#won't ever be accurate

[televisionenjoyer]

I think the failure on many people's argument against AI art is that they forget when photography was invented they said manual art was over too. If anything, actually, we landscape photographers at the moment are more endanger by the rise of AI than manual artists.

[soothsayerditty]

★I don’t know the reason why Running through this endless sky I can’t see the journey’s end Yet I swear I’ll try again Wish the world could always be Like the light that’s shining here with me★

★BNA - NIGHT RUNNING★

[a-host-of-dancing-daffodils]

And because I recently read the Chocolate Box...Please enjoy one of the only things I feel like the show did right with this particular story...

Poirot looking super dapper in his Belgian police uniform:

The cut of this uniform is very flattering on him, I must say...especially with the way it accentuates his chest, his waist, and his ''''''''seat''''''''

And I love the design on the collar/sleeves. Very fancy/official

also. please look at his very silly official hat

Gotta say. Hugh Fraser may have been the eye candy of this show, but. David Suchet sure knows how to be pretty, too

[simpjaes]

the way ive seen some people say that jake wouldnt be sub like what and he would def call someone mommy idk he just gives me those vibes

it does go both ways tho! saying you think jake or whoever would do something is the same as thinking he wouldn't when all we are referring to is fiction. none of us actually know and the weird superiority complex ppl have with their opinions on what idols act like and what they believe in is crazy to meeeeeeeee. [even with me reading birth charts, i use that skill for funsies and to adapt some of my characters to their charts. i don't actually think or assume these idols follow those charts down to the number yknow?]

like yes! be delusional!!! but STAY WITHIN THE FICTION WORLD LMFAO FSDKJHKJ like don't go around shouting "HE WOULDN'T DO THAT!!" or "tf u mean? I KNOW HE WOULD DO THAT!!!" bc none of us know. what I do know, is he's gonna do what I write him doing in a world that's not real and strictly typed into a doc. ppl always try n make shit more than it is and it's like shut upppppppppppp

at the end of the day, it doesn't matter, bc jake told me himself he likes being on his knees.

[nemesis-is-my-middle-name]

i fully understand what's going on to make john act the way he does in the farm divorce, these are Very Extenuating Circumstances, i don't like, blame him for it or want to hold any of it against him, but also, maybe his worst moment (that shows up in the actual podcast and isn't just alluded to). he is so genuinely nauseatingly awful in that entire fight. honestly worse than i think he even ever got in season 1. his moral grounds are getting questioned so he retaliates with the most blatant and aggressive manipulation tactics possible, throwing arthur's s3 breakdown in his face so he can cling to the high ground while simultaneously continuing to try to lie about basic facts of what's happening and i'm just. jesus Fucking christ, john. you Cannot be doing this.

and then on the other side of the equation arthur spends the whole fight accurately deconstructing where john's coming from emotionally and then tries to absolve him of all responsibility for his actions bc of it?? going "actually if you think about it all of this is really my fault for not being nebulously better at keeping you on rails." and also killing his friendship with oscar basically unprompted to placate him. honestly deeply concerning behavior the whole time this man needs so much fucking therapy it's not even funny.

[dirtytransmasc]

Are yyou team green or black? And why?

team green, though I'm not in support of every green character (namely Otto though my opinion of him is complicated. I also have opinions on Aegon and his characterization that makes it even more complicated)

[I have only read bits and pieces of the book, so my opinion is based almost solely on the show. keep this in mind]

I'm team green for 3 big reasons. they're more complex, thought not perfect by any means, more morally "right", and are simply more my vibe when it comes to characters. now this is very simplified and not at all nuanced, so stick with me for a minute.

Firstly, they're more complex. the greens have very deep, detailed, and nuanced lives and stories that lead to them being very complex characters that can't be put into a box. Alicent was a child bride who had lost her mother young became a mother young and suffered at the hands of power and men all her life. her children were affected by this and the world they were forced to grow up in throughout their lives. even individually her kids are drastically different; aegon the child who was forced into a life he did not want and suffered due to his father neglect and mother pain. Helaena who was never understood and grew up treated like an oddity. Aemond who was never seen to his full potential, always ignored or looked over, angry throughout his life. each of them has strengths and weaknesses, flaws and benefits, they're imperfect but never completely horrid. they're also never simplified (not entirely, even when the plot and writers seek to simplify them) to the point that they put on a moral pedestal or made straight evil (i'd even argue that the attempts of the writer to oversimplify them as evil and in the wrong makes them 10x more fascinating). I find TB characters tended to miss the mark on that, always put in the moral light, not even allowed a moment to reflect on their actions, lives, or positions in any nuanced or meaningful way, so they always just feel dull. they're also out on a moral highground that they can never be budged from, which makes them harder to like and honestly, really boring. they get away with everything instead of being emotionally and morally nuanced.

secondly, they're more morally "right". I will never say that any of the greens are perfect, they are far from it (with the exception of Helaena and her kids, who have done literally nothing to anyone, but I digress). what I will say, 9/10 times there is some level of reasoning that has some level of reasoning. Alicent always tries to do whats best for everyone, all throughout the series she tried to do best by the court, the king, her children, the realm, and Rhaenyra. did she always succeed? no, but she always tried and her mistakes were almost always honest. I will say she held resentment towards Rhaenya, but honestly, I can't blame her. Rhaenyra's lies and behavior hurt Alicent over and over again so for her to be angry is expected.when it came to succession, Alicent backed Rhaenyra until it was made clear she and Daemon would be a threat to her children's lives and even than she held mercy for Rhaenyra. Aegon's drinking can be blamed on the abuse and neglect he suffered at Viserys, Otto, and Alicent's (though the abuse and neglect from his mother is insanely different and nuanced. she perpetuated her pain onto him because she couldn't heal herself. so I hesitate to call it abuse, cause its so much more complicated than that) hands. though nothing will justify his rape of Dyana, I personally think it was a bad add in on the writers part, and leave it at that. Aemonds rage after years of being ignored doesn't entirely justify what he did to luke, but he had reason for his cruelty after years of Luke (and jace tbh) being cruel just because they could. TB characters tend to do terrible things in response to either A. nothing B. their own terrible things. Daemon kills who he wants when he feels like it, even for stating facts. Rhaneyra will lie and hurt those around her to protect her bastard children. both of them conspire to protect themselves and allow themselves to be wed, really just cause. while there are times they have their reasons, its a lot less of the time, and typically the backing to their actions, is they were trying to unbury themselves from within their own graves. (to preface, I don't care about rhaenyra sleeping around, it doesn't bother me, but its the fact that she will hurt everyone around her to protect her lies, allowing a child to be maimed and people to be murdered)

thirdly, they're my vibe. I like morally complex character, who are, to be frank, pathetic. I like characters with complex trauma's and issues, who aren't perfect people but its not entirely their fault. I would much rather watch a whole show about alicent, a child bride who tries so hard to be a good wife, queen, and mother while not prepared for any such role. Aegon who is a boy with severe mommy and daddy issues, a drinking problem, a flawed past, and constantly wet eyes. Helaena an ignored girl who has suffered for no better reason then her family. and Aemond, a boy who was tormented, bullied, maimed, and made stronger by it at the cost of his compassion and emotional stability - over a nepo baby who was coddled by her father, her murderous husband with a knack for unneeded violence, and her similarly coddled children (the show boiled them down to this, in my opinion). one is simply more up my alley than the other. I want character that need to be dissected, who have suffered, who hurt me to look at.

also, team black created almost all of their own problems. seeing as the main source of contention had to do with Rhaenyra's kids being bastards, which was Rhaenyra's problem, which she caused, and kept digging and digging that grave (faking Laenors death just so she could marry daemon, turning the blame on aemond when luke maimed him furthering the divide amongst the house, trying to wed Helaena to Jace putting her in danger, trying to take the driftmark throne and killing Vaemond for a claim her sons did not have, etc,) till viserys's death, earns her a lot less pity from me. at the end of the day, her being a woman was only a needle in a haystack worth of problems she caused herself that hurt her claim. if she had just strived to create to connection with ancient and her kids, and didn't make herself look like a threat to everyone who lessened her claim (which alicents kids would be the first people to be taken out) alicent would have backed like she had all season and there would have been no war, maybe conflict, but no war.

theres also the effect of the fans on my opinion. I have faced more cruelty, terrible media analysis, and outright ableism/misogny/(blood and sexual based) purist ideology/etc. from the TB fans then I have ever witness by TG fans. TB fans have ruined almost all of the TB characters for me in more ways than I can count, so I will say I am very biased.

thats why I'm team green. as a whole they are simply more appealing, their stories are more interesting, demand more attention to detail and emotional understanding, and from my point of view were the "right" side to be on in the war (the war was wrong on both sides, but my chips lie in the favour of the greens).

[pourable-cat]

@starscall 30 Days Infinity Nikki Styling Challenge Day 5 - Save slot #2

Since save slot #1 is named Mary after Mary Crawford, save slot #2 is named Fanny after Fanny Price, protagonist of Mansfield Park, foil of wicked, uncle-badmouthing, gold-fishing Mary.

The Endless Longing shawl goes very well with that one white sundress to produce a sort of movingly pretty but also kind of sickly effect, because Fanny can and will drop dead without her Daily Horse Rides. The neckline is a tad low, but nothing can't be solved with the Aurosa collar. (Bonus: it comes with a little necklace, just like the chain she hung her crush's cross on)

Fanny might strike one as having a stick up her arse, but she's one of my favourites among the Austen protagonists. It's something about slowly but surely growing a backbone in an increasingly disillusioning world while never losing hold of her compassion.

[recre8ed]

what chess piece are you?

→ white bishop.

You are a White Bishop. There is something you believe in, be it an oath, a phrase, a promise. It's what keeps the bishop on the diagonal path it takes on the board. You live by this creed and infect others with it. You are empathetic, able to feel others' pain like it's your own, and offer advice or help to them. But be careful, because every bleeding heart runs out of blood eventually. Every leader crumbles to the next generation.

tagged by: @dreadedwxlf tagging: @vastiitas , @mkoshi ( any muse! ), whoever else wants to.

[beecreeper]

Please ignore my dirty mirror and my cheap ass accessories and my first ever attempt at beard makeup done with makeup three years out of date. Just ignore all of this actually. This is for me.

[ssspringroll]

Saddens me greatly that even with my giant/tiny slider, i will never be able to make my favorite ocs height-accurate. The tallest one is 20ft (6m). That's like a 2 story building. Game just can't handle dudes that huge ;-;

[daisywords]

nothing like getting very minorly told off at work to make me feel physically ill for the rest of the day

[espopstar]

Armchair diagnosed npd by the mutuals

Makes one post. Is immediately diagnosed by tumblr.

[unproduciblesmackdown]

also to go "wow this is just like in pentiment" about absolutely anything and/or "wow this is just like iphigenia crash land falls on the neon shell that was once her heart (a rave fable)" about absolutely anything further:

the Narratives within crash land falls where like, in the end iphigenia being Given the story of both "this is going to happen anyways" and "so why don't you see it as a noble sacrifice to accept." the situation happening to Create a story that she was killed, so her father must be tragic, and sympathetic. that iphigenia does take on that Narrative of taking on the Noble Willing Sacrifice, and it kills her, but she also would have been killed anyways, as everyone also knows. that we even get a bit of pentimentesque [other characters observe & assess things] like, the fresa girls as a chorus, and one at the end like yeah She Was No Saint, i saw everything, but being cut off by The News that's like yeah looks like iphigenia was killed, that seguing into her father saying yeah she was killed, god's will was done, She's A Saint now. seguing to the emcee who introduced the play, but that superceded by achilles, and that superceded with iphigenia's extasis monologue as the end of the play. that whether iphigenia's a saint or not, she dies. that [the whole play] tells us as much, like, this isn't a What If kind of retelling where she escapes her fate, this is a retelling examining itself like, she Will die because the story's preset, so what to do with this as the story that has to take her there, what to do with this as iphigenia who has to go there

that iphigenia takes on another narrative in addition to the one offered by like, violeta as guide and oracle telling her she has to die (As A Noble Sacrifice), that again (as per iphigenia in aulis being like uh hey daughter. let's go to aulis so you can uh marry achilles (it is to be sacrificed)) achilles is this bait, but it's only in the ending that there's any Story about being with achilles, and when iphigenia goes to the mercenary soldier who she knows will kill her, she's the one telling him what to tell her about where she's going and why, i want you to tell me achilles is waiting for me....and she still dies, because This Is The Story. as also applied to the reality, iphigenia as another dead and missing girl following & preceding many; any disappeared deaths when consumed as disposable & replaceable, not given part of any narrative about it. while also iphigenia only gets a chorus of fresa girls from there being crosses put on the factory wall with their names, with one girl even remarking like hey they spelled my name right for once. but at the same time they're also like, both mere Apparitions but also like standins for people who are simply alive. real [shades]esque kind of, i suppose, but like they're not Sanctified for dying either, they'll comment on iphigenia but not with any like, divine knowledge, just as this out of place rich girl. whether iphigenia's A Saint or Not A Saint, she's still dead either way. she wants to be a fresa girl, they maybe want to be her, but everyone's doomed anyways thanks to way larger forces and the Stories that have been told and will be told again

but there's also the moment right before the final section wherein, before she's having to say what she wants within the bounds of [she has to die], there's achilles asking "you still want me" and iphigenia answering with "i want everything" and her vision for, like, getting to be alive actually, i'm on the gulf where the sea is gray, and no one wants a piece of me....the whole inciting event here where iphigenia wants to evade her fate however she can, exiting the bounds of her life, the physical bounds and the family unit and walking away from the rank of status / class / wealth, trying for [have her body for herself] and what the body wants, the sensuous indulgences of (a rave fable), let's hear some more about the roman state like "we don't like the examination and challenge and upending of class and convention in a bacchanalia, so only do the official versions we permit;" the Threat of people's desires for themselves, when that's going to be counter to those in power who'd want these people to be resources at their disposal; the burden on the disempowered to suffer [the only way out is through] with the Additional pain & loss that has to be taken on in pursuit of their autonomy, while also of course suffering for the autonomy they lack, that restricted and controlled and mitigated versions of what you might want are deigned to be provided or permitted so that you have Something, but that everyone's actual undeniable personhood will always be spilling past those bounds, the potential power of transgressive pleasure when one's wellbeing and autonomous choices are counter to the power structures that have to constantly try to suppress and preclude this. achilles just as bait, doomed to die like iphigenia is also still doomed, sex was never going to save everyone and the [recognizing connection as these two parallel people / We're The Same] with your lover here is not going to save everyone but it still makes more things possible for them both; iphigenia does know what she wants, and gets some of it because she wants it, same with achilles in turn, while it can't save anyone from their fates still. but it can mean something even if it doesn't transcend, like even a fleeting night of insignificant dancing that doesn't change anything can mean something, and we all die, but that doesn't mean it's Nothing to be killed any more than it's Nothing to have your desires or choices one way or another to be wrung out of your life before you are

anyways, the stories. the Looking and Presenting here. achilles and iphigenia first encountering each other as images put together and presented by someone else for their own purposes. the presence of what's seen through film/camera/recording versus in person; the potential power relations and even violence in framing, presenting, and the intended looking and assessing. repeated language about eyes/looks that burn, while also that connection between iphigenia and achilles, and their finding the least room in what they do have of their lives for more of their own wants and selves and something genuine and not predetermined, is also connected to eyes and looking and being seen and light and burning. while they're also connected to the protection and possibility of night and darkness, getting to exist and be Without being lit up or seen; that with the power that's still in play, it's never like, well then you should have nothing / no reason to hide; the penultimate moment in the play with achilles being one that's in person and fades into darkness, rather than coming in from the light of a projection / video onscreen as the introduction....iphigenia needing to be guided through a crossroads to even get to achilles in person; violeta giving the Advice and Story and Tradition to pray to eleggua, as iphigenia does before getting to encounter achilles for real, who also doesn't get to break out of a role or a fate in full in any way, but their tragedies are like, pointing towards [autonomy, imagine it] in both the ways they manage to find a little bit of it for themselves, in no small part for simply recognizing each other as in the same boat here, and in the ways they still don't have it and still can't get it

and anyways it's also inevitably saying like, telling a story?? this Play is a told story!! looking? assessing? interpreting? you're doing that in the course of experiencing it! and it's really so fucking true.

[21st-century-minutiae]

The above is a variation of an early early-twenty-first meme template where two different groups with the same name are summoned in the opposite situation causing confusion. In this case, it is 'the sea people.'

In around the twelfth century BCE, at least half a dozen advanced, interconnected, literate empires collapsed without much explanation. Because literacy and written records were vastly reduced in the centuries following, we do not have a strong sense of why this happened. By classical antiquity around the sixth century BCE, new civilizations had emerged and they, too, did not have much of an understanding of why their predecessors disappeared, but they had a vague and mythological knowledge of their existence. Writings from the 6th century BCE laid some of the blamed attack by "sea people," as in, raiders from the Mediterranean causing chaos. This became a foundational part of conspiracy theories regarding Atlantis. The three bronze-welding warriors from different civilizations in the top panel are said sea people, and they correspond with the bronze age pharaoh in the bottom panel. While early twenty-first century denizens might not recognize their garb in particular, they can generally get the idea (if they are aware of the Bronze Age collapse and its associated myths), and they are somewhat likely to recognize the garb of the pharaoh, which is particularly distinct.

In the 20th century, starting with the works of H.P. Lovecraft, many authors contributed to the vague canon of a cosmic horror series known as the Cthulhu Mythos. The sea and the mysteries of its depths were a common theme in this genre of horror, and there are multiple maddening entities and civilizations that were said to live deep beneath the waves or who have drowned when they collapsed. These, too, could be considered "sea people." The bottom panel depicts three different horrors of the aquatic variety from the mythos, and their corresponding summoner in the top panel is a cultist from the same. In the mythos, it is a common theme for people to go mad from revelations and, in their madness, seek to serve the cosmic entities and bring destruction to society by using the damning forces of the eldritch, so it is appropriate for them to attempt to summon monsters for some mad reason or other. People in the early twenty-first century would understand the monsters to be from the mythos and the cultist to be a cultist, if they had any familiarity with the genre.

[light-wrath-paradise]

Funniest fucking thing is that I feel obligated to use this song as Billy's and Ewen's relationship song because the occupations inn the song (lighthouse keeper and traveling preacher) are literally the occupations of the characters they're both inspired by lmao

[lxnarphase]

━ ❝ OH, IT'S MINIKUNA ! ❞

✮₊‧⁺...content: heian era!sukuna x wife!reader, fluff, mentions of childbirth, sukuna is an overly proud father, sukuna is whipped for his wife

✮₊‧⁺...lunar's note: based of this little blurbie and this one too !! needed some fluff with kuna bc he would love having a baby girl idc what anyone says !!! also i did my best describing the birthing process in a time accurate period but it's definitely a bit inaccurate because...i have never had a baby LOL

no one has ever seen sukuna ryomen, king of curses, wince before.

not until today, at the wrath of his pregnant wife who somehow got a hold of his fingers instead of his hand.

one of the nurses did warn him to not give you his finger and to ensure you always hold his hand. but by the gods, he swears you almost ripped his finger off.

it's cute to him, however, when you attempt to curse him out.

'gods, sukuna, i despise your entire being!'

'i know, my wife.'

'i should've never let you get me pregnant, you animal!'

'you begged for it, my wife.'

'i am never letting you bed me again, use your hand for the rest of your existence!'

'you can't keep your hands off me, my wife, no need to lie.'

but the sigh of relief, the way you instantly look down and coo once the sound of wailing filled the air...it makes him melt just a little bit.

he can't deny, seeing you in pain made him heated. it took everything in him not to kill every midwife, nurse, and lady-in-waiting in your birth room for not being able to make this process completely painless.

except chiyo. he would have to reward your personal physician for preparing you so well for this...

what did the old hag like again? wines, meats, gifts for her grandchildren back at home?

hm, yes, that would be great for her. of course, he'll say it was from you. the king of curses shows gratitude for no one.

he's pulled out of his thoughts at the hushed whispers once the other women exam the baby before following your unspoken request to hold your child.

"d-do you think lord sukuna will harm our lady for this...?"

"i hope not, surely he can make an exception, t-they both are still young and can always try for more!"

"but he's the king of curses, t-there no way he won't have a reaction!"

before he can demand what they find so important to discuss in front of you, chiyo hushes the girls with a wave of her hand, ushering the girls to help wipe off your sweat, tears, and clean off the baby—gentle like it's the finest glass, she instructs—before turning to sukuna with a knowing smile.

"well, your greatness...congratulations on having a healthy and gorgeous little girl," she hums, wiping her hands with a clean cloth before going to rinse her hands to help stitch any rips and clean you up.

the room falls silent aside from your soft little coos and the wails of your daughter as you brush the wet, fluffy hair on her little head.

all the women in the room continue to work, but it's clear they are silently waiting for his outburst.

everyone knows that a proper heir to any throne is a boy...but now, sukuna's first born child is a girl.

but rather angry, yelling, and threats to your and your child's life, the room is filled with Suku's booming laughter, which practically shakes the entire room.

instead of an enraged expression, pure delight, and excitement are painted on his face as he sits next to you on the soft cushiony bedding on the floor, his hand caressing the rounded cheek of your newborn.

"so, you've given me a girl," he hums in delight, all four of his eyes narrowing. "this will be the one who takes over my throne once i decide to step down?"

this thing, this tiny, itty bitty baby...came from you both? it's almost laughable how small this baby is compared to his hand, that something so little could be related to him.

she's...nothing short of perfect. "absolutely divine...she will not just be beautiful like her mother, but as powerful as both of us."

he's so proud of you and your child. he would shower your daughter with riches, love, and anything she could ever want and ask for.

but, he couldn't lie.

she's a damned fat baby, big head and all.

"sukuna, watch your mouth!"

he can't help but laugh, not realizing his thoughts came out of his mouth. "what, it's a good thing! means she's healthy," he boasts with a grin, leaning down closer to see her better.

"she looks strong already. as soon as she is able, i will personally teach her how to be a truly malevolent little princess, how to properly slit the necks of her enemies, how to—!”

oh, he is so excited, it's adorable.

“sukuna, shush, i just gave birth to a child with a massive head like yours, give me a moment," you say with a light laugh, your smile still reaching your clearly tired eyes.

“…apologies, my wife.”

chiyo can't help but laugh with you she finishes applying the healing ointment on your lower body, using a bit of her cursed energy to speed up the healing process to help you skip any serious pain.

after all, nothing but the best physician for you in sukuna's palace.

"always such an excitable boy, my lord, ever since you were a young man," she hums, helping one of the midwives properly wrap your baby in the soft, clean cloth.

"be gentle with her," you instruct him, gently moving your arms toward him so he could take the little bundle. he's...nervous, but he hides it well.

you place your daughter in his arms and he looks down at her, suddenly conscious of how loud he's breathing. she's got his hair, still a bit wet but soft and fluffy. it's pink, just like his.

a pleased rumble vibrates his chest, and he doesn't even realize he's doing it.

but then...her eyes open.

both sets.

he almost didn't notice it at first, they're just so small, but they're there. the same color as yours, pretty and big, filled with so much life.

his eyes burn, vision getting blurry. no words come to his head, he can't think of anything to say. he's so caught up in his thought he doesn't even notice chiyo ushering the other girls in the room out and shutting the door before quietly tending to you with water or food.

she knows that look, you do as well. she's been around longer than uraume to know her master, knowing the king of curses since his young years as the unwanted child of the village, abandoned by his mother for his 'horrid' appearance.

she was lucky to have found him before the villagers got to him, torches, axes, pitchforks and daggers in hand to take care of the child who they believed to have brought misfortune to their home.

getting him to safety was one of the best decisions she'd ever made, king of curses or not. no child deserved to be abandoned like that. and now, he's seeing himself in that tiny little being in his arms right now...chiyo can only imagine what he's feeling.

so, out of respect, she keeps her gaze averted, pretending she does not see the misty gaze he gives your daughter. this is a moment for you and him, and she does her best to make all her movements as quiet as possible.

all sukuna can think about in this moment is how he used to be just as tiny as this. he was just as vulnerable in his mothers arms. he couldn't talk, couldn't speak, couldn't fend for himself.

yet, his parents looked down at him just like this and decided he was an abomination and didn't give him a chance.

but now?

sukuna knows he would never, ever let anything happen to this little bundle in his arms. he would rather destroy the entire planet before letting anything happen to his baby girl. no one would make his little one suffer and live to see another day.

he flinches just a little, feeling your soft hand rubbing his bicep. "it's okay, my love," you softly coo at him, reaching up to wipe a tear from his eye before it had a chance to drip down his cheek. "she's going to grow up feeling loved and cherished because she's got a great father."

"hmm..."

a smile crosses his features as he looks back down, looking at the squirming baby so makes a little noise before calming down when he strokes her little, chubby cheek again to keep her from crying again.

"and she's got a great mother. she'll be the most wonderful princess in all of history," he says with a toothy grin, chest rumbling with a laugh.

"aww, my love, that's so sweet..."

"seriously, though, how in hells did you squeeze this thing out of ya? thing's got the head of a watermelon."

"sukuna, give me back my baby, and chiyo? get this man some food to stuff in his mouth before he says something to warrent the rage of a new mother."

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