#this is just like the extended version

[coffeeandcalligraphy]

lonan & harrison almost get into a car accident & then things get bloody & intimate somehow (from 2020? 2021?):

read the full scene under the cut!

Harrison nods. He presses a palm to the cold window until his print transfers, then stares out the window through his fingerprints. As Lonan makes a right, closer to the water, Harrison stares at its surface, the way it shifts and bends with sunlight. He nearly dissolves inside the car. Doesn’t feel its steady pulse against the road or even notice the re-fogging of the window pane. He sees himself and his mother standing on that water, finding a new place to dive into this new life and nothing more. Just newness.

And then Lonan nearly crashes into an oncoming pickup truck. It happens so quickly, Harrison isn’t certain it’s even occurred or if he’s even stopped looking at the water. But when he turns, only slightly, barely moving his head, a tie of blood stripes Lonan’s upper lip, and the car stalls so long in the middle of the road that at least three cars nearly rear-end it.

“Pull over,” Harrison says, so slowly, it is as if he tastes the words individually before letting them out. “Lonan, pull over.”

But he doesn’t see him. Lonan is so still, Harrison almost believes he’s imagined his presence, and would call himself delusional if it weren’t for the subtle movement of the blood. It pearls into his mouth, yet Lonan never looks at the direction it flows. Instead his gaze stays pointed to the waterfront, glimmering.

Harrison doesn’t know how he takes the wheel, or how he manages to ungracefully tuck them onto a side street. Doesn’t know when the tree-shaped air-freshener skitters from the rear-view, or when it stops. How long it takes for the car’s frizz to still, how long Lonan sits in the driver’s seat, nearly drinking his own blood.

Harrison reaches for him. One hand on the back of his neck, and the other reared toward the red stream. His touch is tactful, so faint his fingerprints wouldn’t even be left behind, but still, the dabbing with his jacket’s hem is enough to redirect the blood’s flow from Lonan’s upper lip to the cuff of leather.

The radio is still on, garbled like an unmassing of crepe paper lanterns. Harrison’s instinct is to hum, and so he does, wrings Lonan’s blood free, and puffs quarter notes. In this time, Lonan doesn’t stir. His eyes remain open, but he stares, hulled, out the front windshield. His blood daggers down Harrison’s wrists, pools in his palms like holy water, and yet it takes the nosebleed’s eventual taper for him to even suggest he is still alive.

It’s just the subtle tick of his jaw at first. And then his bloody nose twitches. A rush of air as he inhales, and then its vibrato as he exhales. Lonan stares ahead as he conjoins back to his body, his eyes flitting to the now still air-freshener and then the glove compartment and then the hand still ledged across his top lip.

Slowly, he peels Harrison’s fingers away, and then tucks his own between them, not an act of intimacy, but documentation. He feels for the blood to be certain it is there.

“It was the water,” Harrison says, studies the ooze of red between their palms. It’s almost impossible to detect where one plane of skin ends and another starts. He thinks of what Lonan mentioned in passing, that Eliza drove them into a lake. He believed him then—it seems like something she would do—but also did not believe him, or at least, didn’t want to.

Lonan squeezes his nose-bridge with his freehand and paves a stray tendril of blood across his cheek.

“You’re stressed,” Harrison says.

“I thought you said I was disturbed.”

“What’s the difference?”

Lonan releases Harrison’s hand, but not before he pinches the leather cuff of the jacket, sponged with blood. He cleans his hands on his jacketfront and buries them under his arms.

“I’ll pay to get that dry cleaned,” he says.

Harrison scoffs. He doesn’t know why he finds Lonan’s indifference entertaining or if Lonan is indifferent at all, if he’s merely embarrassed or flustered or still unpresent. “I stole all your money.”

“Then I’ll get a job. I don’t want to make a mess.” Lonan’s tone is surprising. He sounds almost angry, or maybe desperate.

Harrison holds his bloody fingers to eyelevel, memorizes the flood of his fingerprints, what pattern they make when he leans forward and scores his thumb against Lonan’s throat. “What are you making a mess of?”

Lonan releases one of his hands and then his seatbelt. It scrolls back into its holster with a satisfying click. Though he never does say anything, instead pulling the car back into drive and resuming their route to nowhere, Harrison sees the answer in his face.

You.

who up and interested in reading a deleted scene from feeding habits

[guardian-angle22]

911: Lone Star | Paul Strickland in 5.06

[javelinbk]

Sixty years ago today, the Beatles met Bob Dylan and his friend marijuana

Paul: It was a great honour to meet him… we had a crazy party the night we met. Erm… I went around… I thought I’d got the meaning to life, that night. I went around trying to find our roadie... 'Mal! Mal! Mal! Get a pencil! And a paper! I've got it, I've got it!'. And Mal, cause we were a bit out of it, he couldn't find a pencil and paper anywhere, but he eventually, at the end of the evening found it, and I wrote down my message for the universe, you know. And I said, 'Now, keep that! Keep that in your pocket!'. And Mal did - next morning, he said, 'Ere, Paul', he said, 'did you want to see that?', I said, 'what?', he said, 'that bit of paper', 'oh, yeah!'. And I'd written, 'There are seven levels'. [gulp] Ringo: And there was two men in the room, and err... Bob was the well-known one. Paul: Al Aronowitz was there as a journalist, who was like a mate Ringo: That was the first time for me that I'd really smoked marijuana... and I laughed, and I laughed, and I laughed. It was fabulous.

Paul McCartney and Ringo Starr describe meeting Bob Dylan on 28th August 1964, The Beatles Anthology (1995)

[stop-breaking-my-heart-telltale]

What can I say? They're my favorite.

[xmrnothingx]

Samus Aran and Dark Samus from Metroid + Devil May Cry

Was just in the mood to redraw my old crossover of Samus and Dark Samus as Devil Hunter and Devil Slayer (Dante and Vergil from Devil May Cry). (I just wanted to draw Samus with a sword again and thought why not)

old version:

[lelianaslefthand]

inquisition still holds the title for best dragon age soundtrack. trevor morris you will always be famous

[brighhton]

guy whos normal about the doctor who soundtracks: omg did you hear that short melody that just played for 2 seconds? yeah its part of one of my favourite themes in the soundtrack. theres also another alternate version that plays in another scene also for about 20 seconds and is unreleased but also it sounded so good i wish there was a full version. wait what was that omg i think i heard another leitmotif YESSS YESS YAYYYYY guys i love music this is awesome

[alecz-obssesionz]

♦️HK GIJINKAS | HORNET & LACE ♠️

◇ + HORNET ALTs ◇

◇ Original Sketch Page ◇

[babybluequills]

this is my favorite sonic video in the world by the way

[grinchwrapsupreme]

some extremely important pictures of gundham from the despair arc

[saltpepperbeard]

sometimes it really hits me that ed and stede swapped clothes even though they barely knew each other. like ed really had to carefully peel a still-wounded stede out of his clothes, and gently dress him in all that leather. and stede really had to delicately tie his cravat around ed’s neck, and slip all his rings onto the appropriate fingers. and they both had to see each other scantily clad, and were both so excited to be stupid silly, and-

[batsplat]

greetings professor batsplat,

i recently heard somewhere about valentino having kicked someone else off the bike before the whole. sepang rosquez situation.

and i was wondering if you had any info on that / could shed light on the context? how it happened, what motivated him to do it perhaps etc.

thanks a lot <33

yeah I know why this gets brought up quite regularly, but tbh there's not much of a story behind it. valentino kicked someone, did not kick said someone 'off' the bike, didn't have complex motivations beyond venting some frustration. just the habitual problem of getting pissy about someone coasting on the racing line (x):

At the end of the 250 class qualifying, Italian Valentino Rossi, annoyed by a move by Yasu Hatakeyama, decided to practice kickboxing. Rossi "pressed" the Japanese rider against the edge of the track with his Aprilia and, bike to bike, threw a kick at the Japanese rider's thigh. The Italian, who had already hit his colleague's helmet at the Dutch GP, did not show the slightest remorse: "Every time I meet Hatakeyama, he closes me down. Today I was on the last lap and I could lower my time, and when I was going to pass him, he crossed the track and slowed down. I had to brake suddenly and I was very nervous. But I think that the next time I am about to pass him, he will not close me down." There were no penalties for Rossi, although both he and the Japanese rider received a verbal warning.

this was at argentina 1998 - here's the kick itself, courtesy of teenage valentino:

here's a HD clip of the kick as well as valentino's gesturing afterwards:

it's basically the exact same thing as casey kicking checa in 2007 or punching de puniet in 2011 (see here) for exactly the same reasons. or for a more recent example, take aleix slapping franky last year. riders are hotheads, they REALLY hate someone getting in their way when they're trying to do a lap, sometimes they lash out. this obviously does not mean it's a good idea and really should warrant some kind of penalty. neither valentino nor casey got penalties, but aleix got a six place grid drop. which, good! it's irresponsible and stupid, even if it's also admittedly kinda funny. still, it'd be pushing it to suggest there's much similarity between that and sepang 2015. although his description of the incident is fun (from oxley's vr files):

I got into a bit of trouble on Saturday for kicking the Japanese rider Yasu Hatakeyama at the end of the final qualifying session. I like to kick arse! I've had a lot of trouble with him all season - you go to pass him in practice and he shuts the door on you, even though he's going slow. I've spoken to him about it a few times and he always says "Sorry, sorry, sorry!" then goes and does it again at another race. It's very dangerous. On Saturday he took a short cut round the back of the circuit, and was going through this corner at about 20kph when I arrived on a very fast lap. It was really frightening, so I paid him back by kicking him as we returned to the pits.

how very casey of him

if you ARE looking for something a bit more relevant in terms of valentino using his body in the heat of battle, an even younger version of valentino might be able to help. this is all the way back in his rookie 1996 season - where he was known for his wild riding, especially in the early races that year, and on occasion did actually elbow AND knee his competitors in his determination to beat them. feral thing. in general, to my eyes valentino seems like he's quite good at using spatial awareness in w2w combat, of using the physical dimensions of his body to fight other riders... take for instance the finely judged knee retraction pass at catalunya 2009, how he immediately sticks his knee out again in front of jorge's line once he's past, that sort of thing

the most obvious example has to be the doctor's dangle - motogp urban legend ofc holds that it started in jerez 2005, where valentino wasn't actually using his leg to block sete, but since then? in popularising the habit of motogp riders of dangling their legs into corners, valentino also gave himself another nifty way of defending against opponents. sometimes it does look like he's using the dangled leg to quite literally block his rivals from passing... perhaps the most blatant examples of that come in motegi 2010, where he's willing to do whatever it takes to beat jorge. he does admittedly have plausible deniability in this race - the possibility that he was dangling his leg more excessively in order to help mitigate the shoulder injury. still, it's pretty comical at times

"When he does go through - if he does go through that corner, he's going to have to take Rossi's leg off!" "He is! Drag him along, I think."

I mean. come on. what is this. you cannot tell me this is ergonomically efficient. valentino did do this to some extent when he was behind jorge too, so I don't think the shoulder explanation is complete bullshit - but it does also feel like a bit of an opportunistic method of making his bike as broad as possible. jorge repeatedly almost rides into valentino's leg, including when he's finally had enough and makes the overtake that sets off the late battle between them. so yeah, valentino's definitely not a stranger in using his physicality to his advantage in conducting his wheel to wheel battles. one of the things that makes him so fun to watch

[luneinary]

thinking about shuichi ryoma parallels ...

[a-grayscale]

If Art class has taught me anything throughout my life, it’s that I tend to prefer drawing characters with mostly circles in their shape language because triangles and ESPECIALLY squares intimidate the fuck out of me…. That being said, yes Leshy is my favorite bishop to doodle and draw.

[prodbyton]

confession i only like 6 riize songs i skip so many of their songs sorry

[b4kuch1n]

IT ARRIVED IT ARRIVED IT ARRIVED

DESPITE EVERYTHING DESPITE MY CHRONICALLY CURSED INTERNATIONAL MAIL PROBLEM I AM STILL THE ZONE RPG