#which can be done ofc

[thekenobee]

My mother: *is abusive*

Me: *loses my temper and snaps back at her*

My mother:why are you like that? Have I been unkind towards you?

[fumifooms]

When Marcille roleplayed as Chilchuck’s wife because it’s a normal way to engage in gossip of course of course, her appearance is really just her as a half-foot in a common dress and two braids. Uncharacteristically simple for her, though she did wear those as a half-foot too. At the end of canon, Chilchuck, implicitly by the text ~filling the hole in her heart~ by doing her hair for her when she lost the will to care for it herself, puts it in two braids.

She’s one step closer to her "I wonder what Chilchuck would be like as a husband" fantasy…. Don’t give up girl dreams come true, keep asking him about spending the rest of your daily lives together Mfw his love language is acts of service

[liauditore]

cw// implied character death, double life nonsense

because you are love itself.

[valewritessss]

This fandom is so nit-picky that I’ve seen more criticism on every little thing about wottg (a book that came out 2 days ago) than people saying things they liked about it

Edit: someone has already gotten mad so I repeat this is a joke and not that deep❤️

[lights-at-night]

i might be shot but tbh i think fiction podcasts have an issue with racial representation

[xx-just-a-demon-xx]

a joker drawing to christen my new tablet

[oflights]

wip snip 4.2

thank you for the tag, @elskanellis! your snip is so intriguing 👀

in return, have some more of time travel fic: extremely gooey and tender and basically what the next 10k or so words are going to be (the fic is currently 20k lmao) before things get Bad again. still heartbreaking in its tenderness, though, because baby harry is heartbreaking (a contextual reminder that he is 7 in this snip!!! adult harry is henceforth "potter" from draco's pov).

“This is for me?” Harry asks, doing another turn, clutching at the still unnamed dragon in his hands. “All of this, the bed and—I can—”

“Harry,” Draco says softly, coming closer and dropping to crouch again, ignoring his protesting thighs starting to truly feel all the activity of the day. “Yes, all of this. You can sleep in the bed, you can name your toy—it’s all yours. This is what looking after you means; everything that I can offer is yours now. I promise.”

“Do I have to—” Harry starts, and Draco simply doesn’t want to hear where that’s going.

“No. You don’t have to do a single thing. It’s just yours. Because—because you’re a guest, and a kid, and kids deserve these sorts of things no matter what.”

“Oh,” Harry says, sounding genuinely startled in a way that makes Draco want to punch—someone. Perhaps Vernon or Petunia Dursley, or perhaps Albus Dumbledore. He did not ever imagine he would one day find new and more infuriating reasons to resent Dumbledore this long after his death, but he supposes life is surprising that way.

Harry breaks up his surprised, revelatory stance with another yawn, and this time Draco makes sure his tone brooks no argument when he directs him to the bathroom with the pajamas. To keep busy and shove down the punching urge, he resizes another set of clothes from the wardrobe for the morning, startling himself when he leans too far in and his hand disappears through the back wall.

“Oh, right, I should warn you,” Draco says when Harry returns, changed and padding gingerly towards the bed. “The wardrobe is a portal to the treehouse, so be careful if you go too far into it.”

“You have a treehouse?” Harry asks with a gasp, and Draco smiles at him, striding over and pulling the quilt back for Harry to settle in.

“You have a treehouse. I’ll show you tomorrow, if you’d like.”

He waits as Harry clambers onto the bed and settles against the mound of pillows, smoothing the quilt over him and then making sure the dragon is tucked in, too. “Any ideas on a name?” Draco asks softly, tweaking the dragon’s snout. “Do you want to sleep on it?”

“Can I name him after a—a con—a constellation? Like you?” Harry asks, frowning in concentration.

“Yes, of course you can. Which do you fancy?” Draco sits on the bed near Harry’s feet and leans back on his hands, gazing up at the ceiling as it cycles over them. “There’s Cygnus, the swan I was telling you about—he was my grandfather, you know, and right by Draco, so that’s convenient. There’s Pegasus, too, a type of flying horse, and Cepheus, he was a king in Ancient Greece—well, he chained his daughter up to a rock, so maybe not the best role model, but a cool name nonetheless. Just stop me if anything grabs you, really.”

“What’s that one?” Harry asks, squinting up and pointing; Draco makes a mental note to solve the glasses issue as soon as possible. He looks where Harry’s pointing, southwest of the quadrant he’d been explaining, and spots the most recognizable constellation there is.

“Ah, that’s Orion. The hunter. He was a Giant, you know, and he got pretty boastful, so Gaia—super powerful Earth mum, you did not want to get on her bad side—sent a great big scorpion after him. They fought, so you’ll never see Orion and Scorpius—that constellation all the way over there—in the sky at the same time. But Ophiuchus—he was a Healer, that one over there, see how he’s sort of between Orion and Scorpius? He gave Orion some medicine and saved him from Scorpius.”

Harry’s eyes are drooping closed, but he still murmurs, “Really? Is that all true?”

“Well, sort of. They’re stories, myths; all the stars have stories. There are different versions and they change depending on who you talk to, but I have my favorite versions because they’re the ones my mum told me.”

Draco checks in to see that Harry’s eyes are almost completely closed, and keeps talking hoping they’ll close further; how many times had his mother talked him to sleep?

“If you’re in the sky, it means you’re pretty important, right? So that means lots of stories. I’ll tell you all of them, if you’d like. I think you’ll enjoy this room, and you’ll be happy here. I hope so.”

That’s all verging on a ramble, but he thinks it doesn’t matter because Harry is asleep. So Draco gets up gently, patting Harry’s foot over the quilt, shoots the still unnamed dragon a grin, and starts to leave the room.

He stops only when he hears Harry mumble, “Orion. That’s his name,” and curl around the dragon, breathing going smooth and even, arms clutching it tight against his small frame.

Draco smiles at them both. “Goodnight, Harry and Orion.”

tagging @teledild0nix @phoebe-delia and @thehoneybeet, fully randomly chosen so absolutely no pressure!!

[ananke-xiii]

Rowena and the thick, bloody umbilical cord between choices and faults.

In a previous post of mine I’ve explored a little bit how Mary and Kelly represent a sort of “missed opportunity” for, respectively, Sam and Jack.

At the beginning of s13 Sam resents the fact that he hasn’t been proactive in seeking to create a relationship with his mother and now that she’s (presumably) gone he doesn’t want to deal with that reality. He had wasted his second chance. Jack, on the other hand, never even had a first opportunity to begin with but, unlike Sam, has experienced a sense of unity with his mother so extreme that one of the first things that he tells Sam is that he was his mother(!!!).

S13 reinforces the Mother-Son symbolism because, after Jack’s birth, a rift is opened in space (apparently not in time?): Kelly stays (dead, rip girl I love you) on one side of it while Mary crosses it and finds herself in Apocalypse World. To make things even more clear, this is no random parallel universe: this is the alternate reality where Mary didn’t deal with Azazel. So mothers and their choices/faults are a central theme in this season. Or, well, more or less.

To complete the mothers’ trimurti or, better, tridevi we’re missing the final mother, the destroyer who is, of course, Rowena. It’s therefore quite apt that Rowena reaches her highest potential this season and even confronts Death. What motivates her in an interesting blend of (missing)love and (lacking)power. Lucifer is as part of her story as Kelly’s and Mary’s. Unlike these two, though, she doesn’t have a son who resurrects her, nor a turned-benefactor cosmic being who offers her resurrection as a gift to her son. Rowena has to resurrect herself. Not once but twice. She is, perhaps, the loneliest character in the whole series.

This is actually quite ironic because, if we look back on previous seasons, her “choice” to kill Oskar, her putative son, was what triggered the whole chain of events (the freeing of Amara first and Lucifer second) that directly link Rowena with Mary and Kelly.

It’s only natural, then, that s13 Rowena keeps representing the reversal of the Mary and Sam/ Kelly and Jack relationships because there is no son who’s looking for her, rather she is the mother who’s looking for her (dead) child. Like Sam, she also needs someone who can access another dimension to bring Crowley back but, unlike him, she’s not successful. Now, ngl, this pisses me off to no end, like of course I can understand the real reasons why Crowley couldn’t be brought back, still I kinda hate how it was narratively framed.

When, in "Funeralia", Rowena says that life is unfair she is right but not in the general, pessimistic sense of the phrase: she's right because in-universe some deaths are more important than others and people get back on board depending on whether or not they're still a role to play for them. Rowena's faith in magic is actually justified because magic is the only thing that can help her. And the tragic thing is that it's also what damns her in the process because it's the only form of power she can have access to. There are no angels or cosmic entities looking out for her. She's just... alone.

So, perhaps, it's not that I necessarily hate how her failure to bring Crowley back is described, I just see it as further proof that Rowena is the best example to show how in Supernatural the game is rigged from the beginning and we didn’t even need an interfering and pervy God to realize it. That's all we've been seeing it since S1. All those infinite, booooring talks about being good/evil or doing good/bad actually mean nothing because, at the end of the day, in this show what really matters is how useful you can be, to whom and why (and this is way less booooring, you learn a lot of interesting things about these characters if you go down this road, it's grim but it's more rewarding).

S13 is also when the final connection between Rowena and the Winchesters, Sam to be more precise, is established which is indicative of the fact that she will inevitably die. Before S13 her story was her own, after “Funeralia” it cannot be extricated from Sam’s. To some degree, it’s quite similar to what happened with Crowley and Dean. What’s more, just like Crowley’s powers and shrewdness are what really carry the plot from s6 to s12, magic and spells (and therefore Rowena’s role in the story) will be the key for many plot points from s13 to s15. But there is a big difference.

Both Crowley and Rowena’s sacrifices are described as heroic but, let’s be honest, only Rowena’s was. Crowley’s demise was a clean-up after his own mess at best. It also proved to be unnecessary. Rowena and that awful MBOL’s egg thingy would have managed to confine Lucifer, like, they actually did it. It was Crowley who perverted the spell for reasons that I personally find OOC. I would’ve liked the Crowley vs Lucifer power struggle but not the way it was done in s12 because it felt very nonsensical to me. As in: I can see you need a reason to keep Lucifer around and this is what you’ve come up with but it’s still quite illogical.

At its hidden and secret core S13 is the season of the “let’s reframe the sons’ stories and blame it on the mothers”. Just like Kelly is blamed for Castiel’s ideal vision of Jack and Mary’s "choice" is established as the most important point in the whole show, Rowena-as-Mother must face the same fate: it was her fault if Crowley, Fergus!, ended the way he ended. It’s a naaaaaaaaaaaaaah for me.

This is what we’re told in “Funeralia”:

Rowena: Oh, but it is. Death has something I want. Sam: What’s that? Rowena: My son. After you told me he was gone, how he died, I had an unexpected reaction. We had our differences, but it’s my fault he went down the path he did. I left him. Dean: We’re talking about Crowley-- demon, King of Hell? Rowena: We’re talking about Fergus-- a man abandoned and loveless, tricked by a demon, died in a gutter. He deserved better from the world. From me.

Now, just to be clear: yes, Rowena had the responsibility to do better; yes, she was the absolute worst; yes, she played no small role in her son’s story. However, I personally don’t like all these negative associations between “worlds” and “mothers” as if every fucking thing in the universe is dependent solely on them. How did we end up here? It’s almost as if absent fathers are, like, not THAT bad after all (and the show, as far as I'm concerned, ultimately approves of and absolves absent fathers). So I’m very suspicious of the way motherhood is portrayed specifically in s13 and Rowena’s attempt at redemption well demonstrates that there is reason to be so.

This dialogue in “Funeralia” confirms my gut feeling:

Sam: You know, what happened with Crowley? That wasn’t your fault. Rowena: He never had a chance. Dean: He made his choices, just like we all do. Look, every one of us has done something that we have to live with, that were trying to make up for. Every one of us. Sam: Even without all that extra juice, you’re still the deadliest witch around [Sam's flattering Rowena. He's gonna ask for her help in 3,2,1...]. Rowena: Flatterer. Sam: Yeah, well, we, um... we may need your help [Here we go!]. To save our family. To… hell, to save the world. Dean: You wanna be redeemed? This would be a pretty big step. Rowena: And do you think I still can be? Dean: Yeah, I do.

I mean, not to be rude, but who the fuck cares if Dean Winchester thinks that Rowena can be redeemed? Like, how is Rowena’s redemption (which is strictly connected to her being a bad mother and not, among other things, a zero-regret murderer, which she also happens to be, for instance) connected to saving the Winchester’s family? Don’t get me wrong, I understand that this is SPN and that Sam and Dean’s problems are Apocalypse-level problems (lol, they really did that, when I say that their story is like a cosmogony maybe I’m not that wrong) but, as I’ve said, I cannot help but notice the similarities between Rowena’s arc this season with Mary’s and Jack’s, i.e. you can be redeemed if you either do something useful for the Winchesters or... realize that it's not your "fault" that your sons suffered terribily because "choosing" to deal with Azazel was actually the right choice... for the world. How come fathers saving the world are framed as heroic while mothers actively creating worlds by making hard choices that benefit the greater good need redemption?

So to sum up: while fathers invade S13’s main storyline as solvers, restorers and fixers, mothers are the bones of the story, they carry its weight and its sins but get little if nothing in return: Kelly stays dead, Mary ends up helping out a world that absolves her of her Original Sin but that’s nevertheless a mess (you can never win lol) and Rowena can’t get her son back (but she can save Sam and Dean's family the world!). Looks good, right? Hurray mommy!

[perenlop]

transphobia aside, its also a huge pet peeve of mine when people are like “oh tee hee i havent actually engaged with the canon material at all aside from maybe a few clips on youtube, but ive decided the canon is stupid shit anyways and fanon is all that matters!” like not only does that just feel disrespectful and rude for no good reason, especially in the context of indie creators, but it personally annoys me as someone who always overthinks this shit and has several tabs open when im just making headcanons or whatever, let alone writing a fic. like you just dont care? what’s the point, then?

[glitter-stained]

Oh and btw fanon =/= fanfic

[hearts401]

thinking abt my universe's school system and deciding to draw them working on an essay

[ratatatastic]

sasha charades continue!! but first a little mix up on productions part of who has the "sasha celly" prompt which is lundy so luosty has to sit down again for lundy whos going 2nd

me! me me me me!! i have the prompt!! its me!! (during their stage intros at the beginning the mc slipped them a piece of paper with a prompt on it)

boys very excited to see how lundy will piss off sasha this time; on the menu? imitating how sasha barely cellies

a wrist shot and an arm up in barely kept enthusiasm as he glides to the bench in solemenity as a sasha goal and celly

and on the accuracy scale?

well the tapes surely speak for themselves here...

it seems sasha has a better connection with lundy (or maybe its really obvious and lundy has teased him exactly like this before XD; no fucking doubt about it that he has) because he basically gets it in an instant (unsurprising considering when they played a newly weds-esque game they ended up tying 8 a piece which is honestly really impressive considering how much luosty floundered with mikksy)

feat. the nosy finnish peanut gallery eagerly awaiting sashas response. SHIT STIRRERS. THE LOT OF YOU.

sasha who seems to take lundys teasing a lot better than mikksys can giggle about this one without too much trouble also because hes guessed it right for once he must feel relieved lmaooo

Sasha Cup Party | 7.31.24 (x)

[codgod]

i’m trying out properly 3d modelling in blockbench and by that i mean i watched half a tutorial on how to make a truck and now i’m making a whole person and it’s going better than i thought it would? i think?

[skitskatdacat63]

I drew all of my historical AU Sebs!!!!

In order they are(with relevant links to lore info if you are curious!!): Napoleonic Hussar Seb(x), Renaissance Muse Seb(x) and Boy King/Emperor Seb(x)

Let me know which you like best!!!

[bredforloyalty]

can somebody who has too much hope and joy transfuse some of it directly into me

[priafey]

things the US needs to address:

the collective psychosis that leads people to make posts like these