#so yeah i'd be WORRIED

[beneathsilverstars]

if i failed to protect my kid during the apocalypse and they almost died wandering on their own but got rescued by a team of four competent, battle-experienced adults who cared about them very much and made them feel less scared and useless but refused to let them fight, i think that would be a pretty decent outcome and i'd be pretty okay with it. sure i could dream up a better situation but there's a hell of a lot of worse ones too.

[clowningaroundmars]

so many mike chiltons in the motorcity tag!!! here are mine :D

[ballpitwitch]

KEANU REEVES as NEO The Matrix (1999)

[fallenclan]

hailpaw :((( i never drew it (bc she wasn't scarred or killed by it) but at the start of her apprenticeship she broke a bone, and was in the medicine den for MONTHS. and now she's healed, but she's the only one of her siblings that hasn't become a warrior yet, even though she's 15 moons old now. hopefully she will get there soon.

ON A HAPPIER NOTE. look how fucking cool jaggedstripe looks. and her kits are so cute,,, im so glad we've got some new young blood in the clan :D

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[simptasia]

LOST: Season One

[ricciardo133]

July 2018

maxiel, Daniel genderswap, pining, drunken hook-up alluded to

-

Max wakes up slowly, feeling a girl cling to his side in the hotel bed. He can't remember Daniel and him inviting girls over to their shared room to unwind after Silverstone, but they did drink an inadvisable amount. Daniel had drank some noxiously sweet wine that some fan had gifted him. Idiotic, Max had thought. Max stuck to gin, a drink that normally doesn't leave him feeling this discombobulated. He feels wrecked, sore, and achy. He doesn't even feel ready to open his eyes.

The woman beside him stretches and sighs. "Rough night, eh, Maxy?" she says in a familiar Australian lit.

They both freeze.

Max sits up, slapping around the hotel lamp until he finds the switch. He stares wide-eyed at the woman lying beside him, her mass of dark curls against tan skin. Her wide, familiar eyes with that distinctive nose set between. Her hands are flung over her mouth, but Max can still see the right tattoos in the right places, only against different curves.

He glances down at perky, bare tits and soft, wide hips, and then back up in embarrassed shock.

"Daniel?"

"Yeah."

"You're a girl."

"So I've noticed."

Max gets up, starkly aware of his own nudity. He fumbles in the morning light for clothes, glancing at his reflection in the mirror as he pulls on a pair of sweatpants.

He's still quite himself, but the hickeys are new. He didn't know his face could feel this hot. He mentally feels memories from last night brush against his psyche in frustratingly fleeting snippets. Biting down on soft thighs. Warmth and tightness. Hard nipples in his mouth. God, he thinks, we finally did it and I can't fucking remember shit.

He looks back, seeing Daniel is gone. He panics and hustles to the bathroom where not-Daniel-but-still-Daniel stands and assess his body.

"Wow, kinda thought girl-me would have a bigger rack."

"You're taking this well."

"Well, obviously, we're dreaming."

"Hm."

Daniel twists in his spot, watching his reflection as he gives his ass a smack. Max is immediately hard.

"Daniel."

"Max," he echoes with faux shock. "Relax, this is, like, a seriously vivid dream. A horny one at that. I think we boned last night."

Max can't utter a word. He just watches as Daniel feels up his own body, smaller hands drifting over smooth skin. His nails skate along his thigh's tattoos, upwards to drift along fine hair between his legs. Max squirms and feels anything but asleep.

"So real," Daniel whispers.

"Can you maybe put something on?" Max begs. Daniel cocks an eyebrow and smirks. Max feels unnerved seeing his expressions in a feminine font. Daniel's refreshing confidence always made Max feel... too much. Like if he wasn't careful, he could spill over with it all. Watching Daniel now fondle his chest, pressing the small mounds together as he assessed himself in the mirror, Max felt ready to burst.

And they fucked. He turns and heads out to the hotel room.

Life is cruel and this dream sucks and he wishes he could remember.

"Hey, Max, hey," Daniel soothes, coming up behind him and blessedly covered in a hotel towel. "I seriously think this can't be real. Just like...what's that DiCaprio film?"

"Huh? Inception?"

"Yeah, that one. Just a really, really good...weird dream."

"Okay, then hit me." Max walks up to Daniel. He's not used to being this much taller. He feels dizzy again with need, wanting nothing more than to pin the older Aussie down on the bed. To hike his soft yet strong legs over his shoulders. Maybe it'd be fine if they did it again, since it maybe is an impossible dream and Daniel's not a boy right now. Not that it mattered normally. Max didn't care, he just wanted to feel him all over again.

"What?" Daniel smiles, eyebrows knit in confusion.

"In dreams, that's how you wake up. Like, a kick to jolt you awake, right?"

"Oh, right. Yeah, we should wake up."

Max leans closer and turns his cheek.

"I'm not smacking you, Max. Here," Daniel takes Max's hand in his. All Max wants was to knit their fingers together, to feel the way his palm is finally bigger than Daniel's. "We'll do it to ourselves, okay?"

Daniel places Max's hand against his own cheek. He watches the gorgeous woman in front of him mirrors him, hand raised gently, fingertips against the curls that fall so, so long down to the middle of Daniel's back. He'd look so good with hair like that even as a boy. Max thinks to tell him this and stops himself.

"On three, yeah?"

"Okay."

Daniel counts down, in that singsong voice that's his but not his pitch. Max tries to commit it to memory as he gives himself a just-too-painful slap.

And nothing changes. The only thing that changes is now Daniel panics.

"Holy fucking shit, Max."

"Daniel-"

"This is real."

"We'll fix this," Max tries as Daniel starts tearing apart the hotel room. Max glances at the clock on the nightstand while Daniel goes on a heated search for something. "We don't have to leave for the flight for two hours."

Christ. He pictures telling their team anything. Daniel can still race, of course, Max thinks. He'll just need a new suit that fits better. And some adjustments to the car's seat fit. And a good PR statement that, yes, something impossible happened overnight but no worries we'll be set for Hockenheim so don't worry about how this happened.

"This!" Daniel says, leaping up to Max and putting a small card in his hand. "This is why! Read it. It came with the wine that hot girl gave me."

Max rolls his eyes and reads it. He narrows his gaze. "A change, temporary, good for two? What's that mean?"

"Beats me, but read it again. Temporary." He sighs, letting his head knock back. Max stares at the line of hickeys down Daniel's thinner neck, too faint. "I do kinda miss my dick."

"How does it feel?" Max asks despite himself. "To be a girl?"

"Good, I guess." Does Daniel press his thighs together reflexively, Max wonders. He feels pent up and horny again. "Like, I don't mind it, but it'll be hell to buy a whole new wardrobe," he attempts to joke through shaky laughs.

"Maybe that note meant 'two' like in two times," Max says, voice quiet.

All he can hear for a moment is the whirl of the hotel aircon. He watches Daniel's feminine frame, his big eyes and wet lips.

"Can you remember any of it?" Daniel asks, voice barely registering above the whirl.

"Not much."

"And it kinda doesn't count, right? Because I'm not really me right now, so its okay? And you don't mind?"

It can count, Max wants to beg. It can. It can be okay after, too. It can be okay all the time.

"I don't mind. You're hot as a girl." The last three words feel too final. Daniel's shoulders fall as he nods.

"Yeah, a stunner, huh? So, well, we'll take her for one last ride."

Finally, Daniel walks up and pushes Max onto the hotel bed. Max's mind reels as Daniel lets the towel drop. Two breasts in Max's face as he feels thighs straddle his waist. His hands fly up to trace eager lines up Daniel's spine and rake gentle tracks back down with his nails. They both shudder.

"Last time, right?" Daniel says between kisses down Max's neck. Max feels his eyes water. It doesn't have to be. But he doesn't say anything. He flips Daniel over on the bed, body tenting over the smaller frame. And this time, he focuses. He wants to make Daniel feel good. He wants to come inside. He wants to etch every moment deep in his mind, so he'll remember every gasp, every touch, every sigh.

[genericpuff]

Hey puff! So you said Hades is a "mess who hasn't spilled over" and there are definitely some warning signs even now - Artemis' dislike, the ominous grin in the last chapter does not bode well for Alex, him treating Minthe pretty badly and dismissively, being open about his attraction to Kore while acknowledging Minthe, eating Dio to shut him up and laughing about it (No Kronos flashbacks, Hades??) Of course he did a lot of this in LO too but that was framed as a good thing and you seem more self aware than that.

My question is are he and Kore still endgame with his bad traits? Or is Kore just hiding a much darker, more selfish side who would like all this?

Hades and Kore are both very, VERY complicated people with complicated backstories that involve both the good and the bad. They're both victims of circumstance as well as their own wrongdoings (even the ones that were well-intentioned, they're both walking the road to hell wink wink), they're both holding on to some pretty dark shit and we're going to be exploring plenty of both sides along the way. I'm obviously trying not to spoil anything, but I will say that Hades and Persephone are not going to have a cut-and-dry 'fairy tale romance' like what was attempted in LO, Rekindled is attempting to be a more faithful retelling of the original Hymn to Demeter after all (or at least its original themes and messaging). They're both incredibly damaged people with a lot of tightly-sealed baggage that DESPERATELY needs to be unpacked and we all know what happens to relationships built on those types of foundations ;0 So that's all ima say on that ~

As for the irony of Hades 'eating' Dionysus, hurt people hurt people. Though I wouldn't worry about Dionysus, he just projects his consciousness into berries, he's alive and well ;) As for Hades... let's just say you shouldn't eat berries possessed by the god of madness, guy is gonna have a harsh comedown LOL

[bacchuschucklefuck]

it's hans trapp! from drawfee! hans trapp the straw crab!

[maculategiraffe]

remember in parasite when the rich mom is interviewing ki-jung as an art therapist or whatever for her kid and you sort of expect that ki-jung will either be overly humble and ingratiating or overly arrogant and forceful but she suddenly shifts into this remote yet brilliant and inexorable persona that makes the rich mom gasp and sob and you're like. how long has ki-jung been lying awake at night imagining being jessica only child illinois chicago

[vimbry-moved]

jumping off the back of the post about genres of song lyrics, another thing about tmbg's lyrics in particular is that even when they write about pleasant themes, they still manage to frequently do so through a sinister lens:

the experience of having children and looking after them:

a nice little nightlight protecting a child muses on the shortcomings it would have outside its assigned responsibility:

fantasising about getting high in the park with your crush:

[fromtheseventhhell]

I ignore about 95% of the conversations surrounding Arya having killed people because, outside of Arya stans, people refuse to include the context of the very violent circumstances she experiences + her trauma which influences her actions. She wasn't destined to be a killer and her being forced on the run, having to survive during a war (at times on her own), having to witness countless people being tortured and murdered, being enslaved as a prisoner of war, having to witness the deaths of her family, etc. are all hugely important factors. Not to mention the times when her life is literally on the line and she has to make tough decisions to ensure her survival. The only time her trauma is acknowledged is when people are using it to prove she's "too far gone", otherwise it's essays on how she hasn't suffered that much. It's so boring how people ignore well-developed characters just to reduce them to one or two aspects of their story. And this treatment is only for certain characters; let someone mention Sansa being part of the plot to poison Sweetrobin and all of a sudden, people can understand being forced to make questionable decisions under difficult circumstances.

[blaiddraws]

i love them (the fankids) and honestly seeing you draw stuff you want to makes me so happy draw what you want and take care of yourself <3 we are just happy to share dojoshipping and submas with you

you guys as a bunch of people that walked into my house and cheer and clap when i hold up a drawing

[jq37]

Descendants: The Rise of Red is kind of a bizarre movie to talk about critically because, imo, it almost doesn't make sense to talk about it in the usual terms of good vs bad or enjoyable vs not enjoyable when the way more obvious tension is finished vs unfinished.

Because, more than any other movie I've ever seen, it does *not* read as a full movie. And I don't mean in a "this movie has a cliffhanger" kind of way. The Empire Strikes Back and Across the Spiderverse fit that description. They end on big dramatic cliffhangers that point to a resolution in the third installment.

But Rise of Red just sets all this stuff up and then...ends without concluding anything. It doesn't feel like the first movie in a trilogy (or duology). It feels like the first act of a two-act musical. It very specifically reminds me of the end of the first act of Into the Woods where all the main characters sing the song Ever After about how they all fixed their problems with magic and nothing bad will ever happen to them again and then the narrator ominously says "To be continued" before the curtain drops. But in Into the Woods you know there's a second act and this movie wasn't sold as the first act of a bigger story. Like sure, it has the, "You didn't think this was the end" tag at the end like all the other movies, but those movies were complete, self-contained stories even though they had sequels. This was NOT a full story. It's half of one story.

Like, if we're supposed to take this as a full story, there are so many bizarre choices:

Why did they make sure to mention that Cinderella and Charming fell in love at the ball at the top if it wasn't meant to set up Back to the Future style, "Oh no, I accidentally got my mom banned from the ball so she's not gonna fall in love with Dad and I won't be born" shenanigans?

Why did Maddox very pointedly have that bit about "you could lose your mom completely" if that was never going to come into play? Red never did anything to endanger Bridget or endanger her own birth so it doesn't make sense as a warning in that way.

Why was there all this focus on this Carrie on prom night moment for Bridget if we LITERALLY NEVER SAW CASTLECOMING? Why dance around this moment and talk about it all cloak and dagger with no specificity if they weren't building up to some big reveal that it wasn't as straightforward as it seemed? And like, they leaned in HARD with making Bridget the nicest, sweetest, cotton candy princess as a teen so I need WAY more than, "She got pranked by known bullies she's been enduring with a smile very handily up to this point" to buy that she went from that to "murderous dictator". And even if she did become murderous, I find it insanely hard to believe that she'd include her best and only friend on the list of people she wants to suffer unless there was a betrayal. I find it INSANE that there wasn't a falling out scene at any point in this movie with how thickly they were laying on the admiration and camaraderie.

(Note: And adult Cinderella def has guilty vibes re: the Queen at orientation. Which I know I'm not imagining because it's literally spelled out in the Jr Novelization!)

Before the time travel element of the movie started, I thought they were going for something like they go to the past and realize that Bridget was bullied not by the VKs but by the spoiled royals, and Ella ends up joining in the bullying once she gets with Charming, betraying Bridget and justifying her whole "Love Ain't It" philosophy. Or Ella ditching her at the last minute to be with Charming meaning she has to deal with the monster prank alone and it was the being alone rather than the prank itself that hurt her (though that is NOT a good enough reason to go all off with their heads on your subjects). The fact that, as far as we know right now, it literally was just a relatively mild and reversible prank that caused all of this is just, such flat storytelling, you know?

But! All of this makes way more sense if this is meant to be the first act of a single contained story. And I don't wanna be all "Pepe Silvia, secret good 4th episode of Sherlock" about this but I did see this picture:

Which seems to indicate that this was written as a Part One. Which, if so, idk why they wouldn't advertise it that way but whatever. The point is, if that's the case then it means that we're potentially in bad pacing territory rather than straight up bad storytelling territory. Because this isn't a bad place to be halfway through your story:

The heroes, warned that time travel is dangerous, have gone back in time to change the heart of a brutal tyrant before she can stage a coup. They seemingly succeed in their mission and when they come home, everything is great! But then, the side effects of time travel start to catch up with them. Chloe realizes that, in breaking the vase, she prevented her mother from going to the ball and falling in love with her dad (who was conspicuously absent from the final scene btw) which means she's starting to be forgotten and erased from the timeline. And Red realizes that though this new version of her mom is as sweet and kind as the teen she once met, she's a complete stranger to her (fulfilling the Hatter's warning that she could lose her mom completely). So they have to go back in time once more to make sure the Ella and Charming fall in love again, perhaps at the cost of whatever bad thing that happened to Bridget happening again and bringing back the original version of her future self. But, now with more context of how her mom became that way, Red can now talk to her mother and persuade her to give people another chance.

Boom, that gives us time to go back and hit everything we haven't yet hit. We can pay off the time travel tropes that were set up but not explored. We can go to Castlecoming which feels so obviously set up to be the centerpiece of this story (like, come on, Back to the Future literally does the school dance thing. This is Time Travel Storytelling 101). We can actually get info about what the prank was and why it affected Bridget so completely.

(Note: This is a side thing but it really strikes me as so crazy that Bridget would so SUCH a big 180 here. Like, I know the Queen of Hearts is a silly, goofy, campy villain, but she straight up murders people and there's no way to get around that if we're taking her out of the surreal story she comes from and putting her in a (comparatively) grounded story. If I wasn't doing a betrayal plot, I would make the twist that the spell that turned Bridget into a "monster" didn't just have a physical effect, it had a mental effect and it magically twisted her personality to be the way it is now. So they broke the physical half of the curse, but neglected the other half and it's been festering the whole time, turning her as evil as she was sweet. Because like, a simple physical transformation isn't that big of a deal to have such heavy security--Bridget made cupcakes with a transformative effect and that was totally fine. I'm not saying that that's what's gonna be the case. I just think it would be an explanation that makes sense for why she changed so crazy much that makes more sense than a simple prank or even a betrayal. Her mom wasn't even evil! How did she go from zero to murder without even an evil mom to push her onto the path? But I'm super digressing right now.)

(Note #2: OK, one last thing. The trap on the book presumably would have hit the VK's and trapped them in Merlin's office regardless of what Chloe and Red did, right? That's like, net zero influence on the timeline. I genuinely can't tell if that's a straight up plot hole or set up to be like, "Oh no. Actually when she said that she was turned into a monster in front of everyone it was meant in a less literal way." Like she was just made to look bad and that was the real thing that pushed her over the edge. Like idk. It really feels like the only thing they really did that would change the timeline was get Ella banned from the dance and presumably out of the way where she couldn't hurt Bridget. OK NOW I'm done.)

Anyway, my point is that this is not how I would have structured my movie and I think this was a super weird way to go into the second era of Descendants movies, but they can still tell a complete story if that's their plan. I'm genuinely really curious to see if this pans out to be a fairly competently told story that just happens to be split over two movies or a complete fumbling of the narrative bag because it could really be either at this point and it's fascinating to me.

[r3dblccd]

I can't wait to use my new bullet journal 🥰

Bonus: My first bullet journal that I've been using for this a d last year. I named it CHONKY (ignore the bottom left sticker, a friend gave it to me. Probably for a reason but ain't gonna talk about that fjgfjffif)

[mudstoneabyss]

actually. the specific phrasing that boy Kevin wants to kill older Kevin with "I must disassemble him, piece by piece, so that everything inside of the Old Kevin comes out. Only then can the New Kevin truly begin." is so incredibly the idea that to heal from trauma and "improve" you have to destroy every "wrong" part of yourself, that everything "tainted" by it has to somehow be replaced by something untouched (which isn't possible)

[peachdoxie]

I was sorely kidding myself when I thought things might be less stressful moving back home in June to have my family's support figuring out my health issues, but noooo, everything has just gotta be stressful as fuck. First there's moving states and all the paperwork involved in that. Then there's the week of medication withdrawal #1 due to delays in finding a new psychiatrist + Hurricane #1. Then I get covid. Then my grandfather ends up in the hospital. A brief respite of a few weeks, and then my grandmother ends up in the hospital at the same time as Hurricane #2 hits, though for unrelated reasons, and we're worried she might actually die. Then it's six weeks of both grandparents in and out of the hospital and me being a caretaker for them, ending with my grandfather actually dying, so now my family has to sort all his affairs (that he didn't adequately prepare for) while getting my grandmother moved into nursing care. Then it's Holiday #1. Then I crash my car because I'm in the week of medication withdrawal #2 because of allergy testing. Then it's Holiday #2 and spending a LOT of time with family (I love them but it's exhausting). Now I'm sick again, though thankfully not with covid. And I've had to deal with my usual chronic illnesses and fatigue and I've been in an eating disorder relapse since July and I didn't even have my emotional support cat living with me until the end of October when my grandfather was dying too much to take care of her and I had to bring her into my mom's multi-cat household which has its own problems. So it's been a lot.