#presumably lol

[saltedcaramelchaos]

Hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi :3 -spiral creature🌀🌀🌀🌀🌀

Omg the spiral creature….

Hiii!! :D

[debbiechanclub]

Working on this PAC smut and I'm giddy as hell about it but because I can't post it for another month I kinda want to play that word game

So send me a word, y'all know the rest

[a-compass-without-a-needle]

This is what happened after 3.1 isn't it?

[vaguely-concerned]

thinking about not only the specific people lucanis pulls in to represent the 'locks' in his psyche, but the storytelling that happens in the structure/order of them. the underlying ideas are presented something like:

the lucanis who went into the ossuary never came back out again; he died down there (the boy caterina raised is gone forever) -> you're putting yourself in danger doing this (by being close to me), you should leave because I can't bear it if you get hurt because of me -> it doesn't matter even if we do try this, it won't work anyway (again because of me) ('you know what he's like, you can open the door but he won't walk through it' :'( oofie doofie) -> what if the real secret is that there was never anything but the monster in here from the beginning. you should leave, there was never anything here worth saving in the first place. (implicitly: what if I deserved what happened, all along.)

it runs pretty cleanly from outward-oriented attachment anxiety ('caterina won't even want me back like this, she won't recognize me (the same way I no longer recognize myself)) and gradually deeper inwards until we reach self-image and self worth. or you know, the harrowing basic lack of it lol.

"careful -- they'll know we're not right," spite says in one of their first scenes... but clearly, some very deep part of lucanis has feared or suspected for much longer than that that there's something inherently not right at the core of him, way before any demon entered the picture. and the voice he gives those lines to is the person who should know him better than anyone in the world, who he has loved more than anyone in the world -- and who deliberately chose to hurt him so horrifically anyway. 'It's better if I'm just a monster and deserved what happened than it is to allow for the idea that the brother I love doesn't really exist and maybe never did'. it's better if he's fundamentally flawed in some way that needed fixing to help him survive, and that's why caterina chose to hurt him again and again -- out of love. (this one I think he might have a very sad wakeup call on one day if he ever ends up with the responsibility and care of a child of his own in some way and realizes just how alien the idea of ever intentionally hurting them for any reason is to him. oh buddy. also interesting that he keeps caterina as the outermost lock -- there IS a distance he keeps there that he hasn't with illario. he doesn't resent her 'anymore' he says, but he also keeps her carefully further away from his deepest self.)

as far as I could tell the only note in the mind prison that's fully hidden and needs to be uncovered is the sad painful helpless stupid little truth that even after all this, even knowing what happened... he still loves his brother. is there anything illario could ever do that would make lucanis completely stop loving him, do you think? sometimes the trouble with unconditional love is that it is, well. unconditional, even when some terms and conditions probably would have been in order haha.

that's the pattern you see there again and again; he would rather destroy and abandon and imprison himself at every turn than let go of love, even when it's just scraps, even when there's only ever enough of it to hurt him. it's only when rook shows up and as it were takes his hand and walks along with him that he can entertain the idea of changing the story of what walking out the door might mean in the end.

[saym0-0]

this is them. 2 me.

original under the cut vv

[rebloggingrexan]

[kagoutiss]

junimo sight

[fkapple]

Emily and Shane on winter hazards

[frownyalfred]

i just know, in my heart of hearts, that if the Justice League was trapped in a situation where they were all definitely about to die, Hal would absolutely turn to Bruce and go "to be honest, I always thought you were hot as fuck and we had mad chemistry. wanna try it?" and Clark is right there and just absolutely sputtering while Bruce, reluctantly, horrifyingly, contemplates how much he wants to hate himself for his last seventeen minutes on earth

[gael-garcia]

Ruth Negga in Presumed Innocent (2024—)

[mbat]

i love how werewolves are a metaphor for so many things. queerness. trauma. menstruation. chronic illness. like... its the best fictional creature for a reason

[555-yosi]

i dont really do meta (i've more experience with textual media so forgive any ignorances on my behalf) but i after seeing the Treister juicebox clip again (happy Terstay Tuesday) I went back and rewatched Any Which Way But Zeus and noticed something fascinating - when they're down in the Dr Strangelove Room, there's a big establishing shot, we do some bits, Brock fucked Tiger Shark's wife (nice.), and in the process we see where everyone is sitting.

Brock and Hunter are sitting next to each other at the end of the table near the door.

when Brock gets in trouble for cracking that hoser like a selachimorphic whip, we get another angle that shows that they're on either side of the end of the table, with no chair between them.

At this point, Treister arrives.

And Hunter immediately turns into an empty chair.

Now, vbros doesn't really do like. semantic cinematography (it's a fast-paced comedy-action show with a massive cast, the framing is pretty exclusively in service to helping the audience follow all the million insane things that happen every second), so in terms of intent, this is probably just an animation error.

However, in terms of effect, I find it quite striking. Especially considering for the remainder of this scene Hunter remains invisible. Even when we get a final wide shot of everyone, you just cannot see her. The effect is compounded by Treister's line.

I think it's incredibly meaningful that Treister shows up and detonates the scene by drawing attention to the embarrassing underwear he's forced everyone to wear, insisted that he is special and they are all beneath them, finished off by calling them all girls as an insult, and in the process completely robs Hunter of her existence.

The episode then goes through a scene at the arena, and then one at the Venture Compound, before returning to the. bunker. thing. where Hunter is once again visible, just in time for a scene about how everyone hates the code-names Treister has assigned them.

He's assigned her a feminine code-name (I think it's noteworthy that the only other attendee to get a feminine code-name is Brock, who - under the fucked up family framework the OSI operates under - is basically her son, and therefore something Treister can use to punish her). He calls on her using a woman's name, and then immediately belittles her for not conforming to OSI protocol.

And yet, when the think tank has completely exhausted themselves trying to come up with plans, literally the only person still awake, the only person still trying to appease Treister is Hunter.

But what really makes all this come together for me, what really drives home how much this scene is Hunter In Detransition Purgatory, is why they're there in the first place. Who's missing.

TL;DR - sorry for ruining Terstay Tuesday by saying I think Treister is Hunter's transphobic dad, but. well. I think Treister is Hunter's transphobic dad.

[orderforbrian]

@jonmartinweek Day 5 - cryptids | webs & weaving

when i saw the prompt webs & weaving i immediately thought about web!martin weaving spiderweb into jon's hair -- unbeknownst to jon who is just too blissed out by getting his hair touched, and apparently too asleep to notice his boyfriend has four hands (and also the, uh, spiders). the progression of gray in his hair is just subtle enough that jon can't make the connection which is perfect for martin who needs to keep track of him

bonus:

[START ID: Two drawings in purple hues of Jon and Web!Martin from a Web AU of The Magnus Archives. Jon is a thin Persian man with medium length, curly dark hair and a beard, all hair streaked with gray. Martin is a fat mixed Polish/Korean man with shaggy dark hair, a streak of white in one of his bangs, and several beauty marks on his skin. 1st image: Jon lays asleep on top of Martin's chest, his head nuzzled into the crook of Martin's neck. One hand is curled to his chest and the other rests behind Martin's head. He smiles blissfully, feeling perfectly safe while asleep. Martin looks down at Jon with a smile, one eye a bright magenta with a slit pupil. The other side of his face is obscured by Jon's head and shadow. One of Martin's hands holds Jon's hand on his chest, the other draped around Jon's low back. His other two hands have spiderweb wrapped around his fingers, the fingertips pointed into sharp claws. One is close to the nape of Jon's neck, the other held above Jon's head, both with shining white web pulled and connected to the greys in Jon's hair. Jon's hair lifts slightly in the back with the pull of the webbing, other parts curled around Martin's fingers. Several spiders crawl around Martin's skin, notably one across his cheek. Martin says in multiple speech bubbles, "Jon...Jon? Are you asleep? There's spiders in your hair...I'll take that as a yes" with a heart at the end. 2nd image: A simpler drawing, Jon looks into a mirror aghast at the amount of white in his hair, three exclamation points by his head. His arms hover around his hair, and he frustratedly shouts, "Where do all these grey hairs keep coming from?!!". An arrow points to a small drawing of Martin's head, looking to the side with a W smirk, now with eight eyes, says, "I dunno...hehe". End ID.]

[vaguely-concerned]

So much of Garak as a person starts to make sense once you know his childhood was a fucking gothic novel. His main playground was a graveyard and he'd play pretend by perfoming improv eulogies to an imagined audience. For a long time his main touchstone for most important figures from recent history is 'oh yeah I know about that guy my dad buried him. great flower arrangements for that one'. He finds out later his 'parents' are actually a brother and sister who had to get married to avoid the utter shame and social devastation of having a child born out of wedlock, and they live in the basement of his biological father's house. (the madwoman in the attic vs. the tiny elim in the basement.) His biological father calls himself his uncle and locks him in a closet whenever he fails to live up to his insane and unpredictable expectations and everyone just has to act like that's normal and expected, and his will hangs over everything at all times, unseen but always felt keener than anything else. The father who actually raised him grows the world's most beautiful (and as it turns out, most poisonous) orchids and keeps the mask of a god hidden in a box in his work shed. Everyone in the house is choking down secrets like it's the only air they know how to breathe anymore.

What I'm saying is that right from the get-go this guy never had the faintest shot at turning out normal, so I'm glad that by middle age he's found a way to get a bit silly with it as he continues to be deeply deeply not normal about anything ever <3

[trauma-bot]

ok. for context me and my buddy night (@nitethekitten; amber (the red worker drone) is her character!) were talking about how J would love papa’s freezeria but would get way into it and take it way too seriously. and i wanted to draw something for it.

[prudencepaccard]

god tier character psychology from Philman here