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#very dumb lmao
bullagit · 7 months
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due to personal reasons i am now firmly on team “i hope aziraphale does change heaven for the better actually (going on the assumption that his return is as straightforward as it seemed etc” 
like if the alternative is just this ohhh he’s so NAIVE and SOFT and so WRONG and he’ll have to LEARN A TOUGH LESSON etc etc nonsense then yeah 1000% go for it babe knock it out of the park
i hope choosing hope and kindness pays dividends. i hope the soft traits that made other characters continually disparage and underestimate him and his intelligence turn out to be his greatest assets bc i kinda don’t give a shit about a “toughen up it’s the only way everyone else knows better” life lesson for this character
(which like honestly a lot of the rhetoric is dismissive of the fact that persistent goodness in the face of an existence of disparagement takes great strength and that at the end of the day aziraphale has always been able to stand up in his own way)
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divorceconnoisseur · 1 year
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There's a beat of silence where they just stare at each other. Eddie's face wavers for a second before he snorts, running his hand down his face. "What are we even doing here, man?"
Steve falters, the inanity of the situation hitting him. "I, uh, I think we're about to actually fistfight over-- over who a bunch of 14-year-olds think is cooler."
Eddie considers that briefly, tapping his fingers against his mouth before nodding. "Yeah, okay, I've heard of worst causes. Dukes up, Harrington, let's go!" Eddie pushes up his sleeves and waves his fists in the air cartoonishly as he starts to circle Steve.
Steve laughs, following Eddie as he goes like a compass drawn north. "Oh yeah, man? To the death, right?"
"Of course. Is there any other kind of fight?" Eddie says, overly serious, and abruptly tackles Steve.
They wrestle for a moment, and it's playful and stupid, but it still takes Steve an embarrassingly short amount of time to get Eddie in a headlock.
"This is just sad, man," Steve teases as Eddie struggles. "Those guns just for show, then?"
"Oh shit oh shit not the hair please, please have mercy O King Steve," Eddie laughs breathlessly.
Steve considers it-- Eddie seems to take as much care in his hair as Steve does, and real respects real-- and in that moment of hesitation, Eddie hooks his leg around Steve's and pulls.
Steve yelps as Eddie cackles, dragging them both down into the grass.
He hits the ground with a choked gasp, breath knocked out of him, and he squints up at the sky, unsuccessfully trying to hold back a grin.
He turns his head to say something to Eddie but loses his breath a second time for a very different reason.
Eddie's still giggling to himself in little fits, winding down, and there's a lightness to him at this moment that Steve's never seen, only heard described by the kids pre-Vecna. Laughter suits Eddie Munson, much better than terror or guilt or seriousness, and Steve's suddenly aware that he would do anything in this moment to keep that surprised look of happiness on his face a second longer.
Eddie catches his eyes and turns his head toward him. He's got grass stuck in his hair, and Steve doesn't think before he reaches over.
It's soft. Softer than he was expecting. He's careful not to catch any of Eddie's hair as he pulls out the grass and ends up lingering longer than he means to, setting a curl back to rights before realizing that this is, like, maybe a little weird.
He jerks back, and the back of his hand brushes Eddie's cheek, which is-- which is--
Warm. Soft, too, but with the rough start to stubble, and the feeling of it lingers against his hand like a brand.
Eddie's eyes, dark and impossibly wide, watch him, quiet for once. He wets his lips before speaking, and Steve's eyes catch on that, too, before darting back up to Eddie's. Which, god, what even was that? Why-- why is he--?
"A draw, then," Eddie says, turning over onto his stomach and kicking up his feet, and the weird atmosphere vanishes like it never was. "You are a worthier opponent than I realized, Steve Harrington."
"Oh yeah?" Steve says, relieved and disappointed. "Well, you're not so bad yourself."
Eddie clicks his tongue and fans himself. "You're too kind."
Steve looks away, tracking the clouds passing overhead. "No, really. I know I haven't exactly been, y'know, the world's best welcoming committee-"
"Was pretty convinced you hated my guts, yup." Eddie agrees, nodding.
"I don't. I never did. You're just--" Steve wracks his brain, trying to fit a word to the squirming feeling in his chest that Eddie inspires. "You're really good, y'know?"
"I... don't know, actually." Eddie's voice goes flat, and when Steve turns back to look at him, he's looking at Steve like he's a live snake, or something else dangerous and close to his vulnerable bits.
"You're good with the kids. Good for the kids, too. God, Will's really opened up since he joined your dumb nerdfest. You're good with and to the girls, too, and Jonathan, and Argyle, and probably anyone else that crosses your path. You are, patently, a good dude."
Eddie's mouth opens and closes, but Steve barrels on, feeling electric and more than a little crazy. "And, and it's just-- I don't know, I just--"
"Harrington, if you're about to tell me you think I'm a better man than you, I will lose it," Eddie interrupts regardless, voice high and reedy. "I know you're being, like, genuine and honest right now, but I will laugh in your goddamn face-"
"No, it's not that."
"Okay, I know this directly contradicts what I just said, but the speed with which you said that... Ouch."
"No," Steve shakes his head, frustrated. "I didn't mean it like that. It's-- it's not a competition."
Eddie's eyebrows leap up. "It's not? I invite you to remember what we've spent the last few weeks on."
"That was just an excuse," He snaps his mouth closed the second the words leave his mouth.
"Excuse?" Eddie repeats slowly.
"I just. I don't know, man. Maybe," he swallows. "Maybe I just couldn't handle the thought of you being good to me."
"... Why not?" Eddie asks, eyes focused on him, open, not judging, and god, this is exactly what Steve was worried about.
Eddie looks at him, and Steve--
Kisses him. Can't really do anything else but kiss him.
And when Eddie, after the longest moment of Steve's life, starts kissing him back? It's like the answer to a question he hadn't realized he'd been asking.
Turns out it's not the kids' attention he'd wanted-- or not just the kids' attention, anyway.
When Eddie pulls back, lips red and wet, eyes dark and focused just on him, Steve knows he's finally won it.
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marley-manson · 2 months
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the topic is Trapper and the army as foils, you have three hours, go
In no small part the satire of Mash, particularly in the first half of the show, is tied up with gender performance.
The army represents traditional, stifling and violent masculinity. This is shown through everything from freudian jokes about guns (eg Frank and Margaret's flirtations in The Sniper or The Gun), to Margaret trying to cajole Hawkeye into performing a more traditional standard of masculinity while treating him like a soldier in Comrades in Arms Part 2, to many jokes and comments about (usually) Hawkeye not being a real man in contrast to army standards and various specific army personnel (eg Lyle in Springtime, Flagg in White Gold), to Frank and Margaret's worship of the masculinity of the army ("He's twice the man you'll ever be," re: Flagg and Hawkeye, Margaret's lust for MacArthur, Frank pursuing the sniper in The Sniper in an attempt to be a "real man" in Margaret's eyes, etc) to many jokes positioning the military as a sexually aggressive man pursuing Hawkeye ("Sure, the sun the moon the stars, your high school letterman jacket. Same deal I promised nurse Baker." "A receipt please, and promise you'll go out with other doctors," etc.)
In contrast, the main characters all fail to perform traditional gender in some way, from crossdressing to immaturity to indecisiveness to peacefulness to Margaret's masculinity and Frank's pathetic failure to live up to his own masculine ideals, to just about everything about Hawkeye. His cowardliness, his jokes about not being a real man, his jokes about taking the feminine role in sexual encounters with men and women, even multiple double entendres about his average at best penis size.
Trapper is the most traditionally masculine of the main cast. He still subverts masculinity in some subtle ways here and there, such as the occasional feminizing joke and mentions of not being in great shape, but overall he's the more butch counterpart to Hawkeye's fem. He plays the role of boxer while Hawkeye plays the role of diva in their respective manager/star roleplaying episodes. He's broader and buffer and plays football, often seen playing catch with someone while walking around the compound, while Hawkeye disdains sports and doesn't participate. He reads Field and Stream which Hawkeye derides in Alcoholics Unanimous while making a wry comment about shaving his armpits. A past lover nicknamed him Big John.
And there are many, many jokes about Hawkeye and Trapper being sexual partners. The recurring Uncle Trapper and Aunt Hawkeye gag, if my father sees this you'll have to marry me, for me? only if you put those on, your father and I will tell you what we did to have you, that's when I fell in love with him, etc etc etc. It's constant. In these jokes Hawkeye usually takes the feminine role, though not strictly every time ("Me and the missus," is one exception in As You Were, the dance in Yankee Doodle Doctor is another).
Trapper's masculinity is differentiated from traditional military masculinity in a few ways. Most obviously, Trapper abhors the military's violence. He never uses guns and mocks Frank's obsession with them, he's a healer rather than a soldier, and he's disgusted by the results of military violence on the men on his operating table.
He's also secure in himself. The military's brand of masculinity is strongly characterized by insecurity and overcompensation. Frank is the main representative of this military insecurity - a coward who insists he's brave (The Army Navy Game), a man who clings to a phallic gun to compensate for his sexual and gendered inadequacies (a main theme of The Sniper, perfectly mirrored when the army itself comes in with a vastly disproprotionately powerful automatic machine gun on a helicopter to shoot down one sixteen year old), a homophobe repressing his own attraction to men (As You Were, the original script of George), etc. We also see this in Flagg, who implicitly sublimates sexual urges into violence (seen when he suggestively caresses his gun while describing how he wants to torture a boy in Officer of the Day).
Trapper doesn't need to overcompensate. He's well-endowed physically, he's portrayed as a competent and considerate lover, he's a brave man who doesn't mind being seen as a coward, and he may or may not be attracted to men but either way he's not a homophobe (George) and he doesn't express his sexuality through violence. When Margaret proves herself stronger than him, his response is to be impressed rather than offended (Bombed). When he dances with Hawkeye for a gag, he doesn't mind letting Hawkeye lead.
He's also differentiated in terms of tradition, with the mliitary representing a more propagandic 50s traditionalism, and Trapper representing a 70s, countercultural freedom from tradition. We see this in the way Trapper has plenty of sex despite being married, while adultery is a court-martial offense in the military. It's notable that he's open and carefree about it, while Frank and Margaret are surreptitious and hypocritical in their affair. This lack of traditionalism is also shown in his disrespect for authority, often in direct contrast to Frank and Margaret's worship of it, and his allyship to George who the military would persecute for his sexuality.
So ultimately we can see that while Trapper and the military are both examples of masculine performance, Trapper's masculinity differs from the military's in being more flexible, less violent, less traditional, and more secure. The military's masculinity is far more toxic than Trapper's, particularly in the context of 70s counterculture media, which aligns womanizing with sexual liberation rather than a lack of respect for women, accurately or not.
This contributes to their respective dynamics with Hawkeye.
Hawkeye, we've established, is usually more feminine, and there are a myriad of jokes characterizing Trapper as his sexual partner, as well as the military as a sexual pursuer.
The jokes Hawkeye and Trapper make about their relationship tend towards cozy domesticity. They're Radar's "aunt and uncle," they directly roleplay marriage ("Martha, we're going to have to move, the people upstairs are impossible,") and less directly behave as though married (the bickering in Alcoholics Unanimous, the discussion about naming their pony in Life With Father). Occasionally they're treated as a healthy couple in contrast to Frank and Margaret's toxicity ("While I'm gone, promise you'll go out with other doctors," vs "Touch anyone else and I'll cut off your hands" in Aid Station).
In some instances the jokes lean towards predatory - "If you're trying to get me drunk, it'll work," or "Who is this man in bed with me?" "I followed you home from the movies," but they're always playful, always fond. If Hawkeye takes on a submissive or victimized role in these jokes, it's one he has fun with and discards just as easily in the context of the rest of his relationship with Trapper.
So, it's important to note that Hawkeye and Trapper support each other and look after each other in an equal, enthusiastic friendship. From Trapper ensuring Hawkeye gets to sleep in Doctor Pierce and Mr. Hyde, to Hawkeye supporting Trapper when he wants to adopt a child, to Trapper right at Hawkeye's side as they attempt to procure an incubator, they are there for each other every step of the way. If their relationship is a marriage in some ways, it's a healthy, strong, and non-traditional marriage, an equal and open partnership free of jealousy and insecurities.
Compare that to the military's relationship with Hawkeye. In jokes it's characterized as powerful and predatory, far from an equal partnership. Sometimes it approaches positive - in Carry on Hawkeye, much of the humour is derived from Hawkeye and Margaret's gendered role reversal as she assumes military command of the unit. Hawkeye playfully calls her sir, seductively lies on her desk like a secretary in a porn film, and most notably treats an immunization shot as sexual penetration in a prolonged gag about sexual role reversal. Hawkeye has fun playing a sexually submissive role to a representative of military authority in this episode, but it is a submissive role.
Several of the one-off jokes have a similar sensibility, such as the double entendre of "My bellybutton's been puckering and unpuckering all day," in response to a representative of MacArthur assuming their excitement over the general's arrival to the unit, or Hawkeye's "Okay, take me, I'm yours," to Colonel Flagg. They demonstrate a willingness to play the receptive role on Hawkeye's part, but they also, pointedly, disturb the object of the jokes.
When Hawkeye makes these jokes that sexualize military authority, he's attempting to be provocative as well as defiantly drawing disruptive attention to his own powerlessness as a drafted surgeon. The power dynamic between Hawkeye and the authority of the military only goes one way, and Hawkeye gets a kick out of pointing it out in ways that perturb the representatives of that authority, but it's a power dynamic that takes its toll on him.
Many of Mash's plotlines revolve around Hawkeye rebelling and attempting to seize some scrap of agency back from the military. Adam's Ribs, for example, in which he starts a mild riot over the food he's being fed and spends the episode attempting to procure barbecue ribs from Chicago (which Trapper procures for him), or Back Pay where he tries to charge the military for his forced labour. A particularly notable example is Some 38th Parallels, in which Hawkeye complains about being paid the equivalent of a nickel per operation, and his frustration manifests in impotency until he can perform a gesture of rebellion against the military.
One unfortunate consistency of these episodes is that the army ultimately retains its power. When Hawkeye achieves his goals, it's only in small ways that do little more than satisfy his own need to assert his sense of self. Often, Hawkeye doesn't achieve his goal at all, but is thwarted by the army, such as in For Want of a Boot. In every instance he remains powerless in comparison to the authority of the military.
So the context in which Hawkeye makes these sexualized jokes about the military literally fucking him is one of abject helplessness. In a sense, all he's capable of is pointing out what the military is doing and putting it in his own, audacious terms. He's not capable of preventing it. His jokes usually have an edge of bitterness to them in delivery, and when they don't, that tone is imparted anyway by the greater context.
With Trapper, Hawkeye can play-act a marriage or an assault, but in either case he's an enthusiastically consenting, equal partner. Trapper's performance of masculinity allows for Hawkeye to take any role from victim to wife to husband, and enables Trapper to respond in kind from a position of equality and respect. The military, in its insecure, domineering performance of masculinity, is a dictatorial authority, never allowing Hawkeye perform any role but a feminized, victimized one, and only ever giving him the choice of whether to perform with a wry smile or a sneer.
In short, Trapper is the cool, considerate service top to the military's insecure domineering boyfriend.
I'm tagging everyone who enabled this lol, share the blame. @beansterpie @majorbaby @professormcguire @rescue-ram
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spitblaze · 1 year
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I will say this once because I'm tired of seeing stupid discourse: anti-transmasculinity is not about being treated bad because we clock as men, it's about being treated as stupid little girls because transphobes think we've been tricked into this.
It's kind of the opposite of transmisogyny- instead of fear and revulsion, it's constant condescension, the implications that we've been whisked away from femininity by scary bad guys, that we're going to cause 'irreparable damage' because we don't know what's best for ourselves, somehow. People fearmonger a lot about the "ugliness" of transfem people, but for transmasc people that 'ugliness' is used as a warning- you'll look like THIS! You'll go BALD! Your top surgery scars will leave you MUTILATED! A lot of aesthetic concerns. Worry about our 'beauty'. Because it comes from that same stupid reactionary 'we gotta SAVE the WOMEN' shit, but this time they have to save them from getting 'stolen away', as if we're being seduced or pressured into this. As if we can't make our own decisions.
For TERFS specifically, they're losing one of their own. We're 'gender traitors', willingly aligning ourselves with the half of the population they consider unilaterally dangerous and evil.
We aren't REALLY trans, we just want the benefits that men get. You don't actually want to transition, you're just trying to avoid misogyny.
You aren't actually a man, you're just a self-loathing lesbian.
Why can't you just be a butch girl? Why can't you just be a tomboy?
Why can't you just be something that I don't think is icky?
Anyway. Like all things, it boils down to misogyny. Women stupid and gentle, dont know what best for them, evil men trick into taking man juice, must save because lady stupid and dont know what best for them (having babies and being Feminine).
Theres like. Obviously more to this but I'm just a Transmasc Rando explaining this from my perspective, and I'm not the best with words. Anyone is free to hop in and add on to this
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royalarchivist · 2 months
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[Immediately after Fit brutally roasted a chatter for being a filthy metagamer]
Dono: You became my comfort streamer. It has been great here.
Fit: Oh, thank you so much, thank you thank you thank you. I'm glad I can bring you comfort when I insult the sht out of some chatters, I'm glad I can comfort you. That's right!
Fit: People say I'm nice, no, I'm not nice. I'm polite. Mostly. There's a difference between being nice and being polite, I am polite. I am polite.
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shufflerock-jam · 10 months
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mr. evrart is helping me find my mouse
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rillils · 2 months
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how do explain stucky from the moment they met to where they are now (together in each others arms) to my friend who knows nothing about marvel
ohh this is a tough one, honey! i think i've got two options for you:
the short answer:
stucky is a compendium of all the best tropes out there, and i'm sure i'm gonna miss a few:
soulmates? check! star-crossed lovers? check! battle husbands? super check! mutual pining? check! 'and they were roommates'? check! best friends to lovers? check check check! long-lost lover comes back from the dead? fuck yeah, check! temporary amnesia? check! dude in distress trope? check! 'they will always find each other and choose each other in every lifetime'? also check! identity porn? extra check! saved by the power of love? you guessed it: check! slow burn or childhood sweethearts? you decide!!! did they share their first kiss when steve was 16, as per a popular fanon theory? did they only confess their feelings during the war? did they only get together much later, when bucky was healing in wakanda? you can pick literally ANY point in their timeline, and it will still make sense! they're all equally valid! you can even have multiple different headcanons at once, i mean who's gonna stop you??? all you have to do is join in the fun! 💕
the long AF answer, aka:
STEVE & BUCKY'S LOVE STORY, UNABRIDGED SOMEWHAT ABRIDGED, part 1/3
all right, let's set the scene:
imagine two young kids, let's call them steve and bucky. they meet, they immediately take to each other, they become instant besties! and as they grow up together, facing many hardships, their bond deepens. not only are they best friends; they are also each other's family. they take care of each other, and they both know they can always rely on one another in times of need.
when steve's mom (and only remaining relative) passes away, bucky reminds him that he's not as alone in this world as he thinks he is: bucky will always be by his side. bucky will always love him unconditionally, will always be there for him, for better or for worse, in sickness and in health, for richer and for poorer, and he wants steve to know that.
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in fact, he asks steve to move in with him, thus offering steve both a literal and a metaphorical home.
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and steve says yes!
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SO. they are each other's home, they're living together, they're getting by all right. but then war breaks out, and eventually it reaches their little home as well: bucky is drafted, and steve, due to his many health issues, and despite his best intentions, can't follow the boy he loves onto the battlefield.
it's a very difficult time for them both - so much so that they can't even bring themselves to talk about it.
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they have no choice but to say goodbye for now, knowing that they might never see each other again. but here's something you might not know yet about steve: he's the most reckless, most stubborn fucker america's ever seen. he's not gonna let this stop him!!! instead, he goes and gets a very sweet, kindly scientist to fucking experiment on him, because screw it, he's going to fight in this war if it's the last thing he does. and that's how he goes from Smol Steeb to Lorge Premium Steeb.
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of course, things don't go exactly as he predicted, and steve is made to be the star of a war propaganda-fuelled musical kinda thingie, which he resents (but he looks fucking precious in his costume)
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BUT! he does get closer to the actual battlefield. which is where he discovers that bucky has been captured by the enemy (!!!!!!!) and is most likely dead by now. but steve isn't willing to give up so easily! he'll believe bucky's dead when he sees it with his own eyes. so, he embarks on this suicide solo mission in the attempt to get bucky back, even if it means wandering on his own. into enemy territory. where he would be shot. on. sight. with no protection for his dumb ass except for a bunch of theater props!!! but such is the power of love, y'all.
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against all odds, steve finds bucky very much still alive! and as soon as bucky recognizes him, even as confused as he is, he pulls out this beautiful, ecstatic, angelic-ass smile, like he's just seen god or he got high on some real good edibles or maybe both idk, like my man here was having a serious Religious Experience™ you guys
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and i just wanna say, they could have totally kissed here and it would have made plenty of sense. but that's true of like 90% of their scenes in this franchise, so *shrugs*
ANYWAY steve takes bucky in his arms (well technically yes he does) and brings him to safety, and on their way there, bucky proves once more just how hard he meant that "with you til the end of the line" from before
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afterwards, steve is finally given the chance to fight, just like he wanted.
bucky, on the other hand, could very well leave the war behind and go home; but when he learns that steve is staying, he chooses to stay too, and fight by his side. and he tells steve so in this very intimate, softspoken, delightfully suggestive conversation, which can be summed up like this:
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and so they walk right back into the heart of the fight, only this time together, as they were always meant to be!
but. during an especially tricky mission, they're surprised by the enemy, and as a result, bucky falls to his death into a deep ravine.
steve is devastated. overwhelmed with guilt, grief and rage, he vows to bring down the people responsible for his loss, even if it costs him his own life.
and um, it kind of does? cost him his own life?
victorious after his last vis-a-vis with The Antagonist™, steve still chooses to sacrifice himself to prevent the catastrophe set into motion by the aforementioned Antagonist™. he's flying a jet over the frosty expanse of the atlantic, and you know, from the outside, you could easily argue that he could try to save himself. if he really wanted to. but with bucky dead, and the people responsible for all this pain, either dead or captured, it seems like all the will to fight is gone from steve; and so he plunges the jet straight into the ocean, and himself with it.
is this the end of their story?, you might ask.
the answer is: of course not!!!! the best is yet to come, babes!!!
EDIT: here is part 2
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miralyk · 3 months
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you've heard of "ghosts in the machine", now get ready for "tfw your current art muses haunting you are hoodie-wearing killers asking you play all their games,, ALL of them"
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fluxydrawings · 4 months
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was sad there wasnt any Rapid Eyes fanart on tumblr, then realized i am the god of my own world
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officialbabayaga · 3 months
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visible mending
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thimblings · 7 months
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in celebration of Starfield's official launch, here's a dumb fanart i drew of our game's most eligible (but sadly unavailable) companion and bachelor: Vasco (bg is just the original painting with a filter so i didn't have to paint Vasco super realistic/match the original style - purely done for the memes and an inside joke lmao)
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dvnieldraws · 6 months
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tubbegg fredzone
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cobaltfluff · 9 months
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"Being in the snow with my lover like this immerses me in a special feeling. I like it."
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viktoriakomova · 1 month
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I’m so glad that none of the ~30 people [generous estimate] left on here as active gymblr folx are the type of bitches to say shit like “US Olympic trials are more exciting than the actual Olympics”
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storfulsten · 2 months
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Whitty And Bf Personality Swap? Lovely Art By The Way, Truly Inspiring. ( ´ ∀ `)ノ~ ♡
hm I guess k, not feeling the most creative but here lol
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idk lol
mostly based on this bc idk thought the vibes looked fitting in theory lmao:
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tytotalonpup · 4 months
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ⓘ this puppy keeps forgetting abt tummy tuesday :P
$tytotalon
check rbs ^_^
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