially as Pack Leader that I'm able to be so accepted into such a private space with the inherent knowledge that I will not encroach their boundaries whatsoever because consent is verbal, this is not in any way an invitation to take advantage of them this is deep platonic trust I will guard with my life :]"

and if you listen closely you can hear the lovely sounds of Maffhew bashing his head into a wall about how much of a gentleman Sasha is but also COME ONNNNNN... you know... once Maffhew realises what's happening which (looks at my watch) is not due for another few months really

Battle of wills: unstoppable force (maffhews catholic school understanding of dynamic interactions) vs immovable object (overseas alpha cotillion classes)

And if you think it's an Oh! An overseas dynamic thing! It's not. The Euros are watching the horrible car crash in front of them and doing absolutely nothing about it because it's none of their business, but they will stare at it... maybe judge it a bit but definitely are observing from the tall grass.

and I'm also not saying that luosty lundy forsy and bobby have a current running bet of how long it'll take for maffhew to break sasha in but i'm also not not saying that... luosty goaded lundy in the midst of a gossip session ("It has to be 3 months, right?) forsy happened to be around so lundy turned to him for advice ("7 months.") and maybeeee bobby overheard from all the way over from his stall and puts in his two cents for what it's worth ("6. Captain nice but not that nice. Very impatient." "So 3!" "No. Impatience makes him double the time, and wait longer. 6 months.") (lundy finally settles on a good 5 months because he's indecisive)

And Sasha does eventually pick up everything maffhew is throwing down... eventually... and when he does it becomes more so I want to court this omega the way they deserve I will take this slow and romance them sweetly :) *smash cut to maffhew caterwauling like a cat in heat*

but also once again its not like maffhew is helping sasha in any way this is idiot4idiot and benny would like to enjoy the car crash with the euros but unfortunately that's his soulmate, thats his bestie, his littermate from birth who has been weaned on the same teat as they climbed over each other to get to it, the first girl you kissed in your childhood bedroom because somehow you started play fighting on the bed because she was like i could totally pin you down easy and then she does and you always noticed how beautiful she was but shes even more gorgeous when she's pinning your wrists to your hannnah montana duvet you promised yourself youd changed out before she came over but you forget and well she teased you about it and you cant help but giggle about how perfect this all is and it seems that the natural conclusion to this is to taste the strawberry lipgloss of her lips because whats a kiss between besties huh its tacky and sticky and it tastes like summer and just other apt metaphors to put here about the inherent -isms of their relationship that i nearly cant put to words properly other than girls having fun (they are fucking)

and well anyways benny is watching and he has a lot of things to say about how its been proceeding so far

"You should really use your words."

"I am!"

"Right because smelling like a fucking perfume shop in the middle of October is using your words."

"This usually works with most Alphas okay!"

"Sasha isn't most Alphas."

"Tell me about it." Matthew grouses before he peeks over to Sam, looking up from beneath his eyelashes—the exact way he knows both endears him to Sam but also absolutely miffs him all the same, "Worked on you, didn't it?"

"Oh, is that what we're doing right now? We're calling getting a lapful of a preening O in preheat in the middle of a roadie a normal way to go about these things."

"It worked didn't it?" Matthew reiterates.

"It would work better if you use—"

"Okay! Alright!! I get it!!!" He does not.

like benny here is unfortunately an active listening participant in the going ons of the fuckery if not because hes involved by proxy because of maffhew because who else will hold his hair back as he calls him a dumb bitch you know

[hollowfairybabybat]

lemme tattoo u with some dumb lil cute design then u n then tell everyone its ur kids drawing

[meezer]

my friend asked me to run an errand with her tomorrow I'm so happy about it 🥰🥰🥰🥰🥰🥰🥰

[girlivealwaysbean]

i think growing up is just life repeatedly sucker punching you and saying bitch you thought things were gonna better lmao no you're so naive and stupid for having hope in 20 years the world will be flaming bag of garbage and no matter how hard you work you'll get eliminated at some point

[soap-is-an-artist]

Hooray... it's 7 in the morning and I stayed up all night listening to the imperium... I feel so happy and satisfied with my life choices...

I am feeling very much not cowabunga, dude

[SEVERE rambling in tags]

[inkykeiji]

hihi! your rb with the tags about your profession had me intrigued and I wanted to ask, what DID kill the Hollywood system? if you don't mind me asking >u<

HI HI HI HEHEHE first of all i hope you’re doing well!!! seCONDLY OMGGG thank you for indulging me waaaaah i love talking about golden age/classical hollywood and the studio system!!!

beware: i rambled on and on below the cut >.< apologies for the mini essay in advance waaah

OKAY SO. first, a little context. the classical hollywood studio system originally utilized a practice called ‘vertical integration’, which basically means they owned and operated ALL channels of production, distribution, AND exhibition—aka, they controlled literally everything in regards to the films they made, which was like 90% of american filmmaking at the time. this, naturally, made it quite difficult for any film that wasn’t a film made by the Big Five (warner bros, paramount, 20th century fox, RKO, and MGM) or the Little Three (columbia pictures, united artists, and universal) to be screened at a theatre, because the studios owned a decent chunk of the theatres.

furthermore, the theatres the big studios DID own always got first run of their films, meaning that their movies were exclusively screened at the theatres they owned first, then were passed off to second run, third run and fourth run theatres. it’s important to note here that the film prints being distributed and passed around theatres were the same all throughout a film’s run—so by the time a print reached a fourth run theatre, the film stock was all scratched up and low quality. who wants to go watch that? (no one! audiences flocked to the first run theatres owned by the studios!).

the antitrust case between the supreme court and paramount pictures (aka ‘the paramount decrees���) was the first, and heaviest, nail in the coffin of the studio system. the paramount decrees did two things. first, they forced studios to stop a practice known as block booking. block booking was a practice where theatres not owned by the big studios were forced to buy a huge block or batch of films in advance. usually, these films included one A-list film and then a bunch of B-movies and other less desired films. second, they forced studios to cease owning theatre chains, which allowed for indie directors to begin screening their films, AND it allowed for more international films to be shown (which in turn helped break down the production code & replaced it with the ratings system).

this began the end of the system! it was then further impacted by consumer culture, car culture, and suburbia. after world war two, many people moved out of the city and into the suburbs, where they began to start families. car culture was booming and it was hip to have a car that you could use to commute to work (from the suburbs into the city!). disposable income was abundant, and many families were buying fancy new appliances for their new suburban homes—including televisions.

it’s a common misconception that TV killed the studio system. it was, in actually, only one of several nails in the coffin. television at the time was pretty crummy; it was low quality, the screens were small, and it only had about three channels (not to mention studios began allowing television networks to begin screening older films that no longer ran in theatres). but evidence proves that moviegoing attendance had fallen drastically several years before televisions became a fixture in the home. to combat TV and capitalize on car culture, studios began erecting drive-ins, to little avail!

anyway, i could go on and on and on but basically, in a nutshell, those were the handful of things that broke down the classical studio system and gave way to ‘new hollywood’…which then gave way to the blockbuster.

[kyouka-supremacy]

Well.