#like Owen Wilson would say :

[the-bi-fangirl-biatch]

"Sorry, single dad, gimme a second"

"...Are you still on the market?"

"But wife is long gone and I can't ride two of 'em"

Mobius, I think he gets it, you're single 🤭

[martianbugsbunny]

I would like to know what Owen Wilson's thought process was when he decided that Mobius should call Loki a pussycat in season 1, like sir that was a phenomenal decision we stan

[bisexualpercyjacksons]

like to boost in the tags, reblog for a larger voting pool please!

[barbie0303]

31 Days of Dick (Grayson)

Day 1. Quote

Justice League of America (2006) #55

Because last year I picked quotes that were a bit more inspirational, this year I decided that the other two were going to show Dick being a bitch, lol

Nightwing (1996) #112

Outsiders (2003) #47

[clockwork-stars]

Actually, I don't want to be loved like an Hozier song ! I want to love like an Hozier song, hope that it helps 🫶🫶

[professional-termite]

Gonna be honest, I only see you as looking as your profile picture…

Owen Wilson Cowboy Looking 🫵

iefjjf people have told me this before 😭😭 very entertaining idea tbh

[ekkoh]

i haven’t thought about the loki show in like… 2 years?? anyway, visual representation of me being dragged back in kicking and screaming

[beefycupcakes]

I watched the Cars trilogy recently and with that came a wave of nostalgia and a strange desire to make my own designs for the cars as humans. Aka taking all the charm out of Cars but scratching the brain itch.

So, no need to drag out the intro any longer, I have some notes written out about em for those who might be interested or just bored.

Lightning McQueen:

I tried to make his suit look as professional as possible, with references pulled straight from McQueen's paint job/stickers, while also keeping in mind that I do intend to draw him more so I didn't want to go too crazy with the design. In a perfect world I would've let my maximalist cravings win, but alas let's keep it digestible for my sanity.

I feel like everyone's kinda on this unspoken agreement that McQueen as a human would pretty much look just like Owen Wilson, and that's the big picture here. I used Wilson as inspiration while tweaking and exaggerating a few things to my preference. (Okay, well not everyone, lmao.)

The chevron markings on the front cut off at the side seams not wrapping around the entire suit as to not clash with the sponsor logo on the back.

Also, he's wearing special gloves to help him grip & have control over the steering wheel. I think sometimes that looks a little weird when his sleeves are down & cuffed, but I just feel like he needs to have the gloves there— especially when he comes out of the top half of the suit. (It's also lowkey supposed to mirror his 4 tires when you consider his shoes are also black.)

So yeah, that's basically all I have to to say regarding Lightning McQueen's page. I feel like a lot of my design choices are self explanatory and, honestly probably shared universally... I mean, he's really cut & dry. (But I love him ⚡︎)

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Mater:

I'm not gonna lie, Mater was a bit challenging for me. I definitely had to step out of my comfort zone but I wanted to stay true to the character and not butcher anything.

My first thought was to give him a fishing pole to substitute for the tow hook— but then the more I was thinking about it, the more that felt so... out of place? Radiator Springs is in Arizona, which is (not entirely, but mostly depicted in the movie as) a desert. And even though there are beautiful bodies of water in Arizona, in the movie I don't recall seeing any prominent ones, at least in relation to Mater. So, scratch that, instead I gave him a lasso, which isn't supposed to entirely substitute for the tow truck— no, he still drives a tow truck, but the lasso is so he can grab people/things similarly to Tow Truck Mater (very cartoony). My explanation for this is the cattle ranch. Yeah, Mater is a tow truck driver but perhaps he has a side hustle, or hobby, if you will.

Also, I didn't want to make him... dirty(??) Like, yeah, of course, Mater would obviously get a bit filthy from time to time, it's just in his nature, but that is NOT going to be the core of my design. In regards to the rust happening on him, I felt like instead I would substitute this with being very tan. Again, Arizona is a desert. Because of this, he would take off his shirt often, and this would substitute for the missing hood like on Tow Truck Mater. The removal of the shirt also reveals just how tan Mater actually is.

It's his uniformed overalls that have his original aqua color, but from years of wear & tear they've been patched up with brown patches, this would also reference the rusting. The one strap is supposed to mimic the one headlight being broken, and I know that's a stretch, believe me, I wanted to do something with his eyes but eyes are not the headlights in the Cars universe..... think about this. Think about it really hard... if you know what the headlights are in the Cars universe then this actually makes perfect sense.

He is taller and wider than McQueen, which is a reference to the literal frame of their vehicle counterparts. (A little hard to picture with these images, but eventually I'll draw them together!)

▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄

That's all I have to say really, but do let me know what you guys think! Gas it up and it might encourage me to make a part 2 with some of the other characters! Who would you like to see next? ♡ Thank you so much for reading & have a great day, Kachow!!

[frankenstein-ate-my-left-shoe]

good morning!! it's @henderdads' birthday!!!! happy happy happy birthday to youuuu cass!!!

The minute Eddie Munson turned 18, he could see it; the only color he would see until he and his soulmate kissed for the first time.

Yellow.

Rays and rays of warm yellow sunshine, the middle light (and middle light only) of the one stoplight in town, one half of their school colors, the dandelions spotted agross the grass between the trailers, the stubborn daffodils that keep reappearing in Ms. Wilson’s garden though she’s long since passed…

The half-toned things he’s told are green, half yellow, half blue, and that he got lucky his soulmate’s favorite color wasn’t black or gray (then he felt glad he’d settled on a different color than either of those by time he was older, he didn’t want to subject his soulmate to more black and white..

After Steve Harrington turns 18, he can see the color of the lipstick his mom wore in their last family portrait, the color of the punch that gets spilled all over Nancy’s shirt at Tina’s halloween party, the stripes and piping on his godforsaken Scoops uniform, the red of his own blood rushing down the drain beneath his feet.

The dark tone puddled beneath Eddie’s limp body in the Upside Down.

The same color splashed onto Dustin’s arms and legs.

Pressing his hands into it to stop it from spreading, to start it flowing again, Steve presses his lips to Eddie’s once…he hasn’t done CPR since he worked at the pool….twice…”C’mon man, don’t leave him like this.”....

The third time is when it happens.

The feeble beat of Eddie’s heart starting again, the push of breath into his lungs, the sudden flood of cool, dark colors around them. 

“Eddie? Eddie! C’mon man, stay with me.”

It looks like it takes a herculean effort to do so, but Eddie’s eyes open. “H–hey, Harrington. Wh–”

“I’m going to pick you up now, Ed,” Steve says, doing just that, tucking Eddie into his chest and starting for the trailer. “El is keeping the gate open for us but we gotta hurry.”

The four of them manage to get him out through the gate and into the RV, this time with Nancy behind the wheel. 

Having to let him go at the doors to the ER is one of the hardest things he’s ever had to do, but he manages, Robin telling him over and over again that she’d already called Eddie’s Uncle and that he’d be safe.

While they’re waiting, filthy and exhausted but victorious nonetheless, Nancy says to him: “It’s blue, by the way. The…everything down there has some sort of blue tinge to it.”

Steve doesn’t ask how she knew, just appreciates that he can look at something and she’ll tell him the name of the color. 

The pattern of the chairs is orange and purple, the plant in the corner is green (“All plants are some shade of it for the most part.”), the wallpaper is his favorite though.

“It’s yellow.”

“I guess I know what color Eddie’s been seeing the past few years..” It’s the first and last thing he says until Wayne Munson comes to get them.

“You three need’ta be looked at too. Not jus’ Henderson.”

He leads them back to a room, and Steve recognizes Dr. Owens there waiting for them.

They get looked over, they get cleaned up, and Steve gets a shot of something that’s supposed to help stave off anything those flying rats may have given him.

And for the next week, he stays. 

He and Wayne maintain a constant vigil at Eddie’s bedside. Wayne leaves for his shifts when he has to, Steve is allowed to stay because of his soulmate status, and Eddie wakes up a little more than a week later.

Wayne had left a couple hours ago, so Steve will have to call him at the plant but first: “Steve?” Eddie manages to croak out when his eyes crack open the first time.

“Hey Eds, welcome back to the world of the living.”

Eddie shuts his eyes and huffs a laugh, then cringes, “Still painful as always, I see.”

“Oh yeah? What else do you see?”

Steve watches his brow furrow as he tries to make sense of the question, watches as he opens his eyes again, a bit further this time, and when they widen in amazement as they travel around the room.

“What–? What the hell..?” The heightened beeping of his heart monitor makes Steve feel almost giddy, getting to watch him see this for the first time. “What nurse kissed me while I was out?” He pauses, staring down a painting of colorful wildflowers on the opposite wall before turning back to Steve. “And can they come back so I can get more pain meds?”

Steve chuckles as he stands stiffly from the hospital chair he’d been all but glued to for the last week, reaching over Eddie’s head to press the call button.

“What’s so funny?”

“You, of course.”

“Thank you, I try, but what’d I do this time?”

“It wasn’t a nurse, Eds.”

Eddie blinks at him for a moment, confused, “I don’t quite have the brainpower for riddles, Stevie.”

Steve’s stomach flips at the nickname, “It wasn’t a nurse, it was when we were still in the—down there.” he pauses, feeling suddenly embarrassed. Did Eddie want it to be him? His first assumption was one of the nurses… “Someone had to give you CPR.”

He watches as Eddie scrolls through what he can only assume is a roster of their “Team Vecna”; Nancy? It’s been known that she’s been able to see in full color since she and Jonathan got together. Dustin? Yeah..no. Ro–

“And it wasn’t Robin.” Steve says when he sees Eddie’s lips curl into an ‘R’.

“Then who—”

It dawns on him at the same time the summoned nurse arrives with a new shot of whatever it is he needs.

She leaves with an excited “We’ll call Wayne!”, and Eddie drops his head back to his pillow.

Steve’s stomach twists anxiously. “Eddie?”

“So you’re telling me that the one and only Steve Harrington gave me the kiss of life and also the gift of colorvision, and I wasn’t conscious enough to experience it properly?”

Steve ducks his head, scratching behind his ear nervously. “Uh…yeah…? Sorry Eddi–”

“Can you do it again?”

His head snaps up again, “Huh?”

“And preferably before I lose the battle for my consciousness?”

Eddie’s face is soft and open, a smile quirking the pink of his lips and crinkling those dark eyes of his…Who is Steve to tell him no?

He smiles softly in return and stands.

Leaning forward with his weight braced to one side of Eddie’s head, the other hand coming up to cup his uninjured cheek, Steve kisses him properly for the first time.

The first of many many many more to come.

eeee i hope you liked this little thing!!! i've never written anything w soulmates before!! 🥹 i hope you have the most bestest day today, friend!! 🫶🫶

[onlydylanobrien]

Live from New York, It’s Dylan O’Brien!

The 33-year-old plays Dan Aykroyd in Jason Reitman’s Saturday Night, and he’s not sure he hit it out of the park. But he’s okay with that.

DYLAN O’BRIEN HAS led movies that grossed hundreds of millions of dollars at the box office. He’s shared the screen in a thriller with Michael Keaton (2017’s American Assassin), exchanged jokes with Vince Vaughn and Owen Wilson (in 2013’s The Internship), been a long-running MTV teen heartthrob (in 92 episodes of Teen Wolf), voiced a Transformer (in 2018’s Bumblebee), and, hell, went toe to toe with Larry David while playing himself on Curb Your Enthusiasm. At 33, he’s accomplished a hell of a lot.

By the time we meet at Men’s Health’s New York City offices to chat on an early September Friday, I’ve already seen a lot of his work. I’ve always liked the way his relaxed demeanor on-screen fits with an undeniable movie-star look—and that holds true in his latest project, Saturday Night (in select theaters now and out nationwide on October 11), in which he stars as comedy legend and original Saturday Night Live cast member Dan Aykroyd; the movie is a depiction of the chaotic 90 minutes before the very first episode of SNL. But I wasn’t sold on his sheer determination—the pure conviction in his character—until I learned that, like myself, he’s a long-suffering fan of the New York Jets.

“I get psyched for the Jets,” he tells me, rocking a full beard, a T-shirt, and a pair of comfortable lacrosse shorts. As he finishes his thought, his eyes light up, but they maintain the slightest sense of eternal frustration behind them. “Even though it’s always like, Jesus Christ.”

Misfortunes of past football seasons aside, O’Brien is as hyped as he’s ever been for the season to come—he’s already done all of his fantasy drafts, though he feels better about some than others—but right now he has one potential problem: He’s going to be in Toronto, for the Toronto International Film Festival, on the night of the Jets season opener. But don’t worry, he’s got it figured out. Saturday Night’s premiere is on Tuesday, and his press schedule on Monday (when the Jets are set to play the San Francisco 49ers) concludes at 5:30 p.m.

“I’m like, I’m going to a pub. I’m getting out of the area, and I’m just going to sit and have some beer and watch the Jets on Monday night all by myself,” he says with a huge smile on his face. “It’s going to be awesome.”

It’s a relatable feeling—for most Jets fans, there’s no happier time than before the season starts, before the annual feelings of dread and doom start to set in. (The Jets would wind up losing to the 49ers, 32-19, in their Week 1 MNF matchup.) But, as Jets fans have learned so well to do over the years, we move on.

O’Brien has a long career behind him, but a long career ahead of him, too. In addition to his upcoming role in Saturday Night (which has earned strong reviews in the early goings), he’s also got the M. Night Shyamalan-produced Caddo Lake premiering on Max this month, and Anniversary, in which he stars alongside Diane Lane and Kyle Chandler, coming at some point in the near future. (It doesn’t currently have a release date.) O’Brien is the kind of actor who elevates the project he’s in, even when the project is already really, really good—but if there’s anything being a Jets fan says about someone, it’s that they know how to adjust, adapt, and bounce back. And in an industry as fickle as show business—which is put on full display in Saturday Night—that’s about as important a quality as any to have in your back pocket.

Ahead of the release of several of the biggest and most exciting projects of his career, O’Brien sat down with Men’s Health to discuss how he keeps himself sane and centered, prepping to play a comedy icon, and some of those casting rumors about him out there on the Internet.

MEN’S HEALTH: What kind of routines do you maintain for your mental and physical health?

DYLAN O’BRIEN: I don’t go to the gym. I’m not a gym guy, but that doesn’t mean I don’t exercise or train or anything. I would say I go in and out of that. I’m usually the type who’s either on a pretty consistent routine and trying to hit it hard and take care of myself for a period of time, and then I’ll let it go for a little bit. Some of that’s influenced by my schedule, too. When you go to work, it’s hard to keep up some kind of regimen. But when I’m home and I’m in between jobs, I’ve become a very domesticated individual. I love grocery shopping and cooking my own meals.

MH: What’s your favorite thing to make?

DOB: If I had to pick one thing, I love, to the soul, making a soup. It’s literally the first thing I’ll do when I go anywhere to settle in. Just a homemade chicken soup, with a chicken carcass, and get creative with the veggies.

MH: Do you have a mental health routine?

DOB: That’s typically what drives the eating and the exercising. I always feel best when I’m in a nice routine and taking care of myself. As I’ve gotten into my 30s, sleep is so important, and periods of laying off alcohol are so important. Just treating your body right and getting rest. I like to do a cold plunge session, and that’s very meditative for me. I’ll follow the simple program of “exhaust the body, relax the mind” when I’m going right.

“I was self-conscious that I DIDN’T LOOK LIKE HIM, that I DIDN’T SOUND LIKE HIM, that I thought people wouldn’t think me—Dan Aykroyd.”

MH: I totally understand the concept of using whatever levels us as therapy. Sometimes after work I just need to put the Yankees on and do absolutely nothing in order to fully detox and feel right.

DOB: That’s my soul. The Mets… obviously, baseball is a nearly every day thing. And even when the Mets are not going well, what’s soothed me since I was closely following them when I was a kid is [broadcasters Gary Cohen, Keith Hernandez, and Ron Darling]. Literally, even just throwing the game on in the background while I’m getting dinner ready and just listening to those guys talk baseball—that settles me to my core. I’m totally with you on that.

MH: Is watching sports your main way of decompressing at the end of a long day?

DOB: If it’s baseball season, yeah, nightly Mets is nice. If I’m working, I’ve been known to be on jobs and randomly be bingeing some reality show while I’m on it. It’s such a decompressor at the end of the day. I love reality TV.

MH: What’s your favorite?

DOB: Of all time?

MH: Yeah.

DOB: Well, it’s between Jersey Shore and Vanderpump Rules as far as the all-timers. I’ve been a longtime OG Vanderpump fan, pre-Scandoval, and I just think that show’s a masterpiece. And Jersey Shore is a masterpiece, too. I did a film, Ponyboi, that’s very Jersey-centric, and so I drilled all of the first four seasons of Jersey Shore. My whole routine for that movie, when I needed to decompress, was just working out and watching reality TV. I lost a lot of weight, too, for that movie, and I was just trying to make my little chicken breast, and eat my salad, and work out, and watch Jersey Shore.

MH: Let’s talk about Saturday Night. How would you describe your version of Dan Aykroyd?

DOB: It might be the thing most open to interpretation I’ve ever done. By that, I mean it really was just leaping out of the nest. I’m playing this real person, but [director Jason Reitman] had no intention of just copying the person coming in. He really wanted everyone to have their own spin on the person, which, if you’re overthinking it, can be tough to do because it can be very easy to do. If you’re like, I’m just going to watch my guy’s interviews and sketches, then you can kind of fall into imitation. As far as I know, I was just doing what I thought he was like. But I don’t fucking know. That instinct was that Jason was always telling me what to run with. He was big on not overpreparing, not overwatching things, and not impersonating. I’m curious to hear people’s take, because I don’t really know. I just went with my gut.

MH: Was there one signature quality of Dan you wanted to capture?

DOB: A very earnest intelligence—he’s so quick, it was exhausting. I would always say how exhausted I was, because I’m playing someone who’s way quicker than I am, and so I’m constantly operating at a speed I can’t operate at, because he’s so sharp and fast and he never fumbles and he never curses. He never bides time. You know what I mean?

MH: Absolutely.

DOB: He’s so precise with his improvisation and his comedic skills. I came away with such a larger appreciation than I even had for his genius. And he was so young—he was a kid. He was 23 on that first season of SNL. I never processed him as being too worried about too much, which was a funny contrasting energy to the very tense atmosphere of the film in the hour and a half before showtime. He’s so loose.

MH: It’s interesting you say that, because it’s something I totally clocked, too—Dan is kind of the calm part of a storm that includes people like Chevy Chase (Cory Michael Smith) and John Belushi (Matt Wood). How did you maintain that presence as the movie’s level head?

DOB: My way of achieving that, with permission from Jason, was to embrace this quality in myself that I didn’t originally associate to Dan—that I only then did after Jason pointed it out to me—which was to have an aloofness on set. I feel very relaxed in that space. In a way, I wasn’t too worried. But that comes with the caveat that I entered this process thinking I was so wrong for the part.

MH: Why did you think that?

DOB: I don’t know. I was self-conscious that I didn’t look like him, that I didn’t sound like him, that I thought people wouldn’t think me—Dan Aykroyd. And I guess it was an insecurity that I would be skewered for being miscast or something. But even with that insecurity, again, I’m still so happy to be there and, like, whatever, fuck it. I don’t care if that’s the response. I’m boned, but whatever. It’s great to be here and get to do this, and what a blast of a thing to get to be a part of. So, weirdly enough, that type of aloofness amidst other people having to handle some really tense stuff was what Jason was telling me to embrace.

MH: Have you met Dan?

DOB: No. Not yet. I’m supposed to meet him at TIFF. And apparently that will be both of our first times seeing the movie.

MH: That will be great.

DOB: There was a moment early on, when you go into something like this, you’re playing someone, you imagine that they might want to speak to you. They might be hell-bent on speaking to you, they might be crazy about getting their hands in it, or they might be totally hands off. And to hear that he was so not worried about it, if anything, was the first moment I was like, Oh, maybe we’re right. Because I would’ve met with him, too, but I also didn’t need it. I would have if he insisted. I’d be like, Of course—I’ve got to do that. But I vibe with the fact that he was like, no, let the kid go do it. That’s how I feel like I would react.

MH: What’s your favorite movie of his?

DOB: I was a big Blues Brothers kid. I did the Blues Brothers for my talent show in third grade. I was also a big Tommy Boy kid.

MH: I’ve loved a lot of the comedic stuff that you’ve gotten to do, including your Curb Your Enthusiasm guest appearance. What was working with Larry like?

DOB: Oh, it’s just a blast. He’s a Jets fan, too—I remember that was our first conversation we had. It was like I was just talking to a buddy, at [the popular TriBeCa bar] Walker’s, or something about the Jets. I’ve worked with a lot of comedians, and that space can be weird. The energy can be very overstimulating, and those personalities can tend to be really loud and competing. It can be a very odd atmosphere sometimes. Going to work with a guy like that… I was like, Who knows, he could be a fucking total narcissist tycoon, and he wasn’t. He couldn’t have been more generous, couldn’t have been quicker to laugh at someone else and let someone else have the spotlight. I couldn’t think more of the guy. He’s amazing.

MH: It’s been almost a decade since your accident on the Maze Runner set. When you look back at your recovery, how has that experience most impacted your life?

DOB: It was a life-changing incident. I’ve approached everything differently, you could say, particularly with regards to standing my ground on set. It’s very commonplace in the culture for young actors to be controlled, and the way they strive to do that is by always being like, Oh, don’t become difficult. Don’t be a pain in the ass. Or Are you complaining, are you being difficult? Things like that. I learned after the accident to not conflate taking care of yourself and looking after yourself. Don’t let them manipulate you into thinking that is being difficult, because I can look at that day and know I was a 24-year-old kid who was raising concerns about how we were approaching things, and they were not listened to, they were not respected. And then what happened happened. And by all accounts, it was all pretty gotten away with, I would say, as well. It’s taught me that, at the end of the day, in these spaces, you have your own back, and that’s the most you can rely on. I just turned 33. I’ve been doing this for 15 years. I know the person I am, and the character I bring to set, and the way I treat people and the way that I treat a workspace, and I know I’m not difficult. I know I’m not an asshole. I know I was trying to protect myself that day, and so I’ve just never forgotten that. That’s always rung true as being the thing to hold with me.

“It’s taught me that, at the end of the day, in these spaces, you HAVE YOUR OWN BACK, and that’s the MOST YOU CAN RELY ON.”

MH: And this is something that’s always in the back of your mind, just knowing that you’ve had this experience and it’s shaped where you are now.

DOB: It helps me. It’s a shame. It’s a shame that it had to be that for me. To build this armor for myself of just being like, No, man, I’m going to look after myself, I’m going to take care of myself, and there’s nothing wrong with that. There’s nothing wrong with asking questions. There’s nothing wrong with bringing ideas, even if we’re talking creatively. It’s our job to bring ideas. There’s nothing wrong with raising concerns. There’s nothing wrong with being like, “I think we could do this better, I think we could do this differently.” You know what I mean? That’s the process. It’s a collaborative process. It’s a creative process, but also you’re dealing with big dangerous shit sometimes, too.

MH: Throughout the years, you’ve been rumored to become the Flash and Spider-Man. Is there any truth to the rumors?

DOB: No, never.

MH: Nothing?

DOB: No, none of it. Yeah.

MH: Is that of interest if an opportunity ever came up? Are you a comic book person?

DOB: I never have been. But I wouldn’t rule out anything. Certainly, it’s not of interest to me as of now. Maybe when I was 20 and they were rebooting Spider-Man—I was excited about that. But I didn’t even get past the casting pre-call or anything. No, none of those rumors have ever been true. I didn’t even know there were rumors. I just thought they were people just putting it out there.

MH: People put a bunch of stuff out there and then places pick it up and then stuff snowballs.

DOB: None of anything I’ve ever read about myself is true. So, if you want to use that template, that’s my experience.

MH: So what is of interest to you? What’s your dream?

DOB: There are obviously filmmakers I’ve loved since I was a kid who I would love to work with. I always want to challenge myself, and I always want to go with my gut and trust when I respond to something, I’m responding to it for a reason. Trust that when I’m scared of something, maybe that’s a good thing I should lean into. Try to find the new filmmakers, and try to champion them, and be a part of the early parts of the careers of our new wave of filmmakers. Try to champion original things as much as I can, too. I feel like that’s obviously trending so much further and further away, and towards extinction, that I just feel like it’s important to lend yourself to those things when you can, as much as you can.

This interview has been edited for content and clarity.

Source: menshealth.com

[cosmicanemoia]

Sex With My Ex's Friend

Amelia Shepherd x Reader (broken up)

Addison Montgomery x Reader (one-time thing?)

Love Me Till You Leave Me part 15

It is lunch time when Dr. Altman told you to go to her, that she has something important to tell you. When you got to the hospital you went to her office but she wasn't there. You made your way to the cafeteria thinking, 'I'll wait for her there,' you search for a seat, and there you found Dr. Altman is sitting with Addison, Owen, Link, Bailey, and Jo.

You decided to walk over to their table and sit with them. You greeted them and hugged them as they greeted you. You sat down beside Dr. Altman and ask her what she wants to talk about. Everyone's attention shifted to you and Dr. Altman abandoned whatever they were talking about so they could listen in on your conversation with your friend. "I actually have forgotten. I'll try to remember it later, but for now, how are you?" She said with a hint of concern in her eyes. You look at her and smiled "I'm good."

There was an awkward silence for a moment. You stood up from your seat and decided to break the silence. "Well, I'm off. Just text me when you do remember -" "Wait. Where are you going? You just got here. Come and have lunch with us. " She tried to make you stay, and she succeeded. "Fine," you rolled your eyes at her, which made her chuckled.

"Sleepy at this time of day. Did you have a late night?" She commented, seeing your drowsy look. "You know me." You yawned, and she asked another question, "what time did you sleep?" You sighed "Yes" you said plain and simple. As you bite a sandwich you took from Teddy's plate, she looked at you with mischief showing in her smile. "Partying and making confetti, Huh." Owen butted in, "you mean popping confetti. " Teddy looked down and chuckled. She shook her head."No. Maybe." You look at everyone's faces one by one, and seeing the confused look on their faces, you tried to clear things up. "I know we're all adults here, Ted. But save it for later. " You shook your head and Dr. Wilson's eyes widened, realising what you two were talking about. "Oh, you mean?" You nodded, confirming what she's thinking. Link asked her what it was, but she just shook her head and tried to eat her food with a growing smirk. Addison finally spoke up, "What are you guys talking about?"Oh, you don't wanna know--" you answered, and right after you finished talking, Dr. Altman blurted, "we're talking about orgasms." Everyone's eyes widened. "That's right. That's her kind of party." She added. "You mean like an orgy or something?" Jo asked, and you raise your eyebrows trying to think, "uh- *you gulped* maybe. But just with women." "I still don't get all the fuss about women having sex with each other." Dr. Montgomery blurted out of nowhere.

Everyone is shocked, except you, by the words that just came out of Dr. Montgomery's mouth. She looks around, trying to peace a puzzle, 'why do you all look so confused?' she thought to herself then she realised what she had just said "Did I just say that out loud?" Everyone nodded, including you. You look at her and give her a sweet smile.

Dr. Altman can't believe what she just heard. She always believed that Dr. Montgomery has the hots for women, and have done it with women too, she's assuming this because she thinks that Addison is an open minded person, and would be willing to play for the both team.

T: You're saying you've never tried it with a woman?

A: I have. I just don't like it that much

T: Ooohh. Hahaha. You haven't tried that one - *pointing at you* Every woman who has ever said that to y/n has been proven wrong

Y/N: Don't listen to her addie * chuckles, shakes head, smirk*

T: What? I'm just speaking from experience

O: Wait, you... with her? How did I not know about this?

Y/N: You don't have to answer Ted

T: Yes! I accepted I wasn't straight cause of her. I bet a hundred dollars you might, too.

Y/N: Okay. That's my cue. Thanks people, but I'm going.

A: *thinking thoughts* Wait, wait, wait. Let's make it 500

Y/N: What? Seriously. Don't I have a say in this? I mean, no offense Addie you're gorgeous, and that's a nice offer. Also, that's crazy!

T: You're crazy too! Besides, you're both a free woman. You'll lose nothing if you try, *looks and nods towards addison* Besides that 500, you're basically giving away. Hahaha

A: You think, huh? We'll see. *she raises her eyebrow*

Y/N: I can't believe you. You're pimping me out, *sarcastically* I thought we were friends. *fake a sad face*

Owen: You're not actually gonna do it, are you?

Jo: Is this really happening? *excited*

Bailey: This shouldn't even be a conversation.

Link : How are you even gonna do it?

You shook your head. "I can't believe this is happening," you mutter as you stand up from your chair and walk away from the silly group. They shouted your name telling you to come back, but you paid them no mind and just kept walking.

A few hours later, it was finally night. Dr. Montgomery is going home early, hoping she could have some time alone. When she opened the glass door of the hospital, she saw you sitting on a bench in front of the hospital. Before she gets to make her way over to you, you are already making your way over to her.

You said pleasantries and gave each other a hug. "You ready?" You ask, she thinks for a moment and realises what you were talking about, "Now?" She asked back.

You nodded and held out your hand for her to take, and she did. "No time like the present," you said, and you pulled her to follow you.

You took her to a fancy restaurant near the hospital. "I hope you're hungry," you said as you pulled a chair for her to sit on. "I actually am." She took a seat on the chair you offered her.

You made jokes as you eat. You made each other laugh. Both of you are having fun.

When you finished the desserts, she offered to pay, but you didn't let her. "You already spent 500 dollars on me." You joked, and she laughs, "you don't know that. We'll see. " You nodded and smiled at her, "Yeah. You'll see." You both laugh.

When you finally rested your stomach for some time, you asked her, "You're place or mine?" You ask her, and she said, "Mine. If that's alright with you, " "I'm glad you said that. Mine's a mess." You teased.

You stand up first and offer your dominant arm for her. She hook hers into yours, and you walked out of the restaurant with a satisfied stomach.

She led you to her bed, and there was an awkward silence, but you broke it off. "Do you really want to do this?" You asked her again, to which she replied, "I do" over and over.

You caress her face gently, and you take some of the hair falling in her face and tuck it in her ear. You smiled at her, and you slowly moved your face to hers.

Your faces are inches away from each other. You exchanged breaths, and you asked one last time, "You sure?" "I am" she confirmed.

You took her mouth slowly and gently. You stopped and pulled away from the kiss. "What's wrong?" She ask as she try to catch her breath and you shook your head "just say stop and I will" she nodded "I know" she grabbed your face and kissed you roughly, desperately, and passionately, you smirked into the kiss and your hands went to work, tracing her body.

************In the morning************

Addison couldn't stand up. She tried to stand up, but she just fell after taking a step. The fall made a loud thud, and Addie's scream woke you up.

Y/N : Addie, you okay? *sits up in bed*

A : Help. I can't stand up.

Y/N :What? Are you okay? Should I drive you to the hospital? *rushes to her side*

A :No. No, no. *chuckles* You're the one who did this to me. I'll be okay. Just help me to bed.

Y/N : Me? Sorry. *quietly* --I didn't even go that hard.

A :I'm sure you didn't.

Y/N : Did I say that out loud?

A : It's okay, you have nothing to be sorry for. I had a great time. And I thank you for that.

Dr. Addison Montgomery wants more, so she took a day off to spend the rest of the day with you. You cuddled in the morning, letting her rest and gain some strength. She's still recovering from last night, but by lunch, she asks to have sex again even if she's still wimping, and who are you to not give her what she wants.

You spend the rest of the day being sexy and intimate with each other.

[lokiondisneyplus]

Warning: This story contains spoilers for the Loki season 2 finale, "Glorious Purpose."

Loki ends with its titular god claiming his throne — just not the one he expected.

The Marvel Disney+ show concluded its second season this week, seemingly saying goodbye to Tom Hiddleston's Loki. In an effort to stop the universe from collapsing in on itself, Loki learns to control his "time-slipping," using it to go back further and further in time. With help from Sylvie (Sophia Di Martino), Mobius (Owen Wilson), and O.B. (Ke Huy Quan), he tries again and again to fix the TVA's temporal loom and prevent a meltdown. But every time he goes back, he fails, and he spends literal centuries reliving the same events over and over.

Eventually, Loki admits defeat and chooses to sacrifice himself to save every universe. Walking toward the temporal loom, he grabs the very fabric of space-time and uses it to build a throne of his own, weaving the threads together to create a tree. (It's a nod to the legendary world tree Yggdrasil from Norse mythology.) With that, Loki essentially crowns himself master of the multiverse, watching over every timeline as a lonely god. It's the ultimate selfless act from one of Marvel's most notorious villains — a villain who once sicced an alien invasion on New York to get his dad's attention.

Here, executive producer Kevin Wright breaks down the series' emotional finale — from the throwback line that Hiddleston improvised to whether this is really the end for Loki.

ENTERTAINMENT WEEKLY: When did you decide this was how you wanted Loki's story to end?

KEVIN WRIGHT: I think we knew in season 1. Once we were going to do a season 2, we knew that Loki would end up on the throne. That was always the easy thing. The question was: How do you want that to feel for the audience? There's a version that's triumphant and super heroic. There's a version where it's an evil turn. But it was always about the emotional journey we wanted people to go on. It was about building that journey to be as cathartic as possible and to feel like a payoff for six movies and 12 episodes over 12 years with this guy. It was always about building that arc to be as fulfilling as possible.

Most of the episode is dedicated to this sort of time loop, where we see Loki trying over and over again to get things right and fix the loom, almost in a Groundhog Day kind of situation. What was fun about getting to do that endless loop?

Even in season 1, we always wanted to do a Run Lola Run thing, but there was never space for it. So once we started going into loops this season in the writing process, we thought, "Oh, let's finally do it." So much of that is total credit to Paul Zucker, the editor of the episode. That montage wasn't scripted per se. We knew Loki was going to be rerunning things, but it wasn't written exactly the way that it played.

A really fun thing, though, was that our cast — outside of Tom — had no idea what we were doing. They understood that he was rerunning time, but we shot a very different ending to episode 4 that was not the real ending. All the cast thought something very different would happen. We would send them away on lunch breaks, and Tom would take his lunch later, and he would just keep shooting with [directors Justin Benson and Aaron Moorhead] with a skeleton crew. There were very few people that fully understood what we were building in that finale. So, for that core team, I think there was a lot of satisfaction when everybody was able to sit down and see how it came together. It just felt like this little secret.

What do you remember most about watching Tom film those final scenes?

Two moments really jump to mind. The first is a little bit of a longer story. There's the scene with He Who Remains, and that was scripted one way. We had this fear, like, "Is this going to feel like we're retreading the same ground as season 1?" Would it be fulfilling? We started shooting one day, and anybody in any creative field will understand this: There are days where the words are right, they way you're doing it is right, but it's just not adding up. Something was missing. We knew we weren't nailing it, and I had to make the call. That is really scary, when your first AD just wants to keep moving, and I said we were going to stop shooting.

Tom went and sat down with our script supervisor and basically did this insane crash course in 30 minutes of every line that had been said on the whole series. Then, he went for a run around the lot at Pinewood [Studios], and when he came back, he was like, "I know what this needs to be now." Then, he and Jonathan worked out what it was going to be, and they sat down with Justin and Aaron and me and Katie Blair, our production writer. They just quickly rewrote this new scene and shot it. It was just the pinnacle of what Tom does. He has such a finger on the pulse of this entire series and how that scene had to go. In a moment, he was able to reconfigure it with all of our collaborators.

The other thing is that final line before he steps out toward the loom, which is the Thor line, which was not scripted. Right before we were going to shoot that, Tom came and pitched it to me, like, "Should we do this?" We were like, "God, why did we not write that?" It was perfect, and it was 100 percent Tom.

I wanted to ask about that line, where Loki turns to Sylvie and Mobius and says he has to do this "for you, for all of us." It's a direct throwback to one of his lines in the original 2011 Thor. So that was a Tom Hiddleston improvisation?

It was 100 percent Tom. We had already done a few takes of the first part of that line, which was, "I know what kind of god I need to be." And on the final take, Tom said, "Hey, can I try this?" As soon as he said it, all of us were like, "This is going to be the take." It almost gave me Truman Show vibes, that final sign-off, looking straight down the camera. But that story gets to the heart of how Tom is always trying to make things better. We just had to build a series that could give him the framework to have those creative pivots. Everyone would just kind of throw their hands up and say, "Geez, this is why this guy is fantastic."

With Loki in charge of the multiverse, this could affect how (and if) we might see Jonathan Majors' Kang the Conqueror in future Marvel projects. For you, where does this finale leave Kang and his future in the MCU?

I'm going to tread probably infuriatingly lightly, but for me — and I know all the filmmakers agree — we think everything is there on screen. I think all the details are there, and there is a lot that people haven't picked up on, or haven't fully understood what is being said. The key to the future is in that conversation with Sylvie, and this doesn't necessarily undo any of those threats. In my mind, it's what Sylvie said: "At least give us a chance. Let us fight that battle for ourselves and define our own destiny."

I also wanted to ask about that final shot of Mobius in Ohio, where he's standing there silently, watching time pass. Why was that the right ending for Mobius?

In the big picture of the show, we wanted this to feel like a real ending. We wanted to give closure on a number of things, and we didn't want to do anything that felt like it was just teeing up a new story. But you could plant new seeds that could become new stories. My feeling with that scene in Ohio is that it's Mobius overcoming a personal obstacle. He just had to go and look. The show is not telling you whether he's going to stay there, or whether he's going to go back to the TVA. I think both are possibilities. But the important thing was the character growth of him going to do the thing he has been avoiding. I think it took what Loki did to cause Mobius to go, "I have this opportunity. This opportunity was given to me by Loki. The least I can do is go."

So that being said, is this the end for Loki? Is this a season finale, or is it a series finale?

I'm thinking of it kind of like a comic run, and this is the end of that comic run. I know [head writer Eric Martin] has said this a lot: These two seasons were two chapters of the same book, and we wanted to close the book. That was a challenge from Owen in between seasons: He was like, "Nobody has the courage to close the book! Let's close the book!"

Again, I speak for myself and not Marvel, but I am certainly pitching ideas of where I could see certain stories going. I think there are a lot of stories you can tell at the TVA, and we are just scratching the surface on that. I would love to see more stories with Loki, and I think Tom would continue to play this character until he is Richard E. Grant's Classic Loki [laughs]. But I don't think that means you need to have this story every year or every two years. It's about doing it when we have a good story to tell. I would love to keep working with these filmmakers.

We built a really awesome team, and if Loki is Breaking Bad, maybe there's a way for this team to keep telling stories with our version of Better Call Saul — whether that's with Sylvie, with the TVA, or with a new Loki. But we only want to do that if we have the right story and it can be just as fulfilling as this one. After all, you can't be the God of Stories if you're not going to tell more stories.

[dangan-kagura]

So I just finished playing Shadow Generations, and when I checked out the returning songs from past Sonic games, I couldn’t help but notice that there’s a song missing, “Almost Dead” by Powerman 5000.

Now, it’s not the first time this has happened. The OST for Shadow’s game from 2005 doesn’t have this as well even though the game itself does. Why could that be? Well there’s two possible theories. Now I’m just spitting these out since I don’t spend all my time in the Sonic fandom, so if there is a reason, you can say so.

Theory 1. It probably got removed for a similar reason “Who I Am” by Magna-Fi didn’t make it to the game. Yes, I’ve heard of that song. Although I kinda forgot the reason why that song wasn’t included. Theory 2. The band bought the rights to the song and SEGA doesn’t have permission to use the song again. But that probably isn’t right, overwise the band would’ve released it on one of their albums.

But here’s something to note, this isn’t the only song by Powerman 5000 that’s impossible to find now. The band has a cover of “Relax” by Frankie Goes to Hollywood and that cover is also a very rare song to find, rare enough to not be available on music sites like iTunes or Spotify. The cover was originally featured in the film Zoolander, and the cover does have an official music video that stars Ben Stiller and Owen Wilson as their characters from Zoolander. It’s too bad the band doesn’t have something like a compilation album with all their hits and rarities. I like their music, and I want to listen to their rarer songs.

Getting back to Shadow, while I do think it’s great that this new Sonic game is giving Shadow another chance, it’s too bad that not all the songs are returning. But it’s not just “Almost Dead”. Let me just say that I’ve yet to play the main game Sonic Generations, but I couldn’t help but notice that while the game’s soundtrack brings back all the theme songs from past games, notably missing from the soundtrack is “Endless Possibilities” the theme song from Sonic Unleashed. The song is sung by the lead singer from Bowling for Soup, and the song was included in the original Sonic Generations game from 2011. So why did this song not return? The same reason “Almost Dead” didn’t return? No way would Bowling for Soup buy the rights to the song.

The truth is, “Almost Dead” was one of my favorite songs from Shadow’s game, and my GameCube died so I have no way of ever playing it again. YouTube is the only place to listen to this song, but it’s too bad the song isn’t on music sites like Spotify. But I’m sure that there are lots of other rare songs by modern rock bands that are impossible to find on these sites. “With My Mind” by Cold was the theme song for some game from 20 years ago (I apologize for not remembering the name) and that song is also impossible to find, not even on Spotify, and yet it has an official music video with scenes from the game. The reason I like this song is because I remember a flash video on Newgrounds from 2008 that had this song, but of course, flash is dead and I don’t visit Newgrounds at all.

Anyways, this is all I wanted to share. I just find it unfortunate when it comes to liking a song that’s impossible to listen to in my music library.

[wisteria-lodge]

Assorted historical notes for the first chapter of my jedtavius fic (happy pride everybody...)

~ Romans took their public baths extremely seriously, and setting one up would be high priority for a garrison stationed out in the territories (basically the situation in these movies?) Nudity in the context of baths was just normal.

~ For some reason, Octavius wears his cape slung across his chest

instead of pinned to his shoulder(s) like a Roman cape.

If anything, this seems to be riffing on the 1600s half-cape, which is often strung cross-body like that in a sort of Renaissance *costume.*

Note: these are both modern historical costumes. It seems in the actual 1600s it was more normal to just sort of balance your capelet on one arm, or wear it over both shoulders (like when you wear a big coat without putting your arms through the sleeves.)

1600s capes are especially annoying to study, because basically all of them were tailored into 1700s coats, but WHATEVER.

(diegetically, since Octavius the tiny Roman lives in a museum, I guess he could be influenced by the 1600s cape costume, and just decide to wear his cape like that.)

~ “Sinister” is just Latin for “on the left side.” Couldn’t resist a latin joke, especially since Owen Wilson (and therefore Jed) is left-handed.

~ Roman orgies and sex parties were not really all that common. Like sure, they're brought up in the context of Caligula, Nero, Tiberus - the classics. But, your Roman writers historians and archivists were extremely political, and when you hear about this stuff there is always a political motive behind it, and almost certainly some exaggeration. Roman writers loved their gossip.

However, as a literary trope 'the Roman orgy' is extremely important. Most people in the buttoned-up 1800s saw Rome as this fascinating but immoral free-for-all, and we haven't totally shaken that off. And since Octavius is written as a slightly comic version of our current cultural idea of ‘Roman’... orgies are absolutely part of that.

(It’s the same reason I threw in the two-handed ‘Roman Handshake,’ even though as far as I can figure out, it was invented for a production of Julius Caesar in 1898. Romans seemed to just - shake hands.)

~ One of the interesting thing about the The Night at the Museum franchise is its interest in exploring the 21st century Idea of a Roman, the Idea of a Cowboy, the Idea of Theodore Roosevelt (even more than the historical reality.) It's a plot point that Museum Exhibit!Teddy knows that he's not Teddy Roosevelt, and kind of struggles with the symbolic importance people give to him. Octavius is very much a Movie!Roman, not a History!Roman. Even the fact that he's played by a British actor with a very British accent makes him seem like a background Roman General in Ben-Hur, here to deliver a letter, say "Yes sir, the rebels have returned from the provinces with new allies," and then die half an hour from the end to raise the stakes.

The exception to this is Ahkmenrah, who as a mummy that comes to life, is not a museum exhibit, he's just A Guy and *that's* the joke. He's not engaging with, or symbolic of 21st century tropes and stereotypes surrounding the idea of "pharaoh." He's just a person doing his own thing. Compare this to Kahmunrah from the sequel, who IS both a pharaoh and an exhibit come to life. So of course he's all about the literary tropes historically attached to the linked ideas "pharaoh, desert, villain." He's sadistic, he's camp, he's super queer coded, he's got a lisp, and he's putting our hero in a hour-glass death trap just like Jafar.

[inwantofamuse]

Yeah I still think the reason ep 5 was redone is because Tom Hiddleston did Loki as female and someone put the kibosh on it.

And while I doubt that alone would upset Owen Wilson...I also think there's something more behind his radio silence.

He hates interviews. I mean, he LOBSTER hates them.

With good reason, because the awful "journalists" will try to ask about his private life and that's none of their business. But I think he'd also normally do promo, especially if it was in a group.

I mean, I thought he was already filming "Lips Like Sugar", and that could be why, but....if it's not, why the avoidance ? Cause I know Tom would be fine with a joint interview. But they didn't even feature Owen in the Assembled episode.

Then Owen saying his Loki chapter is over.

What did Marvel DO??

There's a story there.

[james-stark-the-writer]

well, i figure it's best to just get it out of the way so we can all move on faster from this phase (hah) and waiting will just make me dread going into it even more. now seated for Loki S02.

i really don't know what to say or think about this one. i really did not like the first season of Loki. like outside of What If? S01, Loki is the lowest rated show from phase 4 for me, and it's just so terribly written. Michael Waldron is not a person whose work i enjoy. he was also responsible for ruining the script for Doctor Strange in the Multiverse of Madness, yeah, he wrote that one too. even if the ideas were great (they were the opposite of that), I just don't enjoy his minute-to-minute dialogue, and it all is just so lacking in personality and is so incurious about the world around itself. he is just not a person whose work i enjoy. so i am extremely cautiously going into this expecting i'm going to want to pull my hair out and probably be bald by the end, but you all know i'll give it as a fair a shot as possible.

i did cheat a little just to set my expectations and better know what i was getting into, and i know Michael did not personally write any episodes this season, unlike last season where he wrote two episodes. i presume he was still showrunner but he himself does not have any writing or story credits from a quick glance at Wikipedia so. maybe this season will be less annoying than the first one. here's to hoping. i assume the abuser will be in this just because of the ending tag of Quantumania, but beyond that, i really don't know what to expect from this. i guess I'll be happy to see more of Owen Wilson?

i still don't like this new Loki because i think his arc for S01 was shit and if they expect me to believe that showing him a 30-second clip of the original Loki's memories suddenly makes him go on the same character arc in five minutes that the other Loki — a master of illusions btw — took over a decade to go through, they have lost their fucking minds. i'm going to try to ignore that for this season bc it's irrelevant for evaluating this season because it would have been burdened with it one way or another, but it's still really fucking stupid and i hate S01 so much.

we'll do this in the same format as Secret Invasion just because i don't want to be here for 5 years commenting on everything and taking 3 times as long to finish the episodes, so i will check back in with you all after S02E01. let's get into it.