#spring responsibilities

[nawilla]

Completed the Spring Adulting Triathalon

Paid my garbage fees

Had my taxes done.

Called in to get my Roth IRA contribution done.

I'm hoping I didn't just flush thousands of dollars down the toilet by adding to my retirement account, but I assume that if the economy never recovers I'll probably have bigger problems to worry about and if it does, it's generally a good idea to keep putting money in mutual funds through the ups and downs. Now it's time to focus on the yard and garden.

[sanguchito-farm]

Save me Sam_Winter.png

[bixels]

Jesus man, relax.

[viperra1]

tw: blood, suicidal ideation (? probably ? it's Boone we're talking about so. yeah)

so make it one for my baby and one more for the road.

[toneelspeelster]

I have to. I'm his boyfriend.

[poorly-drawn-mdzs]

just saw your 2 years anniversary post ~ your comics make my day !! i always look forward to what you'll post next love it so muchhh ❤️ you're a great artist and storyteller !! hope you have a great summer winter spring autumn <3 (yes its that same previous anon)

Summer Winter Spring Autumn: Year 2 Electric Boogaloo!

[izuke-the-zombie]

I noticed its been quite a while since you did anything with the healing spring AU (island AU), if you don't mind me asking, are you going to continue it or is it cancelled?

🌸No, it's not canceled I'm still trying to figure out how to explain this world in this Au a little better

I'm still new to Aus cuz I just keep creating more or at least just scenarios or head cannons(I've been making too many of those) and I get sidetracked a lot! I have SoooOooOoo many other new Doodles that don't involve the healing spring Au

I mean, I'm not even sure how to plan an Au properly. I know I have to make a story and follow it and a couple of times I thought why do I just try to make a fanfic (keyword try) explain it better( I REALLY suck at making fanfics).

I sometimes can't figure out how to keep an au going. I think that's the problem (and you know personal life stuff that junk to).

I mean I draw new everything's and I still have the healing spring AU Doodles that are kind of like notes to me, right now I'm trying to figure out how to make this AU deep and with angst and stuff I'm trying not to be too cutesy I'm trying to put these characters through hell, face their past and cry/hurt/awkwardness/ worry/ survive/ secrets/ mystery/ angst/ talking/ healing /bonding /pining, kind of thing I'm not sure how to make that happen

How do you put that in an Au? I sure as hell don't know! And the worst part about this is this is my favorite of all of my AUs too!!!

Sorry I don't want to make this too long I just want to figure out how you guys make these Aus and hurt these characters the right way what's your guys Secret I'm probably going to have to ask someone to help me make this AU a thing know brainstorm and all that

🌸Anyways I hope this answers your question

🌸Here's a little comic I made I just thought it was a funny scenario that would happen in the island😚✨

Wish me luck guys.... I'm going to need it😩

[dailyhtfboards]

Day 48

Today’s board is:

Buddy. Ya don’t wear pants anyways ya don’t gotta cover down there. You’re built like a Ken doll.

(From TV episode 8C See What Develops)

[whereianonymouslypostfics]

Hardheaded

Pairing: Wanda Maximoff x reader

Word count: ~800

Summary: Cooking lessons

A/N: 🤦🏻‍♀️

Warnings: fluff, mild angst, blood

Although you and your wife worked well together in many ways, cooking wasn’t always one of them. 

In the kitchen, Wanda seemed to float between tasks, juggling them all seamlessly. Watching her cook was similar to watching someone dance. Every motion was so fluid and well timed that you often wondered how much planning went into each meal. How much time did Wanda spend thinking about what she was going to prepare? 

Then there was you. When you cooked there was a 50/50 chance that you had just decided that you were going to cook because of a particular craving. Your half-baked ideas meant that you went back and forth a lot between the fridge and the cupboards to figure out what you were doing. The counters were often covered with anything that you thought you wanted to put into whatever you were making, and there was always the random item or two that you weren’t using, but still wanted out for some reason. You couldn’t even say that you just wanted to snack on it. You just wanted to have it out. 

So needless to say, when you and Wanda cooked together, you usually let your wife lead. If this didn’t happen, you both honestly ended up cooking together, but separately. You’d run into each other which sometimes led to spills and cursing. For this reason, you usually deferred to Wanda when it came to the kitchen. 

Tonight though, the kitchen is yours and you’re cooking while drinking. You call it cooking with booze, but Wanda has simply dubbed it foolish because every time you do it, something ends up getting messed up. You’ll skip a step in whatever you’re doing, or you’ll spill and have to start over. Tonight though, you are drunk enough that you run face first into the open cabinet that you hadn’t bothered to close. 

“Shit!”

Wanda’s sitting on the couch reading when she hears you curse loudly from the kitchen. She turns around to see what you happened to spill this time, but when she sees blood running down your face. She jumps to her feet. 

“Y/n! What happened?” 

You are bleeding into your mixing bowl which is honestly more upsetting to you than the fact that you may have just broken your nose. You curse under your breath again before turning to hopefully find something to clean up your mess. You see through your sightly blurry vision that Wanda’s now in the kitchen shooting you a worried look.

You shake your head and try to wave her off, but she only frowns at you before reaching for a towel to clean you up. 

“It’s fine. I’m fine I just ran into a door.” 

Wanda nearly rolls her eyes but seeing blood practically gush from your nose has her more concerned than irritated at the moment. After she gets you to hold the towel against your nose to staunch the bleeding, she runs to the freezer to grab an ice pack for you. You simply shoot your food a forlorn look because you’re certain that you won’t be able to finish what you started. Maybe cooking with booze wasn’t a great idea after all. 

“You’re not fine. You’re bleeding all over the place. Here, come sit down.” 

You think about protesting, but you are a little dizzy, and your face is throbbing, so you allow Wanda to lead you to the seats at the counter. You sigh as you sink into one of them and hold your head back with a groan. You hate the taste of blood, and you grimace before you take a deep breath. You nearly jump out of your seat when something cold is pressed into your hand, and your eyes fly open in surprise. 

“Here, this will help.” 

You offer her a smile before taking the ice pack. “Thank you.” 

Wanda waits until you get situated before taking the now bloody towel from you. She watches you lean back again and sigh as you hold the ice to your nose. One of your eyes is closed while the other is squinted nearly shut. That said, you don’t need to be able to see her to know what Wanda is about to say. Her sigh says it all. You’d cringe in anticipation if you could spare the energy. 

“It might be a good idea to retire cooking with booze, Y/n.” 

You think about arguing for only a few seconds. However, the mere fact that you’re drunk and holding ice to your severely bruised if not broken nose should be enough to support Wanda’s argument. In fact, it definitely is enough and you sigh in defeat before you reach out for your wife with your clean hand. Well it might have some chocolate on it, but no blood at least. You smile when you feel her hand slide into yours, and you squeeze it gently before nodding in agreement. 

“Okay. You’re right. I admit defeat.” 

Masterlist

[mr-payjay]

watching the nickel apology scene from the great bluish bakery over and over going completely insane. i could rewrite this to actually sound like nickel.

[incomingalbatross]

hlrngh

[a-wins-a-win]

wanna talk about sex (but we're not allowed)

potentially controversial b;apo take, but hey, why not -- there are many more things i would've liked to say, but they didn't really fit neatly into the main thesis i was working under ;

the merit of considering Jason and Ivy's sex during 'One' as a depiction of assault, drawing parallels to Spring Awakening

To preface; I acknowledge that I am not using 1:1 examples. Since both b;apo and Spring Awakening are stage shows, there is so much of the atmosphere that is created through lighting and blocking and the subtleties in the way that each of the characters are played against one another, there’s no way to make a definitive blanket statement. That said, I was personally inspired by the production of b;apo I got the absolute pleasure of seeing live last year. Not only did we have the Ivy ever, but the team made an, in my opinion, super brilliant choice when it came to 'One'. They cut the “it was cute” line from Jason when Ivy’s apologising, and they really played up a visceral discomfort and overwhelm, culminating in Jason pacing up and down beside the bed while Ivy tells him he is “all [she] need[s]”, and it’s at that point that he concedes before focus shifts across to Peter trying to call his mother on the phone.     

Right off the bat, I think we’d be remiss not to acknowledge the gender dynamics at play when drawing these parallels, especially when gender as a concept intersects so much with the way sexuality is understood and explored by the characters in both b;apo & Spring Awakening. In particular I want to touch on the fact that - at least to my perception - Jason’s fully realised masculinity functions almost as a barrier to his emotions within the context of the story overall, but also when it comes to the meta context of his decision to have sex with Ivy. Because Jason is presented as this sporty, conventionally hot, outgoing guy who is popular with women, and because he is the one who is delivering most of these innuendos during 'You & I', I think there is a subconscious bias towards seeing him as someone who wouldn’t have sex with anyone he didn’t want to. And while generally a fair assessment, I think this subconscious bias is what leads people to unfairly assign amounts of blame when it comes to an analysis of his and Ivy’s relationship. Of course, 'One' and 'I Believe' don’t serve as exactly 1:1 examples even without the gender factors, given the time periods in which both shows were written and set, but I think both explore the idea of a grey area when it comes to sex as the crux of complicated relationships, both shows have running themes of dubious consent and religion, and most obviously both instances result in a pregnancy. 

Where it gets interesting to me is where the lines start to blur — yes, Wendla “let [Melchior] love [her]”, and Jason made Ivy “make [him] promise […] ‘I love you’” — but the contexts of both shows paint Wendla and Jason as confused and uncertain. Both Melchior and Ivy know, or believe they know, within themselves that both parties want to have sex. And while they may be correct on the subconscious level, this belief and expectation that they are holding dismisses the material reality of the situations. It’s not that Wendla wants to have sex with Melchior, it’s that she wants to know about sex, wants to understand why she has this physical attraction to him, not necessarily act upon it. It’s not that Jason wants to have sex with Ivy - it’s that he wants to want to and doesn’t have the safety to express that in any other way than simply going through with it. Where this is often acknowledged in the Spring Awakening context, I find that analysis of Jason and Ivy’s interactions in One don’t dig quite so deep. 

Which is not to say that Ivy or Melchior are terrible people - it is more so to say that they are both characters who struggle with appropriately communicating, and understanding other people’s communications, about sex and sexuality. Where Ivy likens pursuing Jason to “such a game of hide-and-seek”, Jason only ever takes their sex as something deep and important. Where Melchior has been “playing with [Wendla] in [his] fantasies”, Wendla “only wanted to be close to him”. Despite Ivy and Melchior’s knowledge on and experience of the subject, it manifests more so an intellectualisation of the act of sex itself, as opposed to a genuine understanding of the ramifications on a personal level - especially for people like Jason and Wendla who don’t have the same experiences or beliefs as they do.

Melchior knows that the way the adults in their lives address sex and sexuality - or don’t address it, as the case may be - isn’t productive, and because of this perceives himself as the ultimate authority on the subject. I think that this belief is what leads to the implicit forcefulness of his interaction with Wendla in the hayloft. He knows what’s happening, and because he is armed with a preconceived idea of what Wendla must be feeling, “defending [herself], until finally [she] surrender[s] and feel[s] heaven break over [her]”, he isn’t receptive to her hesitation. Rather, he interprets it as a necessary part of the experience. He knows that Wendla wants it to happen - but he also knows that she doesn’t comprehend that it means sex yet. And because they are both so present in the moment, “hearing [each other’s] heart beat”, Melchior falls back on his belief that the truest understanding of sex and that kind of physical pleasure can only come through lived experience - such as when he all but teaches Moritz about how to masturbate during 'Touch Me'. Even when productions of Spring Awakening do revise the dialogue to include a verbal ‘yes’ from Wendla, the presentation is still that of an assault, intense and hazy hounding and coercion.   

Ivy knows why boys are nice to her - “I know them, and what they’re after” - and when she stacks this belief up against the fact that Jason is nice to her despite his loyalty to and care for Nadia, it makes sense that she would assume that he wants to have sex with her, it makes sense that she wouldn’t put any thought into the subtleties of Jason’s responses to her or the hesitation in his questions about her “want[ing him] to kiss [her]”. What’s very interesting to look at in regards to Ivy and her character is this dichotomy she has in her head. She knows that “[...] boys will be boys [...]”, and on some level has the same expectations for Jason, teasing him about “see[ing] what [he’s] staring at” on her birthday. Even so, she believes that it’s different, because she loves him in a way that “[she’s] never felt [...] before”, she has the notion in her head that Jason “want[s her] just like [she] want[s him]”, because he kissed her on her birthday when she asked. I would argue that it is because of her conviction in her belief that Jason does want her that she does put such a pressure on him in the moment of 'One' - “If you like me, kiss me, don’t stop”. 

It is also important to acknowledge Ivy as a victim - while no abuse is heavily implied or stated outright in b;apo, there is an understanding that Ivy is a girl who has been sexualised for a long time, and that is of course going to skew her view of and relationship with sex as an activity and the role that she is expected to play within that. I don’t mean to detract from that fact at all by drawing out comparisons to her and Melchior, and acknowledging Jason’s own victim status as it parallels Wendla’s.   

There is also something to be said for how both Wendla and Jason’s loss or lack of functional autonomy contributes to their deaths. Both of them are characters burdened by conflicting expectations - Wendla is expected by her mother to still be young and naive, while simultaneously expected to know better, and Jason is expected by his father to “keep the McConnell flame burning”, an expectation competing with the one held by Peter that he cannot stay closeted forever. However, Wendla’s mothers expectations of her don’t conflict directly with Melchior’s expectations of her in the way that Mr McConnell’s conflict with Peter’s - in a way, Mrs Bergmann’s expectation that Wendla is still young enough to follow blindly what she’s been told is the expectation that leads to the pregnancy in the first place. Melchior is explicitly more knowledgeable about the mechanics of what they are doing in the hayloft, and as such holds a power over Wendla by being able to lean into those expectations that if another person knows more they ought to be listened to. Similarly, it is Ivy’s assumption or expectation being that Jason does truly want to have sex with her that snowballs into the conflicts as presented in Promise, and ultimately b;apo’s “story ends in total damage” at least in part as a result of these expectations being enforced.  

To summarise, I believe that because Ivy and Melchior are so sure of their own wanting, their own  understanding, and their own emotions, they end up projecting that onto Jason and Wendla respectively, turning them into vessels for sexual gratification and somewhat diminishing their personhood in the moment. 

There are of course many other parallels that could be drawn, many other configurations of characters to compare and contrast in regards to b;apo and Spring Awakening, and even on this topic specifically I think there is a lot of room for different takes and interpretations - I simply wanted to throw my hat in the ring, so to speak, when it comes to breaking down and analyzing Jason and Ivy’s relationship.

[n1ghteeea]

from worst to best how do you think all of them act when they get sick or injured?

Worst: Egon. Hates being unproductive, literally goes crazy if he has to stay in bed and not work even for a day, so whenever he gets sick or injured he hides it the best he can until he’s literally delirious and almost shoots one of the guys during a bust. Ray and Janine get very mad with him every time for pushing himself and making his condition worse, but can’t stay angry for too long, and end up near him almost all the time, reading to him or discussing some scientific ideas (he speaks utter nonsense, but as long as he’s not bored it’s okay).

Second worst: Peter. Just an annoying ass. Hates being vulnerable, so whenever he gets injured and others get worried he shooes them away with “I’m a big boy, guys, I’m fine and I can deal with it myself!!” though most of the time he still ends up asking someone for help if the injury is too annoying. Overall, whenever he’s sick he makes it everyone else’s problem: whines and groans and asks for special treatment just because he’s an asshole like that. The guys enable him sometimes, Janine does NOT let him slide.

Second best: Ray. Cares about his health and is responsible, but sometimes ignores his condition due to how much he loves his job and thinks that he’ll just walk whatever he has off. Sometimes he does, sometimes he doesn’t, but overall he does not mind being bedridden THAT much, he just reads his comics or watches TV, even though he wishes to get well as soon as possible and return to the streets on New York.

Best: Winston. He feels odd - he takes medicine. He feels worse - he stays home. He doesn’t like staying home and maybe tries to go on a few busts even when he’s feeling unwell, but if by the end of the day his condition doesn’t get better he lets himself rest until he’s okay. He also hogs the couch to watch TV or read books and the others always get annoyed by it, but he gets sick so rarely it’s barely an issue.

THE best: Janine. She feels a little odd - she calls off work and stays at home. One more day without the guys and their shenanigans.

[i-really-like-phrogs]

Also if you don’t mind, could I request beetlejuice + bettyjuice together saying trans rights? :O

You heard em’ folks!! Trans rights!

[gingermintpepper]

I spent something like six and a half hours in the hospital today so day 6 of my challenge is being further postponed but, in the lieu of not doing any drawing, I did end up rereading Ovid's Metamorphoses in between waiting and I just wanted to offer some of my favourite underrated bits.

Cadmus and Harmonia's twin transformations into snakes is so gentle? Cadmus goes first, transformed mid plea for his wife to caress him one last time before his face is completely covered in scales, then he rests gently between her boobs and wraps around her neck and shoulders like a big snake gorget. Harmonia follows him shortly and the two snakes intertwine with each other before gently slithering off into the bushes and I love that actually mwah mwah mwah (I also appreciate the sweet irony of Cadmus who slew a snake for his glory becoming a snake, toothless and gentle in the last of his days)

Everything about Perseus was hilarious. Like, I'm sorry - I've never done a lot of reading into Perseus but I did always remember the banquet massacre and the Andromeda rescuing and like, bro I know it's not meant to be funny but Perseus is funny. I think it's his politeness honestly? He goes up to Atlas and is like "hello kind sir, may I please stay a night in your lands? I've travelled an awful long way and I am weary and hungry. If you only accept noble guests, rest assured, I am of noblest birth and have completed the noblest of deeds. 🥺" and Atlas takes one look at him, has a That's So Raven vision about the one time Themis gave him a prophecy about a son of Jove stealing his apples and then told Perseus to kick rocks. So Perseus, like the well adjusted and noble individual that he is, turns Atlas into a mountain with Medusa's head. This is how a great many of Perseus' stories unfold. It is actually hysterical.

I am going to give a special shoutout to Athis and Lycabas who were two young lovers in attendance at Perseus and Andromeda's blood wedding. Athis died first - a skilled archer who never got to shoot and was burnt and bludgeoned across the face with a wedding brazier. When Lycabas saw that his dear friend's beauty was ruined, he picked up the fight against Perseus himself in Athis' name and was slashed to strips by Perseus' sword. Lycabas managed to drag himself over to Athis in his last moments and died beside him, so I thought that was a particularly touching bit of beauty in the otherwise extremely tragic blood wedding.

No one can ever make me feel bad for Niobe. In a lot of the Greek accounts I've read and heard, because they tend to be much shorter or references in a wider narrative, it's hard to really grasp how insanely disrespectful she was to Leto (not that her boasting she should be the goddess of motherhood to the actual goddess of motherhood isn't worthy of death and destruction enough) but Ovid really did go the extra mile to dig it home how far down her throat this lady put her foot because even at her sons' seven way funeral she did not stop boasting about how she was still glorious. I did find it interesting that the seemingly innocuous detail of Apollo killing off the boys first and then Artemis killing the girls was kept cross-culturally, I assume it's because boys were more auspicious than girls in both cultures.

The detail of Athena bonking Arachne constantly with a wooden box and her being transformed into a spider because she begged to not be bonked to death. Also very interestingly, in Ovid's account, it's not a clear victory for Athena against Arachne - she gets flustered at the depictions of her relatives' affairs and rips the tapestry up - the judges didn't actually get a chance to opine. This is in contrast to the contest the Muses sang about where their representative Calliope unilaterally won against the daughters of Pierus.

The account of Apollo and Marsyas was much shorter than I remember it being. I recall it being touted as one of the more vicious and visceral tales in Metamorphoses' collection but it included neither the details of Marsyas' contest against Apollo, nor Apollo's feelings (or even any dialogue from him!) throughout his peeling of Marsyas' skin. Instead it is wholly focused on Marsyas - on describing the physical gore of his exposed veins and contracting muscles and the grief of the rustic crowd as they mourned his loss - which is curious indeed since the entire theme of the poems of Book 6 is divine punishment and it is otherwise filled with rather full accounts of these contests and insults.

Byblis and Caunus made me want to reread Euripedes' Hippolytus for the twelve thousandth time. Caunus made the right call of course but I also very much hoped he would have a huge big speech about incest being bad instead of just smacking the messenger.

And lastly, for now, Jove's speech as Hercules lay burning atop his death pyre where he addresses the host of his gods and goes "Man, wasn't Hercules a great guy? Look, there goes all his mortal attributes burning away in the fire, now he is all my son and surely we are all in agreement that any divine son of mine deserves a place on Olympus :)" was very endearing. I always feel quite bad for Deianira because she truly didn't mean any harm by her gift and I've always wished for an account of Heracles/Hercules' death from her perspective. There could scarcely be a thing more awful, especially given how long and drawn out and incredibly painful Hercules' death was.

Lowkey, I want to take a day and compare Ovid and Euripedes' Medeas. They're both very different women and they both handle their situations very differently. Partially for my own vindication - I adore Medea and Jason equally and since popular fiction cannot speak about Medea without flattening her or making Jason completely monstrous, this is just one of those things I'll have to do myself sometime.

[dinosaurcharcuterie]

How did this happen?

No idea.

A haze came over me and suddenly there was a pretzel dress and enough fabric to make a second, fancier one.

Tumblr's foremost flexing Lady Knight, @theinimitablefuckstormkilligan, said it was destiny.

I needed more dresses that work in summer with the need for regular blood draws and blood pressure readings.

Whichever of those reasons seems more reasonable to you.

If it's about the pictures: the sunlight was coming in weird and made my boobs look weirdly lopsided in all the other sunny pictures.

Listen, the most important thing is: it has pockets that early fit my wallet and keys in the same pocket.