#not that you don't develop but

[shredsandpatches]

Also none of this is confined to people in their 20s

Being a young adult is so strange. You enter a coffee shop. The 20 year old girl waiting behind you cried all night because she just came to a new city for university and she feels so alone. That 27 year old guy over there works a job he is overqualified for, he lives with his parents and wants to move out but doesn't know what to do about it. That one 24 year old dude already has a car, a house, and a job waiting for him once he graduates thanks to his dad's connections. The 26 year old barista couldn't complete his higher education because he has to work and take care of his family. The 28 year old girl sitting next to you has no friends to go out with so she is texting her mother. That couple (both 25 years old) are married and the girl is pregnant. The 29 year old writing something on her laptop has realized that she chose the wrong major so she is trying to start all over. We are not alone in this, but we are actually so alone. Do you feel me

[technically-human]

Bisexual crisis Crystal edition

[amirasainz]

Could you make younger girlfriend x Lewis Hamilton. Maybe there are some rumours and then she visits the paddock with Lewis. The wags and drivers aren't to sure about this at first, but in the end see how happy the couple is. I know this isn't what you usually write, but it is my birthday today and it would make me ver happy. 🤭💗☺️

Enjoy reading and send some requests!!!

-xoxo babygirl 💜

Love has no age

The first time Yn had stepped into the paddock as Lewis’s official girlfriend, the buzz had been deafening. Rumors had swirled for weeks about Lewis dating someone new, and when the truth finally came out, it was all anyone could talk about.

“Did you see her? She’s so young!”

“Twenty? Isn’t there, like, a fifteen-year age gap?”

“What do they even talk about?”

Yn had tried her best to block out the whispers, clinging to Lewis’s hand as he guided her through the chaos. He’d been her rock, as always, his calming presence grounding her in the midst of all the speculation.

“They’ll come around,” Lewis whispered in her ear as they walked to his garage. “They just don’t know you yet.”

---

Yn hadn’t expected her first encounter with the other WAGs to feel so…awkward. She sat at the hospitality table, surrounded by the glamorous women who had known each other for years. They were friendly, of course, but Yn could sense their hesitation. She was the youngest by a mile, and the age gap between her and Lewis hadn’t escaped their notice.

“So, Yn,” Carmen began with a polite smile, “how are you finding the paddock life?”

Yn straightened in her chair. “It’s exciting! A bit overwhelming, but everyone’s been so welcoming.”

“Everyone?” Kelly raised an eyebrow, her tone light but pointed. “The media hasn’t exactly been kind.”

Yn hesitated, unsure how to respond, but Rebecca jumped in. “The media is never kind. Trust me, you’ll get used to it.” She offered Yn a warm smile, her hand briefly brushing against Yn’s arm in a reassuring gesture.

“Thanks,” Yn said, her voice soft but grateful. She appreciated Rebecca’s kindness, even if she still felt like an outsider.

Carmen leaned in, placing a gentle hand on Yn’s shoulder. “We’re glad you’re here. Really.”

Yn’s heart swelled at the gesture, and for the first time that day, she felt like she might actually belong.

---

By the end of the day, Yn found herself laughing with Rebecca and Carmen like they’d known each other for years. The initial awkwardness had melted away, replaced by an easy camaraderie. Carmen had an arm draped around Yn’s shoulders as they walked through the paddock, while Rebecca kept a hand on Yn’s waist, guiding her through the crowd.

“You’re stuck with us now,” Rebecca teased. “Hope you’re ready.”

“I think I can handle it,” Yn replied with a grin.

Alexandra watched them from a distance, her jaw tight. It wasn’t that she disliked Yn—she just didn’t understand how someone so young and seemingly perfect could fit in so effortlessly. The other WAGs adored her, the fans couldn’t get enough of her, and even the drivers were charmed by her sweet demeanor.

---

“Yn!” Lando called out as he approached the group, a wide smile on his face. “Finally, someone who makes me feel less like a baby here.”

Yn laughed, her cheeks turning pink. “Glad I could help.”

“She’s not that young,” Lewis interjected, stepping up behind Yn and wrapping an arm around her waist. His tone was playful, but there was a protective edge to it.

Lando raised his hands in mock surrender. “Hey, no offense! I think it’s great. You two look happy.”

“We are,” Lewis said firmly, pressing a kiss to Yn’s temple.

The other drivers gradually joined the conversation, each of them making an effort to include Yn. Oscar cracked jokes that had her in stitches, while Charles teased her about her taste in music after overhearing her playlist. Even Max, who was usually reserved, made a point to ask her how she was finding everything.

“They like you,” Lewis whispered later as they walked back to his motorhome.

Yn looked up at him, her eyes shining. “You think so?”

“I know so,” he said, leaning down to kiss her softly. “But even if they didn’t, it wouldn’t matter. All that matters is us.”

---

Despite the initial skepticism, it didn’t take long for Yn to win over the entire paddock. Her kindness and genuine nature were impossible to ignore, and soon, she was at the center of every conversation. The fans adored her, flooding social media with messages of support and admiration.

“She’s like a ray of sunshine,” one fan tweeted.

“No wonder Lewis is so smitten,” another wrote. “They’re perfect together.”

The attention didn’t go unnoticed by Alexandra and Kelly. Alexandra couldn’t help but feel a pang of jealousy every time she saw Yn surrounded by people who seemed to worship her. Kelly, on the other hand, was struggling with the fact that Yn’s presence had overshadowed her pregnancy.

“I don’t get it,” Alexandra muttered to Kelly during a quiet moment in the paddock. “What’s so special about her?”

Kelly shrugged, though her expression was tight. “She’s nice, I guess.”

“Nice doesn’t make you the center of the universe,” Alexandra snapped. But even as she spoke, she knew her frustration was misplaced. Yn hadn’t done anything wrong—if anything, she’d gone out of her way to be kind to everyone.

---

Over time, even Alexandra and Kelly couldn’t resist Yn’s charm. During a group dinner, Yn had complimented Kelly on her outfit, sparking a conversation that lasted the entire evening. By the end of the night, Kelly was laughing along with Yn and the others, her earlier resentment forgotten.

As for Alexandra, it was a quiet moment during a race weekend that changed her perspective. She’d been feeling particularly stressed, and Yn had noticed, pulling her aside to ask if she was okay.

“No one’s ever asked me that,” Alexandra admitted, her voice soft.

“Well, someone should,” Yn replied. “You’re always looking out for everyone else. It’s only fair that someone looks out for you.”

Alexandra had been taken aback, but she couldn’t deny the warmth she felt in that moment. From then on, she made an effort to be kinder to Yn, and before long, they’d developed a tentative friendship.

---

Lewis couldn’t have been happier. He loved seeing Yn thrive in the paddock, surrounded by people who cared about her. But more than that, he loved Yn herself. She was everything he’d ever wanted—kind, intelligent, and full of life.

“You know you’re amazing, right?” he told her one evening as they sat on the couch in his motorhome.

Yn looked up at him, her eyes wide. “I’m just me.”

“And that’s more than enough,” he said, leaning down to kiss her.

Their love was obvious to anyone who saw them together. Lewis was always touching her in some way, whether it was a hand on her back, an arm around her shoulders, or a kiss on her forehead. He was protective but never overbearing, always making sure Yn felt safe and loved.

“You’ve got yourself a good one,” Valtteri told Lewis one day, nodding toward Yn, who was deep in conversation with Carmen and Rebecca.

“I know,” Lewis said, his voice full of affection. “She’s the best thing that’s ever happened to me.”

---

By the end of the season, Yn had become an integral part of the paddock family. She was no longer just “Lewis’s young girlfriend”—she was Yn, the girl everyone adored. The WAGs were her closest friends, and the drivers treated her like one of their own.

As for Lewis, he couldn’t have been prouder. Every time he looked at Yn, he was reminded of how lucky he was to have her in his life. And if anyone had doubts about their relationship at the start, they were long gone now. It was clear to everyone that what Yn and Lewis had was real.

Age was just a number. What mattered was the love they shared, and that was something no one could deny.

[juicedaloe]

original by @ crawfishcomic below cut

[qqueenofhades]

I'll leave you with this thought for the night, gallows-humor though it is: even the lowest-informed, misguided, confused, and sometimes let-us-say-it flatly moronic people in America like to vote and take it for granted that they can meaningfully do so on a regular and expected basis. So if the evil orange and company actually try to make good on this whole no more democracy and/or actual elections thing, I really don't see it working out well for them.

[starry-bi-sky]

danyal al ghul memes because i don't think i've done those yet for this au.

(the jason one is in reference to the fanon headcanon/au that Jason and Damian potentially knew each other and interacted while jason was in the league. I've thought about it before in context of this au, but haven't thought about it enough to feel inspired or motivated to make a post exploring the idea)

(diablito means, as you can guess, 'little devil'. while i'm neutral to latino jason, i think the nickname is cute as fuck and was danny's main nickname from Jason. i don't wanna touch that timeline so im not gonna decide how old they were when Jason was there.)

Skulker: i am the ghost zone's greatest hunter! i capture and hunt creatures both rare and dangerous. Danyal: a poacher?? you're a poacher?? you poach animals??Skulker:...i sense i've made a mistake of some kind.

anyways that was the day that Skulker cemented himself as Danny's no.1 opp, and still remains there to this day even if he and Vlad are both viciously fighting for second. Out of everyone in the the AP rogues gallery, Skulker will be the first to be thrown under the bus in terms of 'o shit here comes phantom fucking RUN'.

[marzipanandminutiae]

"we bought this Victorian house and opened up the interior, adding lots of overhead lights and pewter walls-"

biting you killing you biting you killing you biting you killing you

[hoofpeet]

yooo, whats a cow egg? I have never heard of that before???

Oh well . Amorphous globosus ⏫ is where occasionally for some reason or another, a cow fetus just doesn't really develop right and comes out as an orb of meat and fur instead

[joyfuladorable]

Baby Junior's First Steps (based on a scene from Bluey)

Prompt from my buddy @vadfannypack! Everyone thank them Right NoW!!

[dukeofthomas]

"Are the Robins child soldiers" It depends. If the story is super serious and into exploring complex morality and grounded from reality's standards, then yes. If the story is lighthearted, made for children, fluff, etc., then no. If it's somewhere in the middle, it might depend.

If an author wants to write a story seriously delving into the fucked up-ness of children fighting criminals, they can, and if you don't like it, you can read something else.

If an author wants to write a fun story about villains and heroes featuring Robin in a world where that's not an issue, they can, and if you don't like it, you can read something else.

If an author wants to write a serious story but not apply IRL-logic to Robin, they can, and if you don't like it, you can read something else.

[tshortik]

I love you messy artstyle i love you visible brush strokes I love you textures and rough edges I love you imperfections I love you roughness and colour blobs I love you scratchy sketches and bold stylisation and dirt and imperfections I love you ugly and raw emotion!!!!! ❤️

[achillean-knight]

[vi-138]

[dollya-robinprotector]

Dress me up, make it tight, I'm your dolly You're my doll, rock'n'roll, feel the glamour in pink Kiss me here, touch me there, hanky panky~

Inspired from This post of @just-dol-headshots and this ask from @hakusins. Don't worry I'm still aiming for your ass Haku-Dean :) References and something under the cut

We all have to agree Bully Robin should have some softer and caring sides. When there's only them two and no one else is around to judge, he can let loose and slip back into that kinda of "Original Robin" we know and I love. I mean, that's what JDOLH made that got me into these swap messes from the beginning jsjkhskjhd you knowww the HUG!!

Reference: Barbie Girl (Aqua) and this cute ecchi Clamp Chobit piece

All in all I'm a pink bietch and Dollya won't be losing her V-card anytime soon that I can promise so hang in there okay mr.Bully.

edit: OMG THIS IS MY 1000TH POST TTOTT)) JKSDJLASKJKDLA

SELF-INDULGENT HERE WE GO

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[yasmeensh]

Zelda 2 Link my beloved