#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 many people are not reading them so 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.

[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.

[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

[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.

[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.

[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:

[forgottenfuturist]

The Incredible Growing Viewscreen

In the beginning, before Matt Jeffries had finished designing the spaceship that would become the Enterprise, set designer Pato Guzman sketched this idea for the "control room":

About the only thing it had in common with the final set was the large window/viewscreen up front.

The first iteration of the USS Enterprise bridge included a much smaller main viewer that looked like a really big television:

This was very cutting-edge for 1964. Color TVs were still pretty new in those days, and they had pretty small picture tubes. A wall-sized one must've seemed impossibly futuristic.

For the second pilot, the viewer got a widescreen upgrade:

When the show went to series, the viewer acquired a rectangular shape with a glowing blue outline, but stayed the same size:

When the Enterprise was redesigned for the big screen 13 years later, the viewer stayed roughly the same size, but it looked more like the window/viewscreen from Pato Guzman's original concept art:

Fast forward to 1987. Larger televisions were a becoming more common; some folks even had giant projection TVs that almost required a forklift to move. To emphasize the super-advanced nature of Star Trek: The Next Generation's brand-new Starship Enterprise, the main viewer dominated the entire forward bulkhead of the bridge:

Basically, they went from having a largish TV screen at the front of the bridge to having an entire movie screen.

The viewscreen got another upgrade nine years later with the big-screen debut of the Enterprise-E. In Star Trek: First Contact, there was no screen built into the bridge's forward bulkhead; it was just a blank wall. The "viewscreen" was a holographic display that appeared in front of the wall when activated:

This was an interesting innovation that never appeared again. In the next two movies, the Enterprise-E's bridge had a plain old viewscreen. Of course, holographic nor not, the functionality of the bridge viewer hadn't really changed since the very first Star Trek in 1964. It was basically a big TV that displayed one thing at a time. That might have seemed perfectly futuristic during Star Trek's first 30 years, but the world was changing.

When J.J. Abrams' big-budget reimagining of Star Trek was being developed in the late 2000s, everybody had computers and smartphones were becoming more common. So Abrams and his team went in a new direction:

Instead of the traditional Star Trek viewscreen, the front of the new Enterprise bridge was dominated by a giant curved pane of "smart glass" i.e. a window that allowed information from various sources to be superimposed on it:

Predictably, long-time fans complained about this because they hate change. But honestly, it's cool and it makes sense. In 1964, the Enterprise's viewscreen was so futuristic that there was no way to depict it without employing special effects. Fifty years later, you could buy one at Wal-Mart. Star Trek is set in the future; its technology shouldn't be something that the audience can walk into a store and buy today.

The 2022 version of the Enterprise bridge features a "smart glass" viewscreen much like the Abrams-verse version with one important difference:

It's a whole heckuva lot bigger. I can't even imagine what the aspect ratio is on that bad boy. And what about the resolution? What is that, like an 8000000K display?

I have zero problem with this. For everyone screaming "But it's impractical!" well, yeah, probably. But so is having the bridge in an exposed and easily-shot-at point at the top of the saucer. Not to mentioning having the warp core in a big open area with zero shielding around it and people working in close proximity to it 24/7.

If you want to get nitpicky about unrealistic stuff in Star Trek, we'll be here all year.

[deadcactuswalking]

REVIEWING THE CHARTS: 29/07/2023 (’Barbie’ Soundtrack, Stormzy/RAYE, Travis Scott/The Weeknd/Bad Bunny)

Content warning: mentions of death and violence

For an eighth week, Dave and Cench grab the #1 with “Sprinter” once again, but the rest of the chart… it’s not as stable. Welcome back to REVIEWING THE CHARTS!

Rundown

Okay, but did Oppenheimer chart seven songs this week? I don’t think so. The Barbie soundtrack is not the only story here, but it is the main one in a busier week than expected - and kind of a chaotic one - but as always, we start with our notable dropouts, songs exiting the UK Top 75 - which is what I’ve always covered - after five weeks in the region or a peak in the top 40. This week, we say farewell to a bunch of old songs like “Sweet Child o’ Mine” by Guns n’ Roses, “I’m Still Standing” by Elton John - “Cold Heart” (PNAU Remix) with Dua Lipa as well - then slightly newer songs like “Waffle House” by the Jonas Brothers, “Escapism.” by RAYE featuring 070 Shake, “messy in heaven” by venbee and goddard. and “Bad Habits” by Ed Sheeran, and then actually new songs, those being “Dance Around It” by Joel Corry and Caity Baser, “Say Yes to Heaven” by Lana Del Rey and “Masculine” by J Hus featuring Burna Boy, which was swapped out for another J Hus song this week.

Then we have our returns and notable gains… and well, there’s a lot going on here. Firstly in our returns, we see again the three-song rule swap out “Karma” by Taylor Swift for “Anti-Hero” at #41 and the return of “Dial Drunk” by Noah Kahan all the way up at #32 thanks to the pretty great remix with Post Malone. Additionally, due to her passing on Wednesday, we see “Nothing Compares to U” by Irish singer Shuhada’ Sadaqat, better known of course as Sinéad O’Connor, return to #45. She was brave and revolutionary in her criticism of the Catholic Church and constantly stood for what she believed in which, great music aside, is incredibly honourable, and it’s a damn shame she was never really able to find peace. “Nothing Compares 2 U” originally hit #1 for four weeks in 1990, and despite an array of charting songs in the UK from 1987 to 2007, she would never make the top 10 again aside from another #1 as part of Band Aid. On a lighter note, whilst I have yet to see the Barbie film, I have heard the soundtrack, which whilst nowhere to be seen on the albums chart, tops the compilations chart, with many a song from the film crossing over to the singles chart. The songs that are not new and not gaining into the top five are both returns: Charli XCX’s “Speed Drive” at #19 and a song technically not on the album, the original “Barbie Girl” by Aqua resurging to #40. It also hit #1 for four weeks, yet in this case in 1997.

As for our gains, there aren’t many but most are interesting - sure, there are rote, kind of inexplicable boosts for “Closer” by Bou featuring Slay at #27 - the best-selling USB stick release ever, seriously - and “Disconnect” by Becky Hill and Chase & Status at #17, but we also see NewJeans’ album release boosting “Super Shy” up to #52 and a remix with Burna Boy brings Byron Messia’s “Talibans” up to 12. The remix doesn’t exactly help the song be any less gross or more interesting.

This week’s top five on the UK Singles Chart has three songs from that Barbie soundtrack in it - the three-song rule was not applied to it - so we start with “Barbie World” by Nicki Minaj, Ice Spice and Aqua at #5, “Dance the Night” by Dua Lipa at #4, her 13th top 10 hit, and Billie Eilish at #3 with “What Was I Made For?”, a consecutive Barbie three-streak. The top two, of course, is all standard - “vampire” by Olivia Rodrigo and “Sprinter” at the very top. Now we have a… questionable stretch of new arrivals, so let’s get into them.

NEW ARRIVALS

#67 - “Highs & Lows” - Prinz featuring Gabriela Bee

Produced by ME13 Beats

So you might remember Prinz for contributing verses to “Beautiful Day (Thank You for Sunshine)”, a cute if saccharine Christian drill song that peaked at #63 earlier this year. He’s back for a follow-up single and he’s doing… this nonsense. Okay, so Gabriela Bee was a Canadian Vine star as a child who’s grown up into a singer-songwriter - naturally - gathering some viral cover videos across the way. Here she is reciting a 2019 non-mover by similarly Canadian indie pop group Walk off the Earth - Canada Day was at the start of this month, Prinz - titled “I’ll be There”. It only ever charted in Canada, and never particularly high, largely because it’s a sappy boring love song with about as much teeth as “Girls Like You” by Maroon 5 without its denchers. So naturally, sample drill, right? He even harmonises with the pitch-shifted chorus, before going into verses that are sing-songy when he wants to and needlessly staccato and aggressive when he wants to do that, with the rattling percussion and sliding 808s always present. This just sounds ridiculous. I didn’t know there was a market for wholesome Christian drill but this really just sounds like a cheap children’s version of the genre. I really ponder how we got this point.

#61 - “Asking” - Sonny Fodera and MK featuring Clementine Douglas

Produced by MK and Sonny Fodera

Marc Kinchen is no stranger to the chart but here, he teams up with two fellow non-Canadians: Australian-born DJ Sonny Fodera, who makes his first entry since he last teamed up with MK on 2019’s “One Night”, which was a very minor hit the year after, and Clementine Douglas, the British singer providing raspy vocals on yet another 90s throwback house tune. It really just follows a standard house-pop progression with a particularly ugly staccato backing synth line, and decidedly not catchy vocals from Douglas, wherein the vocaloid drop is so ever-present, it ends up drowning whatever refrains or harmonies she can come up with… and then really bizarrely impactful drums come in that seem way too big for what this song actually is. When it plunges into the deep bass, it makes a lot more sense, but kind of has me wondering what this song was actually trying to do compositionally. I like the glitchier synths and orchestra hits in what I think is the chorus and drop, but they’re still over a very stiff production here that is monotonous as all Hell, its biggest talent being its stillness. So, yeah, not a fan at all, which is kind of a shame coming from MK.

#58 - “Man I Am” - Sam Smith

Produced by Mark Ronson and Ricky Reed

Whoever decided to give the non-Canadian Sam Smith a song about being a man knows what they’re doing and I don’t think it’s all that pleasant. To be fair to them, they definitely embraced the less-than-flattering title and subject matter, which is actually in the character of Ken, not that it’ll matter to certain people. This actually ended up being one of my favourites off of the soundtrack, with Smith’s gravelly delivery sandwiched in between a garish electroclash synth and the airier synths surrounding them, as they indulge in the hedonism fully, to the point that they almost reject Barbie altogether and hint at preferring the company of men. Homoerotic Ken is obnoxious, sure, but the wacky synthwork in the pre-chorus bursts into a back-of-the-mix bleep during that anthemic hook and whilst there’s not really much to it outside of being fun, I’d prefer that mode from Sam Smith than a ballad, and actually bordering on the transgressive is more fitting for the film from what I’ve heard than any of the cookie-cutter crap that’s also present. We’ll get to that after these violent messages.

#53 - “Massacre” - J Hus

Produced by Marco Bernardis and P2J

I fully expect songs to swap in and out from big albums thanks to silly chart rules, and non-Canadian rapper J Hus doing so with Beautiful and Brutal Yard - dropping from #1 to #4 on the albums chart right now thanks to Blur - was only slightly a surprise. The reason this song in particular raised enough traction was probably due to its A COLORS SHOW performance, but the original version has a lot of merit itself. This is probably the most gruff and menacing J Hus has ever sounded over these sprawling acoustic and typical Afroswing rhythms. Sure, some of the rhymes are forced and his flow is a lot less stable than usual on the verses, but there’s a decent amount of detail in both his past of gang violence and mental health issues that arose as a result of them and prevent him from moving on. It sadly doesn’t go too deep into that, because J Hus just can’t help himself but make the rote second verse about having sex with this woman and I really don’t know why he couldn’t have just written an on-topic verse here. It’s otherwise a great song, with the strings that send it off splitting the song’s tone somewhere between violent and reflective in a really open-to-interpretation way that ends up succeeding on both of its potential fronts thanks to a strong chorus and first verse, I just wish it kept up with its own theme throughout the entire track is all. The COLORS SHOW version also replaces some of the quiet, murderous cool for more manic energy and it probably depends on the day which version I prefer because otherwise there’s very little that stands out as all that different but overall, still a good song regardless of version.

#39 - “Pink” - Lizzo

Produced by Mark Ronson, Andrew Wyatt and Ricky Reed

I was initially kinder to this one when first listening to it, and sure, Lizzo - not Canadian - still has charisma and soul in her voice that not many of the other features on this project do, and in terms of being able to co-inhabit Ronson’s 80s synth-funk palette, you can’t really get better than Lizzo… so naturally, this is a children’s song. I’m sure it makes a lot more sense in the film but knowing that songs like “Barbie World”, “Man I Am” and “butterflies” are in this same film makes this particular track feel like it’s appealing to the broadest possible horizons whilst simultaneously not making any worthwhile arguments for its own existence. It’s barely even catchy, it wouldn’t make a good theme song because it’s not nearly as compact with its “ideas” despite only being less than two and a half minutes. So, realistically, we just have Lizzo spelling out words over 80s radio slodge. The sax sounds good, it always will, and I guess everything complements quite well, but that’s not exactly hard when you don’t take any risks. Complete snooze.

#36 - “Love Like This” - ZAYN

Produced by Jon Bellion and The Monsters & Strangerz

Welp, ZAYN’s back - and he’s not Canadian, nor ever has been. I feel like we do this song-and-dance with ZAYN album cycles a lot, and it’s of no surprise to me that the returns are decreasing. He releases a lead single that debuts high and is pretty accessible before a delayed and/or completely ignorable album cycle that comes and goes, with very little of the vague ambition ZAYN ever showed on his earlier solo work actually showing up, especially not on these lead singles. In this one, Jon Bellion continues on his weird 2-step streak, which is probably the only genre wherein Bellion doesn’t out-sing the actual singer through his signature writing… so why give it to ZAYN of all people? He drones on in the repetitive verses like he’s completely sedated over a kind of promisingly lo-fi garage beat, and then ends up somehow off-beat in the pre-chorus that lacks an actual coherent melody, before an anti-climactic, awkwardly-written chorus that makes unnecessary use of a piercing siren sound. This feels like a vehicle for Jon Bellion’s worst ideas rather than anything that can give ZAYN that last push he might need to actually impress me, but alas, if he’s not trying, then we don’t have to listen, and it’s becoming increasingly clear that the general public follows the same logic.

#25 - “I’m Just Ken” - Ryan Gosling

Produced by Mark Ronson and Andrew Wyatt

Now this is the viral show tune sung by the decidedly Canadian actor Ryan Gosling in character as Ken, and I feel like this one ESPECIALLY hinges on your viewing of the film because of how explicitly tied to the plot it is. The film’s use of Ken seems to comment on how Ken was made post-Barbie, purely to serve the initial doll, with director Greta Gerwig pointing this out. Therefore, we have this idea of a man functioning without true comprehension of its emotions and instead just as a worker with a fake tan and toned body. Naturally, Ronson spares us the subtleties, as the show tune ends up going full rock musical, with a muddy filtered synth and electric guitars crashing in after the first chorus and from when on, the song kind of goes off the rails. Gosling already sounds like an AOR vocalist, so the shift makes complete sense… but then it gets really propulsive and Gosling’s asking if I can feel his “Kenergy” and I mean, it is supposed to be a comedy, so I guess throwing away a chunk of this song to a flailing meme makes complete sense. The abrupt transition back into the actual song just accentuates how tacky everything about that second verse and bridge is; it really just isn’t necessary in an otherwise pretty impactful self-questioning. This has a lot of promise to it, but sadly, probably due to narrative reasons, squanders that midway through. Much of the soundtrack album felt like that too, good ideas squandered by not taking risks, with the bad, risky ideas ending up being the most fascinating and honestly the best songs. My favourites were the aforementioned “Man I Am” and “What Was I Made For?” as well as GAYLE’s Crazy Town flip “butterflies” and Khalid’s adorable “Silver Platter”. Now let’s get back to actual music.

#24 - “K-POP” - Travis Scott, Bad Bunny and The Weeknd

Produced by BNYX, Boi-1da, Illangelo, Jahaan Sweet and DVLP

Oh, hey, look at that. A Canadian. Odd running gag aside, this is the lead single to the long-anticipated UTOPIA and I’ll save my thoughts on the album for next week - they’re not pretty - but I do have to ponder. Travis Scott actively promoted himself to children through McDonald’s meals and Fortnite appearances, and gained some really young fans, including one Ezra Blount, whom his father said was stoked to see Travis at the Astroworld Festival. He was nine years old. After two years of pain from the victims’ friends and family, and a grand jury conveniently and incorrectly declining to indict him and the corporations involved of any wrongdoing just about when he’s going to release a record, we get our first work from Travis as a lead artist in years. When I hear this barely coherent and crappily-mixed attempt at dancehall from Yeat’s producer, seemingly void of any understanding of the genre mish-mash on display, wherein Bad Bunny is the only person here not on complete auto-pilot, The Weeknd embarrasses himself with career-low lyrics that not even Drake would let go past the reference track, and Travis Scott lazily whining in mumbling Auto-Tune some vague platitudes about a drug-fuelled nostalgia, it sticks in my mind: he was just nine years old. Rest well, little buddy, because your idols definitely couldn’t care less.

#23 - “The Weekend” - Stormzy and RAYE

Produced by London and RAYE

And from The Weeknd to “The Weekend”, yet we’re a lot further from Canada here. It is pretty cool that despite all of the American pop culture nonsense that was thrown at us this week, the highest debut is from two British artists, one of which is independent. The song’s pretty sweet too, with RAYE’s ghostly harmonies and melodrama sliding pretty acutely under the stiffer, effortless cool of Stormzy. I was actually surprised the two had this much chemistry and they work off of each other pretty effortlessly, even if the mix on this fudgy, bassy funk-pop isn’t all that clean. There’s not much of a focus on sex or Stormzy himself other than some silly references, with the song mostly just being an appreciation of his partner, played by RAYE, and his deadpan delivery works as almost portraying him as slightly awestruck by her. The little trade-off in the refrain where they try and figure out a good day to hang out is adorable, and the entire song, despite my issues with the production, is a pretty little jam I definitely wouldn’t mind sticking around.

Conclusion

Well, this sure was the week that was, and not particularly a stand out week quality wise, in fact, this one was kind of a struggle. Best of the Week goes to Sam Smith of all people for “Man I Am”, but the Honourable Mention is a tie, given that the other two good songs here are just expectedly solid songs from UK acts that both may end up growing on me, with “The Weekend” by Stormzy and RAYE and “Massacre” by J Hus being my other favourites this week. As for the worst, Travis Scott takes it handedly with “K-POP” featuring Bad Bunny and The Weeknd, but I don’t think ZAYN is all that far behind as he gets the Dishonourable Mention for “Love Like This”, though that very much could have gone to Lizzo and absolutely could have gone to whatever Prinz was doing. As for what’s on the horizon, we had a big release week with albums from Anne-Marie, Post Malone and Travis Scott, and Calvin Harris is raring for his big “Miracle” follow-up, so expect more craziness to come. Thank you for reading, rest in peace to Sinéád O’Connor and I will see you next week!

[fashionablyenigmatic]

General Info

Have you ever pondered the origins of iconic characters like the Mad Hatter, Willy Wonka, Dorian Gray, and the Scarlet Pimpernel? Ever curious about the real-life inspiration behind the Magician in the classic Rider-Waite Tarot deck? Were these characters purely fictional, or were they inspired by encounters with someone truly remarkable? Introducing Alphonse Monroe: a figure who was both a menace and a muse to high society and the literary world.

Name: Alphonse Monroe

Age: 554 years old {Born Oct, 20th 1469}

Species: Human with Lumena ancestry

Gender: Gender fluid (sex: male)

Appearance: Alphonse has golden brown hair, bright blue eyes, and a handsome, gentlemanly appearance.

Personality: Alphonse is a whimsical and witty individual who is also a bit of a workaholic and tends to take on multiple tasks at once. He is known for his polite and kind demeanor.

Relationships: Alphonse is married to Stan Norman and has a brother named Irvan Tempus and a sister-in-law named Irma Tempus, who he considers his best friend. He also has four children named Cadmus Dolore, Bennie Norman, Syliph Monroe, and Karnus Norman.

Strengths: Alphonse is a jack of all trades, with a particular talent for creativity and skills such as designing, cooking, and building. Additionally, he is knowledgeable in the magical arts as a scholar.

Weaknesses: Alphonse tends to overwork himself and neglects sleep. He also avoids situations that may trigger his past traumas.

Skills: Alphonse has a variety of skills including carpentry, baking, cooking, painting, artificing (the crafting of magical objects), and magical studies.

Hobbies: Alphonse's most solid hobby is fashion design.

Main verse Info:

-1469: Alphonse is born on October 20th.

-Early 1480s: Alphonse spends his youth mastering many trades in his village.

-Mid-1480s:

- At the age of 16 (around 1485), Alphonse discovers his magical powers.

- He begins a relationship with Stilio Mordere, the son of a witch-hunting priest.

-Late 1480s:

- Alphonse and Stilio elope and make a pact with an ancient spirit, allowing Stilio to share Alphonse's magic.

- Stilio becomes corrupted by power, leading to the destruction of Alphonse's family and village.

-Early 1490s: Saved by a Phoenix from execution, Alphonse joins a pirate crew and finds success.

: Alphonse retires from piracy and moves to France, where he ascends the social ladder and starts a fashion empire.

Mid to late 1500s: Alphonse returns to England, engaging in a romance with a young William Shakespeare.

-Late 1500s to Early 1600: Moving to America, Alphonse falls under Stilio's control again, losing much of his memory before breaking free and killing Stilio. Alphonse then reestablishes his life and continues his fashion empire in France and America.

-1900-1980: Stilio returns, controlling Alphonse to become several Hollywood stars/starlets.

- 1980s:

- Alphonse, now a woman, is impregnated by Stilio in an attempt to create a new host for Stilio's soul.

-1987, November 5th: Cadmus Dolore is born, helping Alphonse break free from Stilio's control. He kills Stilio again.

-1993: Alphonse meets and falls in love with Stan Norman.

-1994, June 23rd: Bennie, Alphonse and Stan's child, is born.

-2002, mid-July: Bennie splits into three entities: Syliph and Karnus.

-Early 1990s and beyond: Stilio attempts to take over Cadmus, who defeats him and absorbs his powers.

-Present:

- Alphonse now enjoys a retired life, exploring new interests and meeting new people.

- He lives happily with his husband Stan and remains distanced from his tumultuous past.

This timeline reflects the specific dates and events provided, ensuring chronological order and coherence with the narrative adjustments.