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#through thin walls
noxsoulmate · 6 months
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9 & 11 for Through Thin Walls please. It was such a wonderful story 💜
Awww 🥰 thank you!!
The fic
9: Were there any alternate versions of this fic?
Only in my head 😅 it took so long to finish this whole fic because my original plan was to write it as one long fic but I kept getting stuck on little details, like the title of the book Carlos is reading and so on. I wrote a few words, then deleted them, over and over, until I put the fic aside for a few weeks. Then at one point, I remembered that I do love x+1 fics and thought "What the heck" and simply wrote the three scenes I wanted to show (them talking through the wall), not bothering to connect them. The two scenes from TK's POV were an afterthought...
For the second chapter, I only got stuck during their "almost kiss" on the couch because TK and Carlos kept urging me to let them kiss (obviously) and I wasn't sure if I wanted to give in and then have them have to stop when the little girl and her grandma show up, or if I wanted to drag out the anticipation. So that was also a moment where another version could've happened...
11: What do you like best about this fic?
Ahh, tough question 😅 if we simply go from a reader's pov, I would say the moment when TK gets down from the tree and looks right at Carlos and realizes who he is. I just love that moment in my head.
But I also love the whole atmosphere of them talking through the wall that @a-kinkajou captured so brilliantly in the art. This little bubble they're creating for themselves...
And honestly, I like the smut I wrote in this one 😂
Pick a fic of mine and send me questions if you like
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morganbritton132 · 6 months
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I want a fic where Steve gets kicked out or he moves out of his parents house, or something. Eddie insists that Steve comes and lives with him but fails to mention that he lives with his uncle. For some reason, they both decide to just not tell Wayne.
So Eddie is hiding a boy in his room and he thinks they’re killing it. Steve thinks they’re killing it too. Wayne knows the entire time.
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bumblingbabooshka · 7 months
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My name is [BRUTUS] and my name means [HEAVY] so with a [HEAVY] heart I'll guide this dagger Into the heart of my enemy
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Something about having absolutely no choice in who you marry. About being literally forced by the law to spill blood - to accept this stranger as your husband over a man you truly care for or accept the fact that the man you love might die because you put him in danger. Something about risking becoming the wife of a man you've never even seen before a few minutes prior because you know anything would be better than putting your beloved in harm's way. Something about the trust inherent in that decision and in the way she speaks of it after. Truthfully, T'Pring doesn't know the captain and she doesn't know Spock. Either one of them could have taken her as their wife but she does know Stonn. She knows that Stonn will remain by her side no matter what. They made a plan together. They have an agreement which T'Pring believes will be upheld even though the plan changed with the arrival of Kirk. Stonn will always be there, always, and Stonn will be hers. Something about the language used around T'Pring: Ownership, subservience, non-personhood. T'Pring is an object that Spock can win. She cannot reject him, she has no say in the matter other than having Stonn 'claim' her instead. Even when Spock leaves after being very clearly rejected by T'Pring he says "Stonn, she is yours." as if despite her clear rejection he still owns her and is must formally 'give' her to Stonn. But the language T'Pring uses around Stonn is a break from that: "There was Stonn who wanted very much to be my consort, and I wanted him." Stonn who wanted very much to be HER consort and she WANTED him. The language here is very particular - It's not, for example: "Stonn wanted me to be his wife" - he is HERS. And she WANTS him. There's a mutual affection there and a strong trust - a trust which seems to be well founded since Stonn (though silent) stands by her side at the end of the episode. <- That might seem small but if Spock would reject her for 'daring to challenge' (again, the language is not 'because I don't want you' but more of an implied disgust at her having the AUDACITY to reject him) then it's not a stretch to assume that it'd be considered an insult in the TOS Vulcan society to NOT choose Stonn as her champion after a prior agreement. Anyway T'Pring was a woman in an impossible situation within a society which saw her as more of an object than a person and she wanted Stonn and Stonn wanted to be hers and she trusted that he would understand if she had to publicly pick someone else to ensure his life would be spared and he did understand.
#amok time#T'Pring i s....T'Pring she....-puts my head through a wall-#PLEASE read under the cut for my rambling about T'Pring in amok time pleasepleaseplease#tired of 'T'Pring is evil/a bitch' and VERY uninterested in 'T'Pring is a girlboss'#T'Pring is a person in a society which doesn't think she has the right to make her own choices who's in [love] with a man who [loves] her#back in what I'd like to think is implied to be a slightly subversive way in its mutual and fervent nature (whether the writers thought#this was a good or bad thing - who knows. We know better RIGHT??)#and yes I will stylize T'Pring's hair differently every single time I draw it HEHEHE#star trek tos#Spock#T'Pring#also of COURSE something something spock/kirk & stonn/t'pring parallels: To keep your beloved safe you have to force someone else to kill#theirs - not BC you hate him (you don't) but you don't love him either and why does HE get to have you even if you don't want him?? Why doe#he get to 'give' you to the person YOU chose?? It's not a hatred on a person level (which I wanted to portray with the 'brothers') portion#but a sort of societal embodying.#I will think about T'Pring not wanting to be 'the consort of a legend' every damn day !!!#They really could have laid it on thick in making her evil guys...T'Pau even makes a comment about Spock's 'vulcan blood is thin'#but all T'Pring says is that Spock is a legend and she doesn't want that for her life. She wants Stonn.#And you're gonna sit there and you're gonna tell her that she's wrong!??? Spock doesn't even want to be with her!! Why is she so hated!?#CAN WE FREE MY GIRL??? She did all that but it's being read in the worst faith possible!!#comix#bea art tag#star trek art#She literally says the word 'FREE'...she's TRAPPED!!!
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truly truly Neil Charlie Todd triumvirate is king please share any thoughts you have on them
OH BOY ANON YOU HAVE OPENED A CAN OF WORMS.
I. OPENING THESIS?
Basically, here’s my abstract for this whole thing:
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(Les Misérables, trans. Isabel F. Hapgood)
And having put this down, I’ll ask you to overlook it, lol. Or treat it as a very loose guide! (If you haven’t any idea what the context of this refers to, here’s a quick rundown: a chief is a leader and someone who people rally behind. A guide is an enthusiast about all things and an advocate for progress, someone who checks the rampant idealism of the chief. The centre is warm, loyal, and acts almost as a mini-Sun for the chief and guide to orbit around, to stop them shooting off on their own wild trajectories.) In the interest of complete transparency, reading Les Mis at a young age had this irreparable effect on me where I now have to think of every triumvirate as a chief/guide/centre dynamic, but I don’t think this model applies 1:1 towards Neil/Charlie/Todd. Instead, I think of them a little as composites, interplaying with each other – Charlie as a guide who would much rather be a chief, Neil as a chief who works better as a guide, and Todd as a centre who’s never given the grace to grow into that role. Let’s go!
II. CHARLIE AS THE CHIEF-GUIDE
Charlie is like if rowdiness was a Guy. He’s big, he’s brash, he’s the instigator and he’s the captain and he’s the shameless one and he’s a side character! I have always found this very interesting whenever I watch DPS; despite Charlie’s main character-ness he is secondary, and doesn’t even get his own sideplot in the same way that Knox (for example) does. He’s a born leader who by virtue of the trappings of his story is relegated to supporting others, although you can so, so clearly see him fighting for space in the story. He gets pushed into being a guide almost by default; only the trait of enthusiasm really applies here. If Neil wasn’t there he’d be the leader of their group, no question. And the thing about Charlie is that he gets things done. He’s the one pushing the most for the re-creation of the Dead Poets Society after Neil, he’s caustic about things that are in his way (“Well, why don’t you stay home?”), people follow him! See Knox running after him, asking to be taught:
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Charlie is the man of action – the telephone stunt is the biggest incident of that. And the way the boys gather around him afterwards as he regales them is chief-like; here he is acting as the chief, because this is around the same time that Neil’s chief role starts to slip away from him. But more of that later. 
The big thing is that Charlie never gets to really assume that role of chief, because Neil is always there. I talked earlier about how he pushes for the re-creation of the Society; well, Neil is the one who finds Keating’s old annual and reads it aloud to them. Charlie is the one cutting down the guys’ concerns about sneaking out after school: Neil is the one who suggests it – more than suggests it! Almost commands it, in a way that leaves little room for debate:
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(Note that in this section, it’s Charlie who does the arguing for Neil, who doesn’t speak except to lay down the law and then ask who’s coming. Real king and knight energy.) 
Charlie never quite manages to edge into centre stage. You can sort of see how there might be resentment there – perhaps there would have been if they had gone on uninterrupted. But then of course Neil dies, and Charlie assumes the chief role by default, but it’s no longer glorious or something he can covet. But he does it anyway; he wakes up Todd, he breaks the news to him, very, very gently, he wipes Todd’s mouth with snow when he vomits and tells the others to leave him alone. But by this point, Charlie going into the chief role he’s so good at isn’t enough to stop the splintering of their group or his own expulsion.  
III. NEIL AS THE GUIDE-CHIEF
Part of Neil’s tragedy is that he would be good at the things his father wants him to do! He’s a wonderful all-rounder, he's the perfect all-American specimen, there’s no doubt in my mind he would have been a great doctor – except he wouldn’t, because the enthusiasm and the motivation would have been lacking entirely. (As someone who just did a shit ton of medical school interviews, yeah, they would have sniffed this guy out really fast. Or maybe they wouldn't… not sure how stringent they were in the ‘50s.) He would have been technically great. But being able to do something doesn’t mean you should; these are the things that Mr. Perry conflates and which Neil is never able to verbalise to him, except in a way in which he thinks he’ll understand:
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In this scene, when he talks to him post-performance it’s not “I enjoyed it”, but a very simple, “I was really good”. And despite this concession of terms he says it when his father can't hear, because he knows he would never relent, oh God.
Actually, a lot of what I wanted to say about Neil has already been said in Charlie’s section. (The summary is basically that you must imagine me offstage with a megaphone as the movie plays, yelling, “YOU TWO NEED TO SWITCH PLACES, FUCKOS”.) Neil is a good leader, but that doesn’t mean he likes being one, or that he should be one! He has a few characteristics of a guide – he’s enthusiastic about everything, he has this boundless kind of delight in the things he loves (not idealism; that’s slightly different). But this is honestly where the model falls apart. I don’t think that Neil would make a great guide either, logic not being his forte; the irony is that the role of the triumvirate he most fits IS the chief, it’s just that that’s what kills him. The responsibility that comes with being someone who “speaks and people listen” isn’t good for him – this dichotomy of having “control” over the friendship group/no control over his personal life is terrible. He does get to lose the chief role, but it’s not in a way that is good for him; instead this manifests in a loss of control that happens very very quickly, which just makes him reach for ways in which he can control his own life. And besides, stepping outside of a leadership role with a great deal of responsibility and losing control over the course of your own life are two very different things. I just think that he should get to go offstage for a little bit and rest, with zero expectations on him ever. (Also there’s something here about how he gets to play Puck – a side character who has major effects on the story but doesn’t have to actually put his skin in the game. This is what I think Neil should get to do In Real Life.)  
IV. TODD AS THE PROTO-CENTRE 
One thing about Todd is that in my mind, I always imagine him as much redder than he actually is in the movie. I don’t mean I imagine him to blush more often – I mean ruddier, more flushed. Going back to the Les Mis quote – in my mind he does “possess all the qualities of a centre, roundness and radiance”! Todd is a catalyst like Keating in a way that Keating isn’t; this is never explicit at all but he has always felt to me like someone who inspires others by their presence. He’s such a wonderful, calming, grounding influence. Even when he talks to Neil and they have that non-argument he tempers Neil and reminds him what’s at stake without looking down on him. And when he realises how serious he is, he goes with it and supports him to the best of his ability – he says “Oh, Neil, Neil, you’re crazy” but it’s fond, he’s overjoyed for him. And you can see similar behaviour perhaps to a lesser extent with Charlie in the way particularly he calls him Nuwanda after his request, which is taken as ridiculous by other characters: 
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And even after Neil’s death he does so, refusing to go back to normal:
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But the reason I’ve put “proto-” for a prefix is because these are all singular occasions. The thing is that I think Todd could be that brilliant, grounding, assured man, a lighthouse of a man, almost. But he isn’t – he clearly isn’t – at the beginning of the movie he is shy and diffident and the non-argument I mentioned early does go a little sour, because while he speaks from a place of concern and love, his anxiety manifests in the conversation and makes him a little less tactful than he might have been otherwise. If things had gone on better than they went, and if Todd had been allowed to grow and develop more and without worry, he really, really would have blossomed into this kind of centre, this very steady man who would have reminded Neil of the consequences of his actions and made Charlie care about the consequences of his. But he doesn’t get to do that – by the time he grows and becomes more confident it’s too late, the worst has already happened. 
V. SUMMARY
I’m so sorry, anon, this is a prodigious answer to what was a very simple ask, but you hit on the subject I have Very Strong Feelings About. Not to toot my own fanfic horn, but there’s an excerpt from the fair folk AU which I think sums this up pretty well:
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TL;DR: Charlie gets pushed into a secondary position which doesn’t suit him; Neil gets pushed into a leadership position which suits him, but he hates; Todd is willing to step into that secondary position as a behind-the-scenes supporter, but never actually gets that opportunity. Hence the tragedy. Hence the taking of lives. Hence how many fucking tears I have shed over this movie, Jesus. 
(I had a lot of fun writing this – thank you for giving me a reason to!)
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candydos · 1 year
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“Your name is Martin Higgins. You live just outside Appleton, Wisconsin. You had a hard time for a long time, but you did something brave. You took a chance on a new life because you realised that you deserved one. I searched a thousand lifetimes for the one that would make you happiest. And you’ll find it one day. Just without me. (...) You’re free now. I’m sorry that I couldn’t be free with you. I’ll miss you, Ron, and I know if it were possible, you’d miss me too.
(...) Alright, Reagan, you’ve made your choice, because humanity needs someone to make the hard choices. And as long as the person you love is happy, maybe you can be happy later. Until then, you have a job to do.”
— Inside Job, Part 2
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vyeoh · 3 months
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I am going to kill Mr. league of legends
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horny-plushy · 4 months
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no way my neighbors left a whole ass, cryptic, RELIGIOUS note by my door because i had hot gay e-sex and they heard it and didn't like that
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onedirecton · 2 months
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Been having the most rotten sleep for the past few days
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hella1975 · 1 year
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me and my friend have both gotten with the same guy at least once over the course of coming to uni which is all very funny between us two until she breaks the sacred code and i wake up to him IN MY FUCKING FLAT
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daysofnights · 5 months
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borderline agoraphobic regulus who lives with sirius and sirius’ friendly neighbor james and how they fall in love through glances and snippets and music and arguments and noises through thin walls
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w1lmutt · 7 months
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Head full brain overworked I'm thinking about the flesh in ln2 again
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gay-otlc · 11 months
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Paralytic states fucks me up so much
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spiftynifty · 2 months
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I'm back after a lovely 3 week trip away and I'm here to say
I still hate my fcking downstairs neighbors
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lemonsrlit · 3 months
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why the FUCK do my parents have to watch loud ass action movies when my room is right next to them
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valentinesvampire · 5 months
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When am I allowed to kill my neighbor for being too loud like is there a time threshold here or
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livingforthewhump · 2 years
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Not sure what exactly you would like so I'll keep it vague.
Small Caretaker helping big whumpee with wounds. Can be angsty or comforting.
mm very nice. i’m just gonna lay out some ideas here:
Whumpee’s injury is on their head, so they have to bend down a LOT for Caretaker to be able to look at it
Caretaker isn’t strong enough to move Whumpee on their own, so when they collapse, Caretaker is forced to treat them right then and there in the middle of a high-intensity situation
Whumpee is so used to being the “bodyguard” type that they don’t think it’s worth mentioning they got hurt. They just have to make sure Caretaker is safe. Of course Caretaker finds out, though
Caretaker knows Whumpee is hiding something, but they have to wait for Whumpee to fall asleep to be able to lift their shirt up and check their torso
Caretaker pinning Whumpee down and Whumpee letting them, even though they both know they could easily overpower them
Whumpee is used to being the fast one who drags Caretaker along, so they’re absolutely terrified when their wound slows them down so much that Caretaker is having to lead them
Whumpee leaning on Caretaker’s shoulders like a walking stick
Whumpee having to pick Caretaker up for whatever reason, straining themself too far
Whumpee collapsing on top of Caretaker, knocking them down and pinning them under their now fully limp weight
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