#main verse: 1987.

[erineverly]

Axl made sure to get over here early, Meegan letting him in with a bunch of balloons tied to his wrist and a pink Minnie Mouse birthday bag that he comes into Erin’s bedroom with. “Heeey, birthday girl.” Knocking hard to let his presence be known, “Wake up, you got gifts and a card to read and cake to eat for breakfast.” In the other bag he placed the small birthday cake from Canters in a purple bag that’s hanging off his other wrist. ‘Happy Birthday, Erin’ written in cursive pink on the top of it, flowers and Minnie Mouse heads decorated on the top. He sits down on her bed, kisses her cheek and ties the balloons to the headboard then puts the bags next to her, there’s an outfit she wanted, a huge set of Estee Lauder lip sticks and lip glosses from Macy’s because he figured girls really love makeup and it was a last minute idea, a sparkly bracelet and a stuffed Mickey and Minnie in the bag for her birthday. All of it from Macy’s and he spent almost every dollar he had to afford all of it, but it’s damn worth it. Smiling in anticipation, he sinks down on his side and wraps his arm around her to squish her in a hug. | this one is set in the 80s and that bracelet is inspired off the one she wears a lot and seen in the its so easy video🥰

erin’s  just  barely  waking  up,  mostly  unaware  what  day  it  is,  when  she  hears  the  knock  on  her  bedroom  door.  her  eyes  remain  closed  as  she  stretches  her  slender  arms  over  her  head  and  mumbles,   ❝   mmm…  come  in.   ❞   she  assumes  it  must  be  her  roommate,  probably  just  got  back  home  from  a  night  of  partying,  eager  to  tell  her  all  about  the  cute  boys  that  she’d  met  and  kissed  and  danced  with.  the  door  squeaks,  and  what  a  surprise  it  is  when  the  sound  that  fills  the  air  is  not  a  girly  giggle,  but  the  voice  that  she  loves  so  very  much.  she’s  still  burrowed  under  a  pile  of  blankets,  warm  and  soft,  with  rosy  cheeks  and  tangled  curls,  but  her  sleepy  features  light  up  all  at  once  and  she  finds  herself  beaming  at  the  strawberry-haired  man.  pale  blue  eyes  fluttering  open,  widening  as  she  takes  in  all  the  gifts  that  he’s  brought  her.  a  soft  gasp  escapes  her  lips.   ❝   aww,  baby!   ❞   she  squeaks,  sitting  up  against  the  pillows,  a  teddy  bear  digging  into  her  back.  she  rubs  her  eyes  as  if  in  disbelief.  she  wasn’t  really  expecting  anything,  knowing  that  they’re  on  a  budget,  but…  wow!  the  balloons  are  beautiful,  floating  above  her  head  and  she  marvels  at  them  with  sheer  wonderment.  curling  her  curious  finger  around  one  of  the  string,  she  pulls  gently  to  bring  one  of  them  down  before  releasing  it  again.   ❝   my  goodness,  is  all  this  for  me?  you  didn’t  have  to.  you  really  didn’t  have  to,   ❞   she  whispers  softly,  peeking  into  the  bags  and  spotting  the  most  thoughtful  combination  of  presents.  it  has  her  heart  expanding,  eyes  filling  with  tears  of  happiness.  he  must  really  pay  attention  to  what  she  likes,  the  stores  she  visits,  he  even  got  her  favorite  shades  of  lipsticks  right.  she’s  smiling  so  big  that  her  cheeks  begin  to  hurt,  the  tip  of  her  nose  tingling.  the  first  thing  that  she  pulls  out  are  the  stuffed  mickey  and  minnie.  she  hugs  them  to  her  chest  and,  before  unpacking  the  rest,  looks  up  at  her  boyfriend,  nothing  but  love  and  gratitude  brimming  in  her  eyes.   ❝   you’re  the  sweetest  boy  in  the  entire  universe,  axl.  this  is  the  best  birthday  ever!  i  love  it,  all  of  it…  the  balloons,  the  presents,  you.  i  love  you  so  much,  baby!  thank  you.  thank  you  for  making  my  day  so  special.   ❞   she  curls  her  arms  around  his  neck  and  hugs  him,  mickey  and  minnie  squished  between  their  bodies.  this  is  the  best  birthday  ever  all  because  she  gets  to  celebrate  it  with  her  favorite  person.  

[unluckilylvcky]

Teenage Mutant Ninja... Therapy Group?!

FINALLY felt like reposting these 🫶🫶

What is TMNTherapy Group about?

Teenage Mutant Ninja Therapy Group, or simply abbreviated to TMNTherapy Group or TMNT Group, is a fun little comic featuring your favorite turtles from all current running cartoon iterations joining together to, well... Get therapy! Or at least, that's what the turtles from the 1987 universe say. In OOC terms, yes, this is basically a crossover au.

Currently, the AU has 5 introduction comics (including this one), 1 filler comic and many more fun and angsty comics to come! Join the '87 verse turtles as they try their best to unite these 3 VERY different turtle iterations with each other! It's gonna be an... Interesting ride, to say the least. Stay tuned!

DO NOTE THAT :

This AU is strictly for fun and is only meant to explore the dynamic of each turtle iterations with each other! Nothing more, nothing less, just all 4 generations of turtles either venting to each other or having fun. This disclaimer will be reposted with every TMNT Group comic.

Although I try my best to keep the turtles close to canon, I hope you don't take this AU seriously! This is 100% self indulgent while also trying to delve into the inner mechanisms of a traumatized teenage turtle. None of this is meant to be reflective of real life scenarios, anything of the latter is completely unintentional.

You might've notice a watermark in the first 3 panels, and I can assure you that that is me; my old user! I unfortunately do not have the original files to these, nor do I have the time to redraw these to my current style

To add to that, this prequel comic specifically was drawn last year on August 27th. Weird times!

Seeing as Instagram is my main platform, you'll have to keep in mind that this format was made with the square format in mind. Stick with me here hehe :^))

Next up: TMNTherapy Group : Welcome Leonardo >>>

[fabuloustrash05]

Okay just so y'all know...

Leoichi and Leosagi are two completely different ships!! They are NOT the same!!

They are both Leonardo focused ships, yes, HOWEVER it's Leo being shipped with two separate characters.

"Leosagi" is Leonardo x Miyamoto Usagi

This ship mostly grew after the popularity of TMNT 2003 with Leo's close friendship with the character Miyamoto Usagi.

"Leoichi" is Leonardo x Yuichi Usagi

Yuichi is the main character of Netflix's show Samurai Rabbit: The Usagi Chronicles. He is the descendant of Miyamoto Usagi. Also unlike Usagi, Yuichi is NOT a TMNT character, he is from his own franchise entirely, but fans have been shipping him with both Rise Leo and 2012 Leo.

Edit: I originally had this in the tags but I’ll say it here; when I say Usagi is a TMNT character, I'm aware he's apart of his own franchise, but he's well know to crossover with TMNT. He's interacted with many TMNT characters and been in TMNT series such as 1987, 2012, and as mentioned earlier, 2003. Yuichi has not, so Usagi can classify as apart of the TMNT character roster, but overall Usagi has his own franchise, but sadly lots of fans don't know that

And the most important detail to know is...

Yuichi and Usagi are NOT the same character!!

So please if you’re making ship art or a fanfic of Leo with Yuichi and tag it as “Leosagi” that is the incorrect ship name and vice verse.

Hopefully this helps so people can know the difference and tags things more properly and not get non shippers and new Leosagi and Leoichi shippers confused, cause even I will admit it can get confusing.

[rolandrockover]

Do You Wanna Touch Me Now

What can you call something like this? A review of a Kiss song that was not recorded to completion and never officially released? If you ask me Phantom Entry doesn't sound too bad, and also kind of Kiss-like.

So, who among us Kissians doesn't inevitably think of the often mentioned Do You Wanna Touch Me Now, the only leftover from the Revenge (1992) sessions, which Paul had written with this Skid Row guy, but ultimately didn't make it onto the album. For a long time, even a very long time if you want to do yourself the displeasure of measuring your life in time, this one was considered pretty much a Holy Grail among ever-searching fans.

Until it was leaked on a mainstream platform, just like that. Out of the blue. After 30 years. (0) So, it's precisely this tiny blip that makes our little head trip here possible in the first place, so shhh, all this is top secret, of course. Let us therefore try to be gratefully and humbly accept what this may offer us.

Firstly, we have the long-range main riff that also opens the song, which can best be described as massive and anything but bad. If Take Me's (1976) chorus riff comes to mind, that would be pretty close. If you were to dance a few steps further and stop at the end with spread legs in a self-assured pose, then we would even have a bull's eye. On top of that, you get a Mr. Speed-style lick as a sort of calling card (1). This works in much the same way as the Roadrunner in the cartoons likes to stick out his tongue before he meeps and blasts off at the speed of light.

Anyway, to my ears it seems as if, in the overall context of the song's structure, it harbors a certain short-sighted, extroverted attitude that is unwilling to take the final step and whose own unrequited expectations unfortunately become its undoing. In simple terms, it promises more than it means to deliver (2).

Kind of like a long-armed boxer with a handful of excellent swinging hooks in his repetoire, with which he is able to send his opponent to the mat very safely and quickly, only to make the fatal mistake of letting go of his opponent too early and using his additional light-footed skills just to put on a little extra show for the audience (and himself), which unfortunately has little to do with the fight. And with that, I've basically already given away the verses and the bridges.

And these sound like a continuously alternating vivid, but still somewhat unsatisfying mixture of The Elder's (1981) The Oath (3), Mr. Blackwell (4), and now dear people fasten your seatbelts, Welcome to the Jungle (1987) respectively its main riff. Which should come as no surprise once you consider that in 1991 Guns N' Roses were probably the biggest rock band on this planet alongside Metallica (5).

And so it goes back and forth until you eventually reach the mid-part section, which is not much more than a big brake pad, led by Detroit Rock City's (1976) cinematic widescreen riffs, those that follow its super iconic pulsating intro, and to which you literally have no choice but to imagine Paul leisurely and majestically swinging his arm out wide. Still, you're not supposed to enjoy it to the full, because after just one run-through, the fun is over again and it moves like a souped-up tractor at adle in the direction of Black Sabbath and Iron Butterfly. This is noticeable in a passage that sounds as if somewhere the beginning of In-A-Gadda-Da-Vida (1968) was stuck in a loop. On steroids, of course.

And somewhere in between a guitar solo must have been envisioned, although unfortunately it never materialized. Which is regrettable, but not necessarily essential for the sake of this cause.

But hey, since when can beggars be choosers?

Side Note:

(0) Hardcore Insiders not included, which in turn should include myself.

(1) And from the first refrain even a riff appendage in the guise of Plaster Caster's (1977) bridge melody, as well as another old buddy, this time from the future, who can be found on Sonic Boom from 2009 and beyond (which we can talk about another time).

(2) So much for the gratitude.

(3) I (1981) would also fit the bill, but The Oath even more so. Just think of its characteristic opening.

(4) That AC/DC Back in Black thing we already talked about here.

(5) On the other hand, I wouldn't necessarily accuse them of intent.

And no, Do Yo Wanna Touch Me Now is not a link, just a photo. All other links are real, by the way, and highlighted:

Do You Wanna Touch Me Now (1991/92)

Take Me (1976)

Mr. Blackwell (1981)

The Oath (1981)

Welcome to the Jungle (1987)

Plaster Caster (1977)

Detroit Rock City (1976)

In-A-Gadda-Da-Vida (1968)

[androgynealienfemme]

"The main justification for invalidating butch-femme is that its an imitation of heterosexual roles and, therefore, not a genuine lesbian model. One is tempted to react by saying "So what?" but the charge encompasses more than betrayal of an assumed fixed and "true" lesbian culture. Implicit in the accusation is the denial of cultural agency to lesbians, of the ability to shape and reshape symbols into new meanings of identification. Plagiarism, as the adage goes, is basic to all culture.

In the real of cultural identity, that some of the markers of a minority culture's boundaries originate in an oppressing culture is neither unusual nor particularly significant. For instance, in the United States certain kind of bead- and ribbon work are immediately recogniziable as specific to Native American cultures, wherein they serve artistic and ceremonial functions. Yet beads, trinkets, ribbons, and even certain "indian" blanket patterns were brought by Europeans, who traded them as cheap goods for land. No one argues that Indians out to give up beadwork or blanket weaving, thus ridding themselves of the oppressors symbols, because those things took on a radically different cultural meaning in the hands of Native Americans. Or consider Yiddish, one of the jewish languages. Although Yiddish is written in Hebrew characters and has its own idioms and nuances, its vocabulary is predominantly German. Those who speak German can understand Yiddish. Genocidal Germanic anti-Semitism dates back to at least the eleventh century. Yet East European Jews spoke "the oppressors language," developing in it a distinctive literary and theatrical tradition. Why is it so inconceivable that lesbians could take elements of heterosexual sex roles and remake them?

*

It is June 1987, and I am sitting in a workshop on "Lesbians and Gender Roles" at the annual National Women's Studies Conference. It is one of surprisingly few workshops on lesbian issues, particularly since, at a plenary session two mornings later, two thirds of the conference attendees will stand up as lesbians. Meanwhile, in this workshop the first speaker is spending half an hour on what she calls "Feminism 101," a description of heterosexual sex roles. Her point in doing this, she says, is to remind us of the origin of roles, "which are called butch and femme when lesbians engage in them." She tells us the purpose of her talk will be to prove, from her own experience, that "these roles are not fulfilling" for lesbians. She tells us that the second speaker will use lesbian novels from the 1950s to demonstrate the same thesis. And, indeed, the second speaker has a small stack of 1950s "pulp paperbacks" with her, many of them the titles that, when I discovered them in the mind-1970s, resonated for me in a way that the feminist books published by Daughters and Diana Press did not.

I consider for several minutes. I'm well versed in lesbian literature, particularly in the fifties novels, and don't doubt my ability to adequately argue an opposing view with the second presenter. I am curious to see if she will use the publisher-imposed "unhappy ending" to prove that roles make for misery. I also decide I'm willing to offer my own experience to challenge the first presenters conclusions- though I'd much rather sit with her over coffee and talk. She is in her midforties and, although she claims to have renounced it, still looks butch. Even if she speaks of roles negatively, she has been there and I want to hear her story. Then I look around me. Everyone is under thirty. There are a few vaguely butch-looking women present who'd very likely consider themselves to be as androgynous as everyone else, and not a single, even remotely femme-looking women besides myself. I recall Alice Walker's advice to "never be the only one in the room." Quietly, I get up and walk out. I go to no other lesbian presentations at the conference."

“Recollecting History, Renaming Lives: Femme Stigma and the feminist seventies and eighties" by Lyndall MacCowan, The Persistent Desire, (edited by Joan Nestle) (1992)

[easterartist]

Here's another au I've been working on and thinking about! It's called Glitched out! I got inspired by other 2003 and rise crossovers! (Ghost in a shell by @bluepeachstudios being quite a big inspiration lmao)

I've been watching the 2003 show and then it hit me that I wanted to see different takes on how it would be for a different brother to go missing! But it's due to very different circumstances! (If you consider shredder ripping your molecules apart to find the prime turtle verse lmao)

Essentially, this takes place during and after turtles forever (the crossover movie between 1987 tmnt and 2003 tmnt). The beginning is the main part of the 'during' bit.

I wanted to finish writing the first chapter before posting this (seeing as this is the cover for the story) but I got WAY too excited about getting it out into the world! I can't wait to post more X3

[doctorbrown]

happy (by present-day standards) one hundred and fourth birthday to this old man right here!

i've never really nailed down a proper time for when i have doc's post-trilogy canon happening, it's always just x date post return to his present with the family. so i've been thinking about it and i needed something solid (for myself at least) to play off of with headcanons, with setting details, all that fun stuff.

so i think i'm leaning towards '87 or later. (of course this is all subject to change with whatever happens in a thread - i'm still totally open for him being wherever, whenever in his timeline).

so if his main default verse is set around 1987 or so, he's turning (chronologically) seventy-seven. officially, as far as the records are concerned, he's only sixty-seven this year.

[amplifyme]

Fannish Year Review - 2023

1. Your main fandom of the year: The X-Files, Beauty and the Beast 1987, A Song of Ice and Fire (specifically SanSan). Can't narrow it down to one.

2. Your favorite film this year: Barbie. America Ferrara's monologue on the rules women are expected to follow made me laugh and then sob. Been there, trying my best to no longer do that.

You have to be thin, but not too thin. And you can never say you want to be thin. You have to say you want to be healthy, but also you have to be thin. You have to have money, but you can't ask for money because that's crass. You have to be a boss, but you can't be mean. You have to lead, but you can't squash other people's ideas. You're supposed to love being a mother, but don't talk about your kids all the damn time. You have to be a career woman but also always be looking out for other people.

You have to answer for men's bad behavior, which is insane, but if you point that out, you're accused of complaining. You're supposed to stay pretty for men, but not so pretty that you tempt them too much or that you threaten other women because you're supposed to be a part of the sisterhood.

But always stand out and always be grateful. But never forget that the system is rigged. So find a way to acknowledge that but also always be grateful.

You have to never get old, never be rude, never show off, never be selfish, never fall down, never fail, never show fear, never get out of line. It's too hard! It's too contradictory and nobody gives you a medal or says thank you! And it turns out in fact that not only are you doing everything wrong, but also everything is your fault.

3. Your favorite book this year:  Wayward, Chuck Wendig's sequel to Wanderers. Read these! Chuck is the modern day old-school Stephen King. Not to be missed.

4. Your favorite album or song this year: Jason Isbell and the 400 Unit's Weathervanes. Every album these guys put out is better than the last, and they're all superb. Jason Isbell's lyrics are always a revelation. Best songwriter of his generation.

5. Your favorite TV shows this year:  The Last of Us. Humanity and inhumanity all wrapped up into a heartbreaking and uplifting package. Best show of the year. Long, Long Time will live with me forever.

6. Your favorite Tumblr community this year: Don't have one. I love all the different 'verses I move within.

7. Your best new fandom discovery of the year:  That's hard to say, what with the age of my favorite fandoms. They're all getting on in years, which makes new discoveries rare.

8. Your biggest fandom disappointment of the year: None, really. Well, maybe the weirdness of the SanSan fics I've seen posted lately. Hopefully that will soon pass.

9. Your TV/movie boyfriend of the year: Gotta go with Vincent from Beauty and the Beast. He never disappoints. And everything he does and why he does it is the epitome of what it is to be human. And to be alive. 🥰

10. Your TV/movie girlfriend of the year: Weird Barbie. She is me.

11. Your biggest squee moment of the year: Introducing @randomfoggytiger to the BATB universe through Nan Dibble's writing, and soon after that the show itself, and her getting it. Best feeling in the world, to bring a new fan into the fold.

I'm tagging @randomfoggytiger @nobodysuspectsthebutterfly @kateofthecanals @storybycorey @baronessblixen @littlefeatherr @enigmaticxbee @xxsksxxx @lilydalexf @ladytp @daisies-cats-and-spacemen @musingsofaquietmind @settle-down-frohike

No pressure. Only play if you want to.

[vanellygal]

Into the Horrorverse (characters)

Notice: Some of the characters portrayed might be a little different from on screen. After all, the whole point is to get to know them outside of the screen. You already know the characters, so descriptions will be brief. Also they're all adults, plus Laurie and Michael are not related.

Nancy Thompson: Still hates Freddy’s guts. She no longer runs from him, but sees him as an annoying house guest. Anyways, she is sociable and acquainted with most of the final people.

Freddy Krueger: Yeah, he's still Freddy, the jerk. Aside from pestering Nancy, he likes to pick on Jason from time to time. Other than that, he's mainly lonely. If Chucky wasn't so feral, I think they'd get along fairly well.

Tommy Jarvis: A troubled young man, yet he presses on with a positive attitude and goofy nature. He's close with Ginny, and together they work at the camp. He forgave Jason, but sometimes he still struggles. He yearns for another final guy to talk to, other than Ash, who isn't easy to converse with.

Ginny Field: The bright, child psychologist who loves to indulge in reading. She views Tommy as a brother, and as previously stated, they work together at the camp. Also forgave Jason, and learned to understand him more. They get along quite nicely.

Jason Voorhees: Acts like a dad of sorts, and is protective of his two survivors. His favorite person to hang out with is Michael Myers, and sometimes Bubba Sawyer.

Chucky: This guy is fully aware of the horrorverse, yet doesn't care. He'll attack anyone who dares step into his territory. Other than that, he maintains his snarky, sarcastic ways.

Andy Barclay: Unlike the other final people, he doesn't catch a break. He always has to be on his toes and keep Chucky at bay. He’s tired, this guy needs a nap.

Laurie Strode: Although she has a heart of gold, do not underestimate her. She can kick you to Timbuktu if necessary. The mom of her friend group.

Michael Myers: An artist, either in grotesque (posing bodies) or genuine ways such as paintings or sculptures. Silent, but one of the most dangerous slashers out there. After all, he is the “shape of evil”. Grew fond of Laurie. His best pal is Jason Voorhees.

The Sawyers (including Bubba): They're envious of the Halloween verse. Reason being, the Sawyers believe they “overshadowed” them in some form. Other than this, they're a hilarious bunch who bicker back and forth.

Sally Hardesty: She’s the jealous type, and isolates herself from the other survivors. Despite this, she's not the friendliest final girl, a bit rough around the edges too. Overtime she drew close to the Sawyers, and they adopted her in a sense. Yet, she'll pass on eating human meat of course.

Billy and Stu (Ghostface): Run parties and social events. Just don't get too close to them, they're not the greatest influences. Major troublemakers.

Ash Williams: A bit on the crazy side, and often will say outlandish statements. Unfortunately, he holds a strong belief that killers and final people should not mix.

Other characters exist, but these are some of the main ones for now!!!

(I also write for Severen from Near Dark 1987 and Victor Pascow from Pet Sematary 1989)

Concept

Au belongs to me.

[erineverly]

014, a kitchen during a black out, surrounded by candles. // ( in that 80s verse we talked about long time ago that happens as they were fighting djdjkdk )

as a grand storm rolls in from over the pacific ocean, growling and grumbling and flashing across the evening sky like the fourth of july fireworks, the small house, labeled affectionately by the men living in it as the hell house, begins to tremble with fear. its thin walls and the front door that rattles on the hinges and barely hangs on even without strong gusts of wind testing it, provide a mere illusion of a shelter for those huddled inside. we could as well be sitting in a tent outside, erin thinks to herself as the sky continues to darken, raindrops falling steadily, striking the ground and sending up splatters of mud in their wake. she does her best to put on a brave face, but as yet another thunder rolls across the empty street, the dreadful sound bouncing against the nearby buildings, the act pretty much goes out the window. 

erin hasn’t seen many thunderstorms in her relatively short lifetime, as this particular area of southern california doesn’t really experience them that often — there’s little to no humidity, which makes the environment poorly suited for thunderstorm activity, the national weather services explain — and so this kind of weather simply terrifies her. glancing out the window briefly, she notices that instead of lessening, the downpour’s only intensifying, slowly obscuring the view of the red jeep that she parked at the curb a few hours ago, back when it was still sunny outside and coming here seemed like a great idea. the lightning flashes and thunder grow closer together. and then, seemingly out of nowhere, a tremendous roar, followed by a brilliant flash of light, a shower of sparks from the neighboring yard, and… total darkness engulfs the place as the power goes out. 

“i — i won’t be staying the night, don’t worry. just until the weather clears up enough for me to drive home. shouldn’t take long,” she assures the strawberry-haired singer in the most awkward manner possible, figuring hosting a sleepover could be a challenge given the circumstances — the unresolved tension between them, the mistrust and jealousy, the fight that they’ve basically just had and would most likely still be having if it weren’t for the complete darkness surrounding them. besides, this house… it’s something else. there’s piles of empty pizza boxes, unwashed dishes stacked in the sink, stains on basically every surface, the musty smell of fermenting laundry and mold and spilled alcohol and bodily fluids hanging in the air… she shakes her head, refusing to think about what happens here on a daily basis, and focuses on the task at hand — finding a somewhat reliable source of light. a flashlight preferably, but she doubts such a tool exists in this household, with no bathroom and barely any kitchen. blindly and by some miracle, with some help from the residents of this rotting shoe box for a house, she manages to dig out two tealights and light them up. 

“@rcsechild?” this time, erin’s voice comes out faint, not much fight left in it. the two flames on the counter small and flickering, and she knows they won’t last them very long. maybe an hour? maybe not even that… “any chance you might have more of these hidden somewhere?” she can barely make out his features, at least until the sky outside bruises purple again, briefly illuminating the room as yet another lightning strikes nearby. it hits the oak tree about fifty yards from where they are. a stout branch gets sliced right off with an almost surgical precision and falls straight into the driveway with a thud, scraping the side of a black buick parked there. “or maybe a flashlight? a flashlight would be perfect…” there’s a hint of hope in her voice, but it’s dying rapidly. “or some board games?” running her fingers through her dark locks, she sighs and  figures they might as well try to kill time by doing something other than arguing.

[erineverly]

“Yeah, these tiny fists were way stronger than they looked. Once he got a hold of something, he wouldn’t let go.” Giggling at the memory, she remembers trembling whenever Sebastian grabbed a lock of her hair or an earring as those were the most painful ones. “Gosh, there was this one charity event that my mother held, back in the summer of 1992, I think? I was just sitting on the couch, talking to Stacy and apparently not giving your son enough attention because he climbed onto my lap, using my top as a ladder, and… Well, let’s just say I haven’t been able to look some of my mom’s friends in the eye since that day.” It’s funny now and she doesn’t mind joking about it, but it was beyond embarrassing back then. “What’s Dylan like? Does he sleep through the night? Does he wake up often?” She inquires with a sweet smile, partially because it’s the polite thing to do and partially because she’s curious and in a way cares for the boy who’s basically her son’s little brother. Sebastian frowns a little at the name, shooting his mother a pointed look. “We talkin’ ‘bout Sebashtian now,” he reminds her in a whiny voice, tapping her thigh with one of his wet hands to get her attention. “Of course, we are, bubby. Mommy’s not forgetting about Sebastian just because I’m asking about other babies. You’re my sweet angel,” she says softly, leaning in to kiss the top of his shampoo-covered head. Her fingertips slipping underneath the surface, tickling the sole of his left foot to make him smile again. It doesn’t really work, making her wish she could just turn back time and take her words back. “Stinky cave,” the small redhead cheers up almost immediately as his father begins to tickle his skin, trying to clean his belly button. He looks down and squishes his skin, pinching his stomach. “I can put two gummy beaws in here!” He admits proudly, poking himself and basically confirming Axl’s suspicions that he does in fact try to put things in his belly button.

“Hm, yeah. That’s true. I remember when Sebastian just two years ago was always tugging at everyone’s shirts and never know when a— chest part could fly out because of him always hanging and pulling on so tight.” The redhead chuckles, when he was a baby he was always pulling their shirts down and had an iron fist, which wasn’t very long ago at all. “No, not even that. And not even naturally being awake late hours in the night.” At one point he was dying to fall asleep for once before 12 am, since he’s had a fucked up sleep pattern since he’s been a child. “Yeah, that’s surreal.” How babies are so small and then grow and grow and keep growing into little boys or girls. Reaching over and poking her back. “No, she wasn’t sad. It was funny.” Even funnier how he says peeded, which makes him chuckle as he scrubs over his legs and his belly button. Inhaling the scent in the air as it lathers on his skin, making the air smell good like a fresh baby. “Let’s make sure to get this stinky cave, I’m sure it’s real stinky.” Knowing Sebastian, he probably sticks spaghetti into it or gummy bears.

[unluckilylvcky]

TMNTherapy Group: Welcome Leonardo!

From ancient books of ninjitsu to comic books tucked neatly in the shelves, who better to confide in than the Leonardos? After all, the greatest honor a ninja could ever have is a nice cup of tea! Leonardo made sure that his comrades would feel right at home!

What is TMNTherapy Group about?

Teenage Mutant Ninja Therapy Group, or simply abbreviated to TMNTherapy Group or TMNT Group, is a fun little comic featuring your favorite turtles from all current running cartoon iterations joining together to, well... Get therapy! Or at least, that's what the turtles from the 1987 universe say. In OOC terms, yes, this is basically a crossover au.

Currently, the AU has 5 introduction comics (including this one), 1 filler comic and many more fun and angsty comics to come! Join the '87 verse turtles as they try their best to unite these 3 VERY different turtle iterations with each other! It's gonna be an... Interesting ride, to say the least. Stay tuned!

DO NOTE THAT :

This AU is strictly for fun and is only meant to explore the dynamic of each turtle iterations with each other! Nothing more, nothing less, just all 4 generations of turtles either venting to each other or having fun. None of this is meant to be reflective of real life scenarios, anything of the latter is completely unintentional.

You're gonna notice a watermark on most of these panels, and I can assure you that that is me; my old user! I unfortunately do not have the original files to these, nor do I have the time to redraw these to my current style. I'm pretty sure I stopped watermarking it with my old user after the Raph group intro :]

This was posted on Instagram during October 15th of last year!

Thought I should mention: The lineart quality for this AU is LARGELY inconsistent. I really just wanna have fun with this au so sometimes you're gonna see some clean and cool lineart, but mostly you're gonna have to deal with my sketchy lineart like in this comic haha

Seeing as Instagram is my main platform, you'll have to keep in mind that this format was made with the square format in mind. Stick with me here hehe :^))

Gonna start introducing Bonus Comics! These are just short disconnected comics that I usually include out of a whim. Just click on Keep Reading and you should see it! This will be the only time I'll mention these on the notes section.

<<< Previous: Teenage Mutant Ninja... Therapy Group?!

Next Up: TMNTherapy Group: Welcome Raphael! >>>

Bonus Comic:

[d3df1zh]

HIIIII!!! my name is clover and this is my intro post. i WOULD make an about page but i really don't want to bc im lazy keep reading if u wanna know thingz abt me bc this will take a while trust

okay so, i go by he/she/they. I am a minor and i don't know if i'll post a lot but i got some heavy fandom opinions i might share bc i get kind of passionately rage-filled at some things.

i'm also aroace!! interests!!! ☆ there's a lot so be warned

any colored, bold interests are ones im REALLY into so you dont get bored reading - if you havent gotten bored already

only bold interests are ones i adore but aren't fixating on at the moment my interests are ANYTHING cuphead related (casino cups, etc.), gravity falls, splatoon, idv (i dont play the game bc i suck but i love the lore + chars), undertale/verse, HORRORTALE ESPECIALLY, silent hill, rdr2, resident evil, lego monkie kid, jttw, any mythology really, scott pilgrim, heathers, coroika.. kind of?, tmnt (2012 & 1987), white day; a labyrinth named school, the path (videogame), sonic, FNAF, madoka magica, serial experiments lain, MY OCS!!! (I HAVE DOCS ON ALMOST ALL OF THEM PLEASE ASK ABOUT THEM!!!!), um jammer lammy, hollow knight, fictional horror, PETSCOP, luna game, cookie run kingdom, REGRETEVATOR!!

i have more interests but they're more minute so its unnecessary to name ALL of them also theres already a fuck ton of text soooo ! oh i also like making my own versions of aus (especially problematic ones or poorly written ones (ofc im not bullying any creators of aus by saying them and their creativity sucks, they don't suck, but some popular aus are just..... ugeeeeehhh. also some creators are bad people so they kind of deserve it. I just want to make a better space for fans of said aus.)) byf ☆

i am anti-sanscest, i find it weird, im sorry

i really do try not to be super mean in a rant/opinion but i will be passionate and stern about it

i am somewhat a spicynoodles anti? i just don't like it, im sorry ^same with purecacao

i make sexual jokes sometimes, not very often in public though

i block whatever and whomever i want /lh

i dog on mischaracterizations of my favs a LOT (or just mischaracterizations of any character) (staring at you 'horror' sans fans) (i'll made a small rant on my main abt the mischaracterization of horrortale sans and i'll do it again. it'll be on my queue and be way firmer stg!!)

if i accidentally interact while im on ur dni list, PLEASE feel free to block me! I like posts mindlessly so I don't often check dni lists unless i want to follow someone!

dni ☆

basic criteria, vivziepop supporters, hazbin hotel/helluva fans, dsmp/qsmp fans, zionists/pro-israel mfs, pro/comshippers, whitewashers or ppl who think blackwashing is real, i think thats it just don't be weird

that might be it, i'll freely edit this if i want to make any changes!! :3 hope i can make some quality content (i will not)

[cometomecosette]

I've been watching YouTube videos of different actresses' performances as Fantine to write a comparison, and I've noticed some things about the staging:

(1) In the pro-shot video of the 1st National Tour from 1991 (what an amazing find!), Bamatabois isn't as violent as I'm used to seeing. He pushes Fantine to the ground at the beginning of "It's the same with a tart as it is with a grocer..." then grabs her and rubs against her at the end of the verse, but does nothing in-between, and doesn't touch her again after she scratches his face. It's completely different from the performances I'm used to seeing, where he spends the whole scene, both before and after the scratch, brutally throwing and dragging her around, grabbing her by her hair, etc. In the 1987 London video (another amazing find, though it's of lower quality), he throws her around a tiny bit more, but again, he doesn't touch her anymore after she fights back. Was the increased violence in that scene a part of the various blocking changes for the 1997 Broadway 10th Anniversary?

I'm feeling tempted to prefer the less violent staging. After all, in the novel Bamatabois just mocks Fantine and stuffs a snowball down her dress, and the more violent blocking can feel like gratuitous female torture porn. Still, since the musical doesn't show the grinding details of poverty that Fantine endures (which is Hugo's main emphasis, not her being physically or sexually abused – I'll always love the musical, but I won't pretend it's a perfect adaptation of the book), maybe more violence is needed to drive home just how much she suffers. I'm of two minds about this.

(2) Yet earlier, in "At the End of the Day," the Foreman tends to be more physically brutal in those pre-1997 videos than I'm used to. During the silent pantomime where he comes on to Fantine at the beginning of the factory scene, he grabs her in a very aggressive, scary way, almost as if he wants to rape her then and there against the cash-box table. In the performances I'm used to seeing, he seems more teasing and sweet-talking in that pantomime. Was that another 10th Anniversary change?

@quarryquest

[rolandrockover]

Eye of the Burning Hunter

Eric Carr's Eyes of Love (1989) is one of those fan favorites that unfortunately didn't make it onto a Kiss album. The indignation about this should be all the greater because in this case we are talking about the completely overloaded and somewhat indecisive Hot in the Shade (1989) of all things.

What the exact reasons may have been within a hopefully objectively functioning exclusion procedure is something everyone is welcome to think about for themselves, but hopefully not without at least taking a closer look at the music first. And why should you do something like this alone when it works just as well together and in the best of company?

So, Eyes of Love sounds admittedly less like Kiss in itself, or rather its somewhat unwieldy overall picture doesn't quite, but the individual parts it contains all the more. For the intro and main riff, for example, I can think of two reference sources that can both easily be assigned to Animalize (1984), the album that probably best musically manifests Gene's estrangement from the band at the time.

If you were now to hybridize Burn Bitch Burn (1) and Lonely is the Hunter's riffs, we'd almost have it, the point is just that Eyes of Love does somehow sound better than the other two both together (2), with a little more vibrant swing, which, once it gets going, gives it something quite nasty and monstrous. Unusual when something like this doesn't come from Gene, but certainly not unwelcome on my part.

But if you want to give it a little extra thought, you could ask yourself whether Eyes of Love isn't rather based on Killers' (1982) Down On Your Knees and tries to make something better out of its riff, which itself wasn't really able to do. A certain additional proximity to Down On Your Knees' middle part (3) would certainly speak in favor of this. But let's just leave it at that.

Apart from that, I can think of a few isolated bits and pieces that are reused here and there, serving as pads or whatever. Something that sounds like a higher swinging Plaster Caster (1977) riff, a certain The Elder (1981) touch as we know it from Only You, or a fill segment of When Your Walls Come Down (1987) and one of those rock n' roll standard licks that usually ends Rock and Roll All Nite (1975) live (4).

And although all the segments seem polished, the transitions flow smoothly and interlock like clockwork, it's still the not-so-simple song structure that, from my perspective, perhaps refuses to fit into Kiss' much smoother arrangement ratio of the time, thus naturally standing out quite a bit; and thus in some people's eyes, one looks in the direction of the two HITS, uhm… producers, might seem unfinished, or even useless. For their purposes. And not just to my regret.

Anyway, perhaps Eyes of Love only got in the way of Gene's and Bruce's not entirely dissimilar but much, muuuch more polished Prisoner of Love, but I prefer to continue to harbor my very own doubts about this idea. Basically, I'm only surprised that Gene didn't take it on and that it didn't fall into his clutches.

Probably because of the too many song credits. You know, less dough to share.

Wink emoji?

Side Notes:

(1) I mean even Eric's verse vocal sounds like the Burn Bitch Burn riff, with a slight biker rock and a AC/DC Highway to Hell feel.

(2) And I say that even though I like those Gene songs, especially Burn Bitch Burn. And I guess so did Eric Carr, because I happen to know that he loved to play Burn Bitch Burn live with its pumping drums and bass.

(3) Who remembers this part of Down On Your Knees, which bears an unmistakable resemblance to a song from Destroyer (1976)? You can refresh your memory of it right here, by the way.

(4) And no, I'm not going to highlight any of the links. That's too much fiddly work for me today. I'll probably cobble together some detailed Reprise entries out of this some day, or something.

I've limited the links to Eyes of Love, Burn Bitch Burn, Lonely is the Hunter and Down On Your Knees for the love of simplicity. Trust me, nobody loves too many links:

Eyes of Love (1989)

Lonely is the Hunter (1984)

Burn Bitch Burn (1984)

Down On Your Knees (1982)

[inevitablemoment]

I'm mostly a Janegon fan, but your OC ideas are sweet, I specially like the fact that Cathleen is a storyteller.

Have you watched the series The Nanny?

There is an episode where Mr Maxwell Chefield (Charles Shaugnessy) is about to marry the titular Nanny, Mrs Fran Fine (Fran Drescher), and there is a sweet scene where he talks to the spirit of his deceased wife and she blesses his new marriage, saying that, from the afterlife, she sent Fran to his life to bring joy for him and the kids.

In the series, is also shown that while married to Maxwell and having adopted his children, Fran never asks them to forget his first wife their birth mom. When the children miss the original Mrs Sheffield, Fran watches a video tape recording of her with them, and also dedicates jewish prayers to her memory.

In an AU where Egon keeps custody of Callie and happily marries Janine after proccessing the grief for the death of Cathleen, could you envision a similar dinamic between them?

(Sorry that this took me so long to answer)

Thank you so much! I like Janegon, too, but I'll admit that I've kinda grown attached to Cathleen, so I've gotten focused on my AU where Cathleen lives. But I did make a Janegon playlist that you can listen to here.

I got the idea of Egon falling in love with a storyteller from the musical, Twisted: The Untold Story of a Royal Vizier. That musical in general made me just love with the idea of a STEM geek and a literature geek finding love together.

Oh, I love The Nanny! I have a lot of memories of watching reruns of it on TV Land on Saturday mornings back in second and third grade, and then watching my recording of the episode about Maggie's wedding when I was home sick one day. I was recently able to get the complete series boxset from a Half-Price Books store during a vacation earlier this month.

This ask actually helped me create this AU, as I always have considered what my take on "Egon keeps custody of Callie and ends up with Janine" would be.

(Not-so-brief summary under the cut)

As Cathleen died when Callie was only a year old, Callie can't remember her mother. She knows her from photos, home movies, and stories that her father and her uncles tell her, though. Callie is a few months away from her fourth birthday when the Ghostbusters team is first formed and Janine is hired to work as their receptionist. One of the things that attracts Janine to Egon is seeing how, underneath his reserved and stoic exterior, he's a devoted father to Callie. Janine connects with Callie, who immediately imprints on Janine like a baby duck.

Egon slowly opens up to her about how he struggled adjusting to life as a single parent after Cathleen's death, and the tense custody battle between him and Cathleen's parents. Their friendship builds into a romantic relationship, and they end up marrying in 1986.

The only time that Callie ever felt insecure regarding Janine's love for her was after the birth of her half-sister, Lily Esther Spengler, in 1987. She began to feel now that Janine had a child that was biologically hers, then she wouldn't be as loved as she was before. Janine took her aside and reassured her that she loved Callie. Three years later, Janine and Egon welcomed a third daughter, Vanessa Ruth.

After the move to Summerville, as in my Cathleen Lives 'verse, Callie's main grudge with her father is that he uprooted her life over something that may or may not happen, and burned every bridge he had when no one but Janine believed him. Callie ran off to her maternal grandparents' new home in Chicago and refused to return home. She cuts off contact with her father and half-sisters, but only occasionally speaks with Janine over the phone.

Following the defeat of Gozer (I haven't decided whether it's Callie, Lily, or Vanessa who gets possessed by Zuul in this 'verse), the surviving members of the Spengler family reconcile.