#then the 87 version of April

[jocelynships]

Aaaa thinking about a multiverse type story where each version of my TMNT S/I meets each other, and I think it would be so funny if they all got separated and got paired up with a version of the turtles (but not THEIR turtles) and yeah it’s a little weird at first bc yeah they’re basically the same, but not at the same time. But like. Each version of my S/I is still FIERCELY protective of the turtles, even if it’s not her own universe’s turtles. They’re still her baby brothers.

And man I’m getting emotional having each version of her go “you’re still my little brothers, even if you’re from a different universe, ain’t nothing gonna change that!” to whichever version of the turtles she’s with and I just

[bicryptide]

Pov : you are a TMNT fan

[transk0vsky]

Got this idea like a profit receiving a message from an angry God 

[martisno]

just april

[fabuloustrash05]

This has been on my mind lately, so I wanted to hear other people's thoughts. Has the Casey x April ship in TMNT ever actually worked as a ship??

If you wish to share more of your thoughts, feel free! All I ask is to please be respectful in the comments/reblogs to others fans opinions.

[pocoslip]

April should wear the "Have a Gun" Shirt instead but I guess she's Not as "High" as the Vigilante

Casey be as Hot as the 1987 Version underneathe his Mask?? idk

My designs for Casey Jones and April O’Neil!!

[doyoulikethissong-poll]

Mariah Carey - The Roof (Back in Time) 1998

"The Roof (Back in Time)" was released as the third single from Mariah Carey's sixth studio album, Butterfly, in Europe in 1998. Similar to the treatments of "Butterfly" and "Breakdown", "The Roof" received a limited worldwide release due to Carey's conflict at the time with Sony. The song was written and produced by Carey and Trackmasters, and is built around a sample from "Shook Ones (Part II)" (1995) by American hip hop duo Mobb Deep. The extended remix features a rap verse by Mobb Deep. Due to the song's limited release, "The Roof" did not chart in most major music markets, with the exception of The Netherlands and the United Kingdom, where it peaked at numbers 63 and 87, respectively. In addition, "The Roof" was added to Carey's compilation album The Ballads (2009). On April 14, 2022, Carey revealed a re-recorded and re-imagined version of the song, titled "The Roof (When I Feel the Need)" for her course on MasterClass. The song features vocals from R&B singer Brandy. The collaboration appears on the expanded edition of Butterfly for the album's 25th anniversary, released on September 16, 2022. It received 51,3% total yes votes.

[muzaktomyears]

In 1980 Peter Brown, a former assistant to Brian Epstein who later ran Apple Corps, managed the Beatles and was best man at John Lennon and Yoko Ono’s wedding, started work on the definitive account of the Beatles. With the American author Steven Gaines, he spoke to the three surviving band members alongside wives, girlfriends, managers, friends, hangers-on and everyone else in the Fabs’ universe. The book promised to be the last word in Beatles history. Then in 1983 The Love You Make was published, and all hell broke loose.

“They were furious,” recalls Gaines, 78, still sounding pained at the memory. “Paul and Linda tore the book apart and burned it in the fireplace, page by page. There was an omerta, a code of silence around the Beatles, and they didn’t think anyone would come forward to tell the truth. But Queenie, Brian Epstein’s mother, told us above all else to be honest.”

“Even she didn’t think we would be quite so honest,” adds Brown, 87, his upper-crust English tones still in place after five decades in New York.

Why did The Love You Make, retitled by Beatles fans as The Muck You Rake, incite such strong feelings? The suggestion of an affair between Lennon and Epstein on a holiday to Barcelona in April 1963, only three weeks after the birth of Lennon’s son Julian, had something to do with it, but more significantly it was taken as a betrayal by a trusted insider. Brown and Gaines locked the recordings in a bank vault and never looked at them again — until now.

“Very good question,” Brown says, when I ask why he and Gaines have decided to publish All You Need Is Love, an oral history made up of the interview transcripts from which The Love You Make was drawn. He is speaking from the Manhattan apartment on Central Park West where he has lived since 1971. “When [Peter Jackson’s documentary] Get Back came out, a journalist from The New York Times wanted me to talk. I told him I hadn’t talked about the Beatles since the book was published and suggested he go to someone else. He said, ‘There isn’t anyone else. Paul, Ringo and you are the only ones left.’ And I thought, do I have a responsibility to clear it all up, once and for all?”

After the death of Epstein in 1967, Brown assumed the day-to-day responsibilities of managing the Beatles and Apple Corps. He had on his desk a red telephone whose number was known only to the four Beatles. Unsurprisingly, given his insider status, the interviews make for fascinating reading. Paul McCartney, yet to be asked the same questions about the Beatles thousands of times over, is remarkably unguarded. Asked by Gaines if the other Beatles were anti-Linda, he replies: “I should think so. Like we were anti-Yoko.” On the image the Fabs had for being good boys on tour, he says, “You are kidding,” before going on to reference a notorious incident involving members of Led Zeppelin, a groupie and a mud shark, concluding: “No, not in the least bit celibate. We just didn’t do it with fish.”

Ono, speaking in the spring of 1981, not long after Lennon was killed in December 1980, reveals that she didn’t sleep with Lennon for the first two years of their relationship — “John didn’t know how to make a move” — and claims that she was blamed by the Beatles camp, George Harrison in particular, for getting Lennon onto heroin in 1969. “Everything we did in those days, anything that was wrong, was my responsibility,” she tells Gaines. But everyone, from the Beatles’ notorious late-period manager Allen Klein to the Greek electronics wizard/hustler “Magic” Alex Mardas — “the Mordred of the Beatles’ Camelot” according to Brown — has their own version of events.

Going through the transcripts reminded Gaines of the long shadow cast by Lennon. “I didn’t realise how sensitive the other Beatles were to John’s opinion,” he says, speaking from his home in the Hamptons, Long Island. “Paul worried about what John would say [in the event Lennon died before being interviewed] and was still longing for his friendship. George said that John didn’t read his autobiography because it was called I, Me, Mine. Those interviews were done before John’s death and Paul’s heart was broken, even then. It wasn’t just the break-up of the Beatles. It was more personal than that.”

From around 1968, the transcripts reveal how the key Beatles duo started to come apart. McCartney’s enthusiasm was only getting stronger. But Lennon grew increasingly bored and disillusioned. “You have to remember that John wasn’t in love with his wife Cynthia,” Gaines says by way of explanation. “He wanted to get away from the life he was leading and that’s why he started to experiment with drugs, all the way up to heroin.”

Brown says Ono was, and probably still is, a distant, mysterious character, exactly the kind of person Lennon was looking for, having done the right thing and married the sensible, quiet Cynthia after she discovered she was pregnant with Julian in 1963. “John told me about meeting this woman, and how frustrated he was that he couldn’t get to know her better; he couldn’t take her to lunch because it would cause gossip. I gave him the key to my apartment so he and Yoko could be together in private and thought, naturally, they were going there to f***. When I went home that evening, the apartment was untouched. They did nothing more than sit on the sofa and talk. That’s what they wanted: to know each other.”

Regarding the long-held, unfair suggestion that Ono broke up the Beatles, Gaines says: “Yoko came along at the right moment to light the fuse, but the dynamite was already packed. They resented her, she was difficult to understand and had a deep effect on John, but they were getting more and more unhappy with each other and needed to have their own lives. As people in the interviews say again and again, [the split] was bound to happen.”

It was Brown who in May 1968 introduced McCartney to Linda Eastman, an ambitious young American photographer whom he knew from his business trips to New York, when she came to London on an assignment to shoot the Rolling Stones. “I was having dinner with Paul at the Bag O’ Nails [a club in Soho] when she turned up, so I introduced them and he was obviously taken with her,” Brown recalls. “The following Friday, May 19, we were holding a party for 12 top photographers at Brian Epstein’s house in London when she walked in. Paul says I didn’t introduce him to his wife … but I did.”

If the book has a villain it is Klein, the New York accountant who took over management of the Beatles and sacked everyone around them, much to McCartney’s horror. As Brown puts it: “He was a hideous person. He even looked like a crook: sloppy and fat, always wearing sneakers and sweatshirts. Everything he didn’t like was ‘for shit’.”

You wonder why Lennon fell for him. “The interviews suggest it is because Allen Klein offered Yoko a million dollars for her movie project,” Gaines says. “She was enticed and John would do anything Yoko said.”

“I asked Mick Jagger to come over and explain to the four Beatles who this Allen Klein was,” Brown remembers. “And John, in his wonderful way, had Klein turn up to the same meeting, which was deeply embarrassing. It made Mick very uncomfortable too.”

Epstein, the man who saw the Beatles’ potential in the first place, is a central figure in All You Need Is Love. It includes a transcript of a recording of him from 1966, not used for the original book. It was in the possession of Epstein’s attorney Nat Weiss, and seemingly made by Epstein to mark the end of the Beatles’ final tour. He claims not only that Lennon felt remorse for the infamous comment on the Beatles being bigger than Jesus — “What upset John more than anything else was that hundreds of people were hurt by that” — but that the Beatles would tour once more. “There’s no reason why they shouldn’t appear in public again,” Epstein claims. They never did, unless you count that rooftop performance on January 30, 1969.

“Brian was driving them around the north of England in his car for a year,” Brown remembers of the early days. “This Jewish guy from Liverpool, who was gay, was with these guys who had been hanging around in Hamburg, so both had interesting backgrounds. They understood each other.”

For Gaines, a self-described “gay Jewish boy from Brooklyn”, Epstein is at the heart of the story. “Brian never felt the love of a real relationship. Then he found the Beatles. Everyone thought it would be just another of his phases, but he had tremendous feelings for John, both sexual and intellectual, and that’s what really pushed him. If there was one thing that started the whole thing off, it was Brian’s love for John Lennon.”

That love affair was the contentious issue of the original book. In his interview, McCartney says of Lennon going to Spain with Epstein: “What was John doing, manipulating this manager of ours? Sucking up to him, going on holiday, becoming his special friend.” It wasn’t the suggestion of a homosexual relationship that was troubling McCartney, but the balance of power tilting in Lennon’s direction.

“Paul wanted to be in charge, and he deserved to be because he was the motor, the driving force,” Gaines says. “Paul felt that John would steal away the power. He felt threatened by John’s relationship with Brian.”

“Paul always wanted to be active,” Brown adds. “After Brian’s death the world had to be carried on. Who was going to do that? It wasn’t going to be John, George or Ringo. Brian was my best friend and I was very upset [at his death]. I had to go to the court to convince the magistrate that it wasn’t a suicide, and the following day Paul set up a meeting so we could discuss what we would do next. I said we’d do it next week, and he said, ‘No, it has to be now.’ He was right.”

How did Brown and Gaines feel about the horrified reaction to the book, not just from fans but the Beatles themselves? “The world has changed,” Gaines says, by way of answer. “Now, after all these years, hopefully people can see it as a truthful, loving and gentle book.” It has been decades since Brown spoke to the surviving Beatles and he has not contacted them about this new publication.

What the interviews really capture in eye-opening detail is the story of four young men who became a phenomenon, then had to deal with the fallout as the dream ended. On December 31, 1970, the day McCartney sued the other three to dissolve the partnership, Brown handed in his resignation as the Beatles’ day-to-day manager and officer of Apple Corps. Ringo Starr said to him: “You didn’t want to be a nursemaid any more, and half the time the babies wouldn’t listen to you anyway.” Brown moved to New York and became chief executive officer of the Robert Stigwood Organisation. But the Beatles never fully left him, and in the wake of Get Back — and the news that Sam Mendes is to direct four biopics, one on each Beatle — he decided he had one last job.

“We have finished our responsibilities,” Brown says with quiet authority. “It is the end of the story.”

EXTRACTS

‘It’s like bloody Julius Caesar, and I’m being stabbed in the back!’

Paul McCartney on the Beatles signing Allen Klein as manager against his wishes

[John Lennon] said, “I’m going with [Allen] Klein, what do you want to do about it?” and I kind of said, “I don’t think I will, that’s my roll.” Then George and Ringo said, “Yeah, we’ll go with John.” Which was their roll. But that was pretty much how it always ended up, the three of them wanted to do stuff, and I was always the fly in the ointment, I was always the one dragging his heels. John used to accuse me of stalling. In fact, there was one classic little meeting when we were recording Abbey Road. It was a Friday evening session, and I was sitting there, and I’d heard a rumour from Neil [Aspinall, road manager] or someone that there was something funny going around. So we got to the session, and Klein came in. To me, he was like a sort of demon that would always haunt my dreams. He got to me. Really, it was like I’d been dreaming of him as a dentist. Anyway, so at this meeting, everyone said, “You’re going to stall for ever now, we know you, you don’t even want to do it on Monday.” And I said, “Well, so what? It’s not a big deal, it’s our prerogative and it could wait a few more days.” They said, “Oh no, typical of you, all that stalling and what. Got to do it now.” I said, “Well, I’m not going to. I demand at least the weekend. I’ll look at it, and on Monday. This is supposed to be a recording session, after all.” I dug me heels in, and they said, “Right, well, we’re going to vote it.” I said, “No, you’ll never get Ringo to.” I looked at Ringo, and he kind of gave me this sick look like, yeah, I’m going with them. Then I said, “Well, this is like bloody Julius Caesar, and I’m being stabbed in the back!”

‘You don’t like to see a chick in the middle of the team’

Paul McCartney on Yoko Ono

Give Yoko a lot . . . that was basically what John and Yoko wanted, recognition for Yoko. We found her sitting on our amps, and like a football team, an all-male thing, you really don’t like to see a chick in the middle of the team. It’s a disturbing thing, they think it throws them off the game or whatever it was, and these were the reasons that I thought, well, this is crazy, we’re gonna have Yoko in the group next. Looking at it now, I feel a bit sorry for her because, if only I had been able to understand what the situation was and think, wait a minute, here’s a girl who’s not had enough attention. I can now not make this into a major crisis and just sort of say, “Sure, what harm is she doing on the amps?” I know they would have really loved me. You know, we didn’t like Yoko at first, and people did call her ugly and stuff, and that must be hard for someone who loves someone and is so passionately in love with them, but I still can’t — I’m still trying to see his point of view. What was the point of all that? They’re very suspicious people [Lennon and Ono], and one of the things that hurt me out of the whole affair, was that we’d come all that way together, and out of either a fault in my character, or out of lack of understanding in their character, I’d still never managed to impress upon them that I wasn’t trying to screw them. I don’t think that I have to this day.

How Cynthia Lennon was driven to drink — at an ashram

Alexis ‘Magic Alex’ Mardas on Ono’s love letters to Lennon

Alexis Mardas was also known as Magic Alex, a name John bestowed on him because he was so taken with Alex’s inventions. Alex was handsome, charming, and a charlatan. (He sued The [New York] Times in Britain for calling him a charlatan and settled out of court. He’s dead now.)

[The Maharishi] was fooling around with several American girls. The Maharishi was making all of us eat vegetarian food, very poorly cooked, but he was eating chicken. No alcohol was allowed in the camp. I had to smuggle alcohol in because Cynthia wanted to drink. Cynthia was very depressed. John was receiving letters from Yoko Ono. Yoko was planning to win John. She was writing very poetic and very romantic letters. I remember those letters because John was coming to me with the letters, and Yoko was saying to John that “I’m a cloud in the sky, and, when you read this letter, turn your head and look in the sky, and if you see a small cloud, this is Yoko. Away from you but watching you.” Poor Cynthia was prepared to do absolutely everything to win John. She was not even allowed to visit the house where John was staying. She was longing for a drink. Now, drinks, they were strictly prohibited in the ashram, but when it was discovered that Maharishi had a drink, I said, “Just a second, at least equal.”

‘He’s become so nasty’

George Harrison on reaching out to John Lennon

What’s wrong with John, he’s become so nasty. It sounds like he hasn’t moved an inch from where he was five or six years ago. I sent Ringo, John, and Paul all a copy of my book. I got a call from Paul. He called me up just to say how much he liked it. I shouldn’t have called it I Me Mine, because that title was a bit much. I sent a copy to John. I’m wondering if he’s actually received it, if he’s received it, he probably doesn’t like it or something offends him about it.

‘I told John that ... it was just a nice feeling’

Yoko Ono advising John Lennon how to take heroin

George said I put John on H, and it wasn’t true at all. I mean, John wouldn’t take anything unless he wanted to do it. When I went to Paris [before I met John], I just had a sniff of it and it was a beautiful feeling. Because the amount was small, I didn’t even get sick. It was just a nice feeling. So I told John that. When you take it properly — properly is not the right word — but when you really snort it, then you get sick right away if you’re not used to it. So I think maybe because I said it wasn’t a bad experience, maybe that had something to do with it, I don’t know. But I mean so, he kept saying, “Tell me how it was?” Why was he asking? That was sort of a preliminary because he wanted to take it, that’s why he was asking. And that’s how we did it. We never injected. Never.

‘It was time’

Ringo Starr on the end of the Beatles

Ringo Starr: Well, I’m pleased it happened because in so many ways, I’m glad it’s not going now. It was time. Things last only so long. Steven Gaines: The Rolling Stones are [still] going. Ringo Starr: Yeah, but they’re old men.

(source)

[shantechni]

Aight, maybe I'm clinically paranoid or a little slow on the uptake (the former is more probable) but something just struck me about the episode Buried Secrets.

Donnie didn't believe Mikey, but he still went looking into Mrs. O'Neil??

Firstly, we can all agree that Donnie was bound to check out the data from the cryotube to figure out why Mrs. O'Neil was placed into stasis and left behind at the farmhouse (he's just thorough like that). However, what's interesting is that he doesn't seem concerned with the readouts until after he and the others had collectively yelled at Mikey for trying to attack Mrs. O'Neil in the dead of night. And, keep in mind, it was broad daylight when they found Mrs. O'Neil, still daylight when she told them her story, yet we don't see him messing with the cryotube's computers until nighttime.

Secondly, his demeanor towards who he believes to be Mikey is very unlike the rage he blasted him with during the interrogation scene (something that also happened at night but still preceded him checking the readouts). Maybe he's just in scientist mode and being civil, but other than appearing to be annoyed by the jump scare he received,he doesn't behave as though he's dwelling on what happened, nor does he add any input when April expresses her frustration like one would make him out to do.

Thirdly, when Donnie speaks to himself outloud, he specifies that he's attempting to find out what the Kraang did to Mrs. O'Neil, not necessarily why she was left in the cryotube. The gang learned in the previous season from Kurtzman that April's mom was experimented on before she was born, therefore turning April into a Kraang-human hybrid. And now's his chance to finally find out what was done to her.

I know it's heavily debatable if Mikey influenced Donnie's decision, and obviously he could've been messing around with the cryotube's computer off-screen before Mikey tried to attack Mrs. O'Neil, but I'd like to believe Mikey's claims weren't being as readily dismissed as everyone thought they were being. As I've mentioned in another post, even though the boys have trouble believing everything Mikey says, they do have a tendency of checking out his claims in spite of their disbelief. The first and earliest example of this is in the first episode when Mikey tries to tell them the Kraang are alien robots. It's no surprise that they don't believe him one bit, though it is a surprise that they follow him anyway.

They saw how adamant he was in trying to prove he's being honest, and his urgency is enough to persuade them.

Though the situations vary each time, they continually do this all the way into the final season when Mikey claims to have seen the '87 turtles in their dimension. They question him again, not because they don't trust him, but rather to make sure he knew what he saw was indeed the other versions of themselves. After Mikey tells them the other turtles were taken to Chinatown, Donnie puts together that they must be the reason he was detecting energy from an interdimensional portal earlier, and they all go to investigate. Of course, it turns out that Mikey's eyes weren't playing tricks on him, and Raph makes a joke about Mikey being right again.

The guys have trouble accepting Mikey's words as the truth quite a bit, but the sheer number of times that they go running after him and giving him a chance to convince them is telling of how much they trust him.

As outlandish of an occurence as it was to believe that April's mom was the enemy, they all know Mikey well enough to give his words some thought, and Donnie likely took the unexpected attack as a sure sign that he should do some investigating of his own. Whether or not the others knew what he was doing in the Kraang ship is up in the air, but it'd make sense for him to be secretive about his actions since April would only get angrier at the idea of them not trusting her mom. That idea can potentially be supported by him obviously not telling her what he's doing.

Once again I've completely lost where I was going with this, but I like to believe that Donnie started to believe Mikey right before they were thrust into another horror night.

[i-am-a-living-god]

Anyone else notice how whenever people point out any "great" differences between rise and "all the previous versions" they're usually just talking about 2012.

The most prominent example I can think of is people acting like rise broke the horrible format of shipping the turtles with April. Like no baby, that's not part of the format, it's just 2012. Wait and bay nvm.

Like the turtles are kinda crushing on April a little bit in 87, but it's literally just because she's a girl, and it never goes anywhere, and I don't think you can call it shipping. Honestly I wouldn't call whatever tf is going on with bay shipping either, it's just Mikey being a freak to his mom.

But like people act like rise is the first tmnt to ever not ship April with the turtles, like no.

[incorrect-tmnt2012-quotes]

I was just curious what is your favorite thing about the 2012 Donatello vs the 2012 Leonardo and Raphael and Michelangelo since you told me that you are just a fan of just the 2012  version

Okay I need to clarify, I’m not “just a fan of the 2012 version”. It’s my overall favorite version of TMNT, but I’m a fan of the other versions too, like the 87 series, rottmnt, mutant mayhem, the 90s movies etc. I don’t want people to assume I don’t like or am not a fan of the other versions. I just made a blog dedicated to the 2012 series because it’s my favorite version lol

As for your question, what my favorite thing about each turtle is? I’d have to say…

Leo - his nerdy side, his obsession with Spaceheroes is so entertaining and I feel fleshes out his character beyond just being the leader and oldest sibling. He’s a nerd at heart.

Donnie - his beef with Casey has always been entertaining, and I’m one of the few who actually like seeing him and April together but more as friends than love interests. Also his sass is top tier.

Raph - I love this overall character development in the series, learning to open up more to others and to not be afraid to express his feelings. He is my favorite turtle in the 2012 version. I love that he’s the jerk with a secret heart of gold.

Mikey - His kindness towards others and alway having faith in everyone is so inspiring. How easily he can make friends, he’s a lovable guy.

[bulbabutt]

i made a rise mona lisa, going off the 87 versions vibes of: whatever raph is, she shows him up. so shes even bigger and sweeter than raph, and just like him tries to solve everyone's problems herself.

i have a story for her in mind, where post movie she a freshman at Eastlaird with April and has been mutated by an evil professor there, so shes trying to go alone to stop him. but a la "raphael meets his match" she runs into a mutant at a costume party who is insistent on figuring out what she's up to.

a version thats just in raph's head [i just wanted you to be able to see her colors correctly]

[thislovintime]

On tour, 1989. Photo credits as known: Cindy Andrew/Toronto Star via Getty Images, Cathy Whitehead, George Massina, Helen Pantuso.

“[Dolenz said, of a charity concert in London] 'We never mind doing anything for a good cause.’ Peter Tork carried on strumming on his guitar and Davy Jones (yes, he really is that small) relaxed the tense look on his face, briefly, to suggest that the song should be included in their forthcoming American tour. ‘It’s money for old rope,’ is how Micky Dolenz, who has the kind of face that could never look tense, summed up the group’s reformation.” - The Gazette, April 28, 1989 About the '80s tours stage costumes, designed and made by Peter's then-girlfriend Jennifer McLeod: Q: "[A]t what point did you begin making costumes for the Monkees?" Jennifer McLeod: "In 1987, in Australia. David Jones asked me if I would be interested. [...] I'd never really done anything for men before other than some stage costumes years ago. David asked me if I would be interested in doing the Monkees costumes for the '87 tour in the U.S. and I positively leapt at the chance. [...] I had [previously] made some clothes for Peter. [...] In '89, Micky and Trina specifically requested (tuxedo) tails... There was one sketch that I had done with tails. It had actually been done for David, and Micky said he would like tails too, so I modified a design I'd proposed for him and did it in tails." Q: "The Monkees could make changes and you wouldn't be insulted?" Jennifer McLeod: "No, not really. David, in '89, wanted a black version of the jacket I'd done for him in '87 with piano keys. So I did that. Peter came to me after he saw both Micky and Davy had black suits and said, 'I really want a black jacket as well.' So there was a certain give or take." - 16, May 1990

[getindumdums]

“Get In Dum-Dums, We're Going Vandalizing!”Master Post

(Not that I have much content out for this BUT-)

Summary:

*Slaps fic! This baby can fit so many turtles in it! Like, at least 16. Maybe more who knows. After defeating the Krang, the Rise crew are wary of other threats they may face just as threatening. And a journey across dimensions reveals that some alternate versions of them need more than a little help. And they’re just the kind of turtles that can provide! Old threats, familiar faces, and new brothers! Sure these foes are... a bit. tough. But hey! At least their counterparts are fun to hang out with! ..Even if some don't seem to like them at first...

1987 line up

smoothie

Get in Dum-Dums- draft drawings

52 old 87 Raphael

87 Red Sky Raphael

Krangified (Spoliers)

Donatello's Duplicate

More Art

Donatello Table Transformations

some shell retraction animation redesigns

Donnie with a Gun

Rise April

Raphael body attempt

03 Donnie writing on a board

87 brains-and-brawn

red sky twice mutation redesign

tmnt competition

Fic Snippets

chapter 3 draft hint 1, chapter 3 draft hint 2

chapter 4 draft intro

OFFICIALL CHAPTER 4 PREVIEW!

ch 4 draft wresting and video games?

Donatello Mary Shelly-Nurse Leonardo

ch-? angry 87 Michelangelo

ch-? 87 Donatello vs 03 Don

Donnie's Ninpo

Get in Dum-Dums Notes

timeloops

timeloop source I was inspired by

my added ramblings to risestarkiss's strentgh post

1987 Raphael and Donnatello hate-people?

87 gifts

87 fighting?

87 April?,

??

[hermit-searching]

One thing I think is funny about Donatello is he is absolutely unhinged no matter which iteration.

Like, yeah Rise Donnie is probably the most overt version of completely unhinged Donatello because he'd chug Uranium and fistfight Cthulhu. And you have whatever is going on with 2012 Donnie and that version of April 😨. But I would like to bring up some of the absolutely hilarious unhinged things some of the other Donnie's have done.

87 Donatello:

-has a personality altering ray that caused so many shenanigans but he kept anyways

-frequently talks about how he wishes he was a regular turtle with no higher thought

-was electrocuted once which convinced him he was Batman then proceeded to try and off Shredder on his own (and almost succeeded)

-literally just makes things blow up for fun

-if at first brains don't succeed, violence is the answer. (he's got a temper than can rival most Raphael's)

-he likes being in jail

03 Don:

-nearly drove himself insane trying to save his dad from cyberspace

-saw some rabbit making googoo eyes at his brother and chose violence.

-also makes bombs and missiles for fun

-Raph's #1 enabler (you'd think it's Mikey but no. Mikey eggs Raph on a ton but no. it's Don. they're the og disaster twins)

07 Donnie:

-bro works IT. That's it. That's the post lol.

I'm not familiar with the comics, IDW or Mirage, so I can't really comment on them. But I'm pretty convinced Mirage Donatello would be a war criminal.

Also Bayverse isn't included because I hate them.

[fabuloustrash05]

Some of My TMNT Hot Takes 🔥

Warning: Opinions

2012 April was a good character and a fun version/take on April. Y’all are just mean.

Casey Jr. in the Rise movie was a bland and uninteresting character. He did not feel like/deserve to be called a “Casey Jones”.

Jennika in IDW, while a cool concept/character, is overused/overrated.

I don’t like shipping Raph (any version) with human characters. I prefer him dating other mutants or aliens.

2012 Karai is the best/most interesting version of Karai, but she’s also one of the most irritating recurring characters in 2012. I love and hate her.

Jonatello in 2012 is overrated as hell.

Rise Mikey is very forgettable (to me).

April needs to stop being shipped with the Turtles and being their love interest.

87 Shredder is the BEST version of Shredder!

I liked the Irma being a robot twist in 2012. It was an injustice to the Irma character but it was still shocking, and I do like her kinda return as Rook, so there’s some credit to that.

2007 Splinter was a bad dad.

Casey being a cop in the bayverse movies was an interesting take that could’ve worked for his backstory of becoming a vigilante, but it was executed poorly.

IDW Donnie x Mona Lisa is stupid and a completely pointless ship to include in the comics. It feels very forced.

Rise Raph is too big. That, or the other characters are too small. Either way, while I like Rise Raph, his design feels off sometimes.

2012 Mikey is actually annoying and often deserves to be scolded by his brothers for doing dumb immature shit. He’s 15, not 5, he should know better.

The 87 Turtles DO have individual and unique personalities, that includes 87 Leo!

Capril is not a good ship, but I’d still much rather ship April with Casey than with any of the Turtles.

While I love 2012 Renetangelo and 87 Kalangelo, Mikey is the one Turtle that I don’t think needs a love interest. I’d much rather see him be single.

If you’re mad at/hate 2012 April for “killing Donnie” when being possessed in that one episode, but don’t feel the same towards Raph, Karai, Slash and Rockwell for torturing/hurting their friends/family when brainwashed, then you’re a massive hypocrite.

Raph x Mona Lisa in 2012 is the BEST TMNT ship that came out of the four TMNT franchises that Nickelodeon has made. Maybe even the best overall couple in all of TMNT.