#moffy talks

[jonathan-cranes-mistress-of-fear]

and yes, I do have a cat named Scarecrow. He is a lynx point siamese and he is also nicknamed rat bastard.

He lives up to his namesake btw. He is a coward.

#moffy talks #or is it #moffy speaks #IDK MY TAGS #hahahah

[moffymoth]

Invader zim 4th of July special where Dib and Zim hold a truce to beat the shit out of their neighbors who think it’s a good idea to illegally set up fireworks in a neighborhood that has a dog for one out of two households.

#invader zim #iz #moffy rambles #no this isn’t personal what are you talking about

[totally-sapphic-posts]

Tw: mentions of homophobic slurs

It finally happened. I’ve been nervous about this day since forveeever. But I got called a moffie (my country’s equivalent of f*g) by a stranger. Sure, people I knew had said it, but it’s never been a stranger. It was so weird because I didn’t even realize they were talking to me at first. But yeah.

Stay safe, everyone ❤️

[denimbex1986]

'For All of Us Strangers—Andrew Haigh’s second film about lonely gays in high-rises—the director tells George Fenwick about urban isolation, what queer people share between generations, and how to write a good sex scene.

When Adam (Andrew Scott) first sees Harry (Paul Mescal) in Andrew Haigh’s All of Us Strangers, he’s a literal beacon of light: a lone figure staring out from the darkness of the near-empty apartment building in which they both live. Adam, a screenwriter, lives a solitary life of writing, eating takeout and watching home renovation shows, but when Harry appears at his door with a bottle of whiskey, a cautious romance begins between these two lonely souls, adrift in the sprawl of London.

Loneliness has long been a fascination of Haigh’s—specifically, since 2011, lonely gays in tower blocks. Scott and Mescal perform isolation with painful precision, and I tell them this on a call to collect their four favorites, before I connect with their director for a longer conversation. Both actors demur, redirecting their praise towards Haigh and Jamie D. Ramsay, his director of photography. Ramsay shot Oliver Hermanus’s Moffie and Living, which also feature grappling, secluded protagonists reaching out for connection with gentle, dreamlike textures. “Playing loneliness, as much as you want to think about it, you’re actually really reliant on the DP,” Scott tells me. “In a very subtle way, it’s allowing the audience to just see a person in a room. The visual picture is very important.”

Haigh’s script, adapted from Taichi Yamada’s 1987 novel Strangers, also sends Adam into his past; while writing about his upbringing, the character takes the train to the suburb he grew up in and finds his parents (played by Claire Foy and Jamie Bell) in his childhood home—filmed in Haigh’s own boyhood home—the same age as the day they died more than 30 years earlier. Adam’s loneliness is countered by an innate desire to connect; as he bonds with Harry over their respective isolation from their families, he is also suddenly able to speak truthfully about his sexuality to the ghosts of his parents.

It’s in these impossible conversations that Haigh’s script finds its greatest catharsis. “I find the scene on the bed so upsetting,” says Mescal, “where Harry tries to make light of [his loneliness]. He tries to describe it as an inevitable thing, and you see true love between Adam and Harry, because Adam doesn’t let Harry off the hook—not in an unkind way. He’s like, ‘Why do you think that that’s okay? It’s totally not.’ He invites a very difficult conversation. [Adam and Harry] both serve as warnings to how dangerous conversations can be in a family setting. Adam has the privilege to go back and reinvestigate that parental relationship, where Harry doesn’t have that opportunity.”

Haigh, grateful for his actors, dives deeper with us to explore how he set about analyzing the relationship between romantic and parental love through Adam’s journey, the strangeness of filming All of Us Strangers in his own childhood home, and the slippery allure of clubbing.

Gay men from slightly different generations share a lot in this film—could you talk about why that distance was important, and what unites them? Andrew Haigh: I knew that I wanted them to be different generations. The whole film is about generations, and how we see the world, and how we love. I am really obsessed with what makes us different from each other, and also what makes us the same. It’s about what we share.

There is a younger generation of queer people that have had a very, very different experience than my generation, just like mine is different from the generation above. Sometimes you can get entrenched in what makes you individual, rather than seeing [that] we are sharing so much along the lines. Even though the world has changed so much, if you are any kind of outsider, you’re definitely not in the center of the mainstream. You’re on the edges of things, and it’s very easy to find yourself drifting further and further away. For some people, that’s fantastic, and they love being in that place. For other people, it can be very painful. Within queer life, sometimes that is drifting away from your family.

I love the way you depict urban isolation in the film. Why did you want to place Adam in this empty high-rise, and what does it say about 21st-century living? Urban alienation and loneliness is a real thing. We often come to cities hoping it’s going to be the answer. Lots of us grew up in the suburbs, and then we come to the city because that’s where it’s at, and when you’re a queer person, that’s where you feel like you have to go. But when you get to the city, it can be a very isolating place. It’s not easy to meet people, to communicate, there’s people everywhere, and you can get locked into your world.

For me, this is a film about someone trying to escape loneliness. I wanted, in the beginning of the film, to really sense in every frame his aloneness in the world and his need to reach out: he’s looking out at London through the windows, he’s going on the train back to his parents’, he’s always reaching out for something. That can be a difficult thing when you live in a city. You can get trapped.

How long did it take to find the perfect high-rise? It was a nightmare. The inside is actually a set. Very few apartment blocks would let us film in them, and most wouldn’t even let us photograph the outside of them, because they’re all run by huge multinational corporations. I knew I wanted it to be a part of London that is sort of new, so we tried to shoot in Vauxhall for a while, where all these new buildings have gone up. But no one would let us film, so this is in Stratford [a suburb of east London]. I like that, because it feels like it’s on the edge of something. It’s trying to be a new community, but it’s not quite bedded in yet to the surrounding world of that area. It was kind of perfect in the end: there is London, the city itself, somewhere out there on the horizon.

I went to the Westfield in Stratford to get my outfit for the BIFAs, and it does feel like the end of the world. That Westfield center, I mean, oh, my god. If we’re going to get to the end of the world, it’s that.

The way you shot the building reminded me of the monolith in 2001: A Space Odyssey—the way it felt not human, and unknowable. It’s so grand and ugly, and you feel like it’s never going to move. It’s a really unpleasant building—I mean, I’d never live there, but for people that live there, I apologize. I’m sure it’s very nice if you live there for real.

You filmed Adam’s family scenes in your own childhood home. When did you decide that would be your location? How did it then feel once you were actually standing on set with the actors in it? As I was writing, it just kept coming into my mind. I was trying to write about someone going back home, so, of course, when I’m writing, I’m so in my own head, and all I could imagine was the memories of that place where I used to live. I left there when I was eight, and I’ve never been back before the film. As we were thinking of locations, I was like, ‘Why don’t I just go there?’

I quite foolishly thought it’d be fun, but then being there was a strange experience. It felt like it was haunted somehow, which is perfect for the film. But it was haunted by my memories of being there. It’s very strange how 45 years can go by, and you can still remember everything. I could remember what the banister felt like, I could remember what the doors were like, I could just picture everything once I got in there.

I think it helped the film enormously. Because [everybody] knew it was my house, they felt like they could be more open about their own memories of childhood. So much of it, when we were there, was us all sharing stories of when we were young, and that created a magical tone, not just from me and the actors but the crew as well. When you’re trying to capture something special on screen, it’s not just about what’s on the camera—it’s everything around it. It’s the tone of the set that you create. It’s the conversations you have with everybody that can help that appear on screen.

That’s clear in the scene when Adam comes out to his mother, which is so beautifully done. It has this humor to it—for queer viewers, a lot of the clumsy things that Claire Foy’s character is saying are so familiar. It took me a long time to write [the scene], and we were all quite nervous shooting it. I’m trying to do lots of different things. I don’t want to vilify the mother necessarily in this; she’s a product of her time. She clearly loves her son, she just doesn’t understand. The idea of her son has suddenly shifted. Also, you’re telling a story about an adult who’s got over all of this, you hope, and suddenly he’s been dragged back to exactly how he used to feel in the ’80s, when all of those things that the mother says are exactly what everybody said to us all of the time. It’s almost like the emotion builds up in Adam without him even knowing it’s building up.

I like the idea that the humor comes in at the beginning, and you’re like, ‘Oh, this is so funny, and I can’t believe they say that,’ until you realize, oh, yeah, that is what people said, and it’s actually affecting Adam. I’ve been very intrigued, as some people stop laughing earlier than other people in that scene. That’s interesting, because there’s a moment when you don’t laugh anymore in that scene, and you’re like, ‘Oh, no, this is painful for Adam.’ But I quite like what that makes the audience feel, because somehow they’ve become like an accomplice in it. For a lot of people, that must be like, ‘Oh, yeah, that is also how we used to speak, and how we used to feel.’

Let’s talk about sex. The way you portray sex throughout your work is so brilliant—it’s real and tender, and 45 Years is one of the few films I can think of that allows older people a sex life on screen. Could you talk about why sex is important to you as a writer, and why those scenes are important for your characters? It’s just what you said—it’s important for the characters. I’ve always tried to think, if I’m going to do a sex scene, what is it saying? What are we showing about the character? In 45 Years, it’s a scene when they almost reconnect in a very important moment in the film, and they can’t have sex, they don’t have sex in that moment. It doesn’t really work, and it has ramifications going forward. So it’s a fundamentally important scene.

It’s the same in [All of Us Strangers]. It’s about two people understanding what the other person needs in that moment. It’s really tender, intimate, and sexy—all of the things you want sex to be. It means something. They’re also having fun, and that’s really important for this moment in the movie. I know there are people now that feel like we don’t need sex scenes in film anymore. What I think people mean is—not to put words in their mouths—they don’t want sex scenes that don’t have any other purpose other than showing sex. There’s no reason for that. But lots of us do have sex, lots of us want to have sex as part of our emotional lives.

I have to read you a review from our Letterboxd community. Kristen writes, “You can’t have a Blur’s ‘Death of a Party’ needle drop followed by Pet Shop Boys’ ‘Always on My Mind’ and not expect me to cry.” How does music inform your writing and direction? With this one, hugely. It’s almost like a musical to me, this film. At one point, Claire’s character is even singing along to a Pet Shop Boys song. All of these songs were very, very integral, [and] most of them are there in the script stage. They’re chosen to have an emotional effect, and to comment on what’s happening: ‘Death of a Party’, for example, is a strange song to have in a club during that scene, but I remember being in that club back in the ’90s, and they did play it. But it somehow speaks to what’s happening in the film—this euphoria, but also a darkness that is overlapping.

The Pet Shop Boys song was very much in there from the [start]. I love this idea that a romantic ballad can also act as an apology from a mother to a son. I think that song weirdly defines that thing I’m trying to say, which is that parental love and romantic love are so wrapped up together. Our understanding of what we want romantically comes from how we experience love in a familial setting.

I want to talk about the club scene—in a lot of films this year, club scenes have provided such pivotal moments for characters. Can you talk about why you wanted to send your characters to an iconic queer venue, the Royal Vauxhall Tavern in London, and why that was an important turning point for Adam’s story? If you look at my own queer life, when I started feeling comfortable about things, I was going out clubbing a lot. In some weird sense, because time is very slippery in this film, their decision to go clubbing, which comes directly after Adam having that conversation with his dad, made sense to me. But the thing about clubbing and going out a lot, it is both incredibly euphoric—you’re in a collective place with other people like you—and there can be an edge to it that you can slip off. You can lose your moorings a little bit.

Queer clubbing is so fundamental to that community, and has been for a very, very long time, so I wanted to make sure there was a scene that felt like it was talking about both the highs and lows of what that can be. Plus, it’s a way for me—I don’t go out that much anymore—to go back and remember how I used to feel when I was out in those places.

You’ll have to have a UK opening party at the RVT. That’s what I thought! It’s definitely where there should be [one]—I spent a lot of the late ’90s in that place.'

#Andrew Haigh #All of Us Strangers #Always on My Mind #Pet Shop Boys #Andrew Scott #Claire Foy #Paul Mescal #Jamie D. Ramsay #Taichi Yamada #Strangers #Moffie #Living #Jamie Bell #45 Years #Blur #Death of a Party #Royal Vauxhall Tavern

[oneshortlady]

my hc for moffy jon: sfw and nsfw

he'll read his books outload to you if you struggle with reading/dyslexic

despite being skinny his cuddles are the best

he internally freaks out every time you kiss or hold hands

he'd "get rid" of your bullies

is autisic and will take care of a nerudivergent s/o

he knows how to balldance (more then one too)

he gives aftercare

he's a really good cook dispte not eating alot himself and only surviving off coffee, so he can have more money to fuel his book addiction

even tho he doesn't act like it or tries to tell himself he hates it ( because of sherry) he's actually a hopeless romantic

he tall af 6'5 to bordine 7 ft

his romantic side is more "classical/ gothic" literature like phantom of the opera/ jane eyre/ jane ausien books

gentleman...gremlin but gentleman

Once he get over his fear of being touched, he's glued to you, having atleast 1 limb touching at all times

gets really possessive, especially in public

he's sweet and shy but when he's scarecrow he's more confident/ dominant

he WILL talk to you in great detail about the books he's reading and will talk to you about them in his "professor voice"

he's in to scarecrow or professor roleplay because he likes the power dynamic

can and enjoys being bottom but that will take a good few years to "unlock"

switches between sub to dom in an instant

#batman #jonathan crane #masters of fear jonathan crane

[titsthedamnseason]

for me I love marrow, i don't think jane and thatcher books were developed enough but they make sense and I think moffy and jane both having bodyguard romances is cute and eveyone can joke about it to them, lunelly makes sense too but sulli she didn't fit in with moffy and jane and like if kbr didn't do the storyline of her and beckett not being close anymore she could've been the one to break that mold and find someone else I don't think the bodyguard thing suit her (lol banks over akara but idc about both) she could've had like a sports rival or something and it's seems like all the colbalt boys are getting love interests that are not bodyguards thank god but yeah sulli I like her character just wish kbr didn't ruin it 😭

i do believe kbr’s intentions were to end the “billionaires and bodyguards” portion of the like us series with lunnelly and usher in a new “era” of the like us series with a cobalt boys era and just get through all them before moving on to other siblings but now with loose ends like quinn, frog, and, gabe i’m nervous…..especially bc they’re all younger bodyguards and are now getting a whole podcast discussion filled with other love interests. i wouldn’t be surprised if they became love interests or got their own books like charming like us

i will go down in history as saying that i think sulli should’ve had NO love interest!! i actually really like the sports rival idea or maybe just a fellow olympian but honestly i think even if they gave her a love interest sulli needed at least one book to focus just on herself. i talked about this more in depth somewhere and i get that it’s a romance series but truthfully i think sulli has always been so adrift, especially at the beginning of her books, and she has trouble with being brash but then no confidence in the things she says so she always feels uncomfortable, she wasn’t sure if she wanted to continue her career, she had a massive falling out with her best friend, etc etc so i think there was MORE than enough content to honestly just give her more of a self discovery / a character driven book. her friendship with akara is honestly sweet and touching if it had stayed that way and like i said idk who could’ve been a better love interest for her but i think if romance had taken a back seat in sulli’s books they could’ve been a lot better. i think you’re right that the bodyguard trope didn’t suit her and it seemed more forced and out of character than anything

truthfully i could never hate sulli because from the bottom of my heart i believe she is the hottest core six kid. like find me a sexier like us character you can’t and for that reason (plus the fact she’s a big brother stan) i could literally never hate that woman

#farrow is a close second but as a lesbian i could never clown like that #now if sulli had tattoos….THATS ITTTT I WOULD FUCKKNF DIE #sorry i’ll always rant about sulli bc she’s my fav. but her books are trash so what i really mean is the way she exists in my head is my fav #the only good thing we got from those books is the poly rep bc even if it was written bad a lot of people exposed themselves #the mass amounts of people i had to unfollow while sulli’s books were still releasing is absurd and sad #asks #kbr asks

[edutainer2022]

hi! for the thunderbirds ask game- 2, 6, and 10 :]

-cora

@toboddly thanks for the ask!

2. The meme that reminds me of a favorite character. It's Scott we're talking about, so anything about being tired, working overtime or hanging by the skin of their teeth (see below).

6. "Send me a character and I'll tell you how we'd spend a day together". Don't really get this one. Am I to send out a character to the asker? Then it's John for you.

Should I answer for my character of choice? Let's do that. As much as I'd wish it were a most ridiculously romantic high-end date with a walk on a beach, a fine dinner and jazz, realistically it would probably be a day at Tracy Industries, with Scott being pulled in 58 different directions, ears deep in conference calls and meetings, then called out on a rescue last minute that required TB1 speedy response. To not be completely in the way, I'd probably conspire with his PA AND John to arrange a 40 min "no calls" window to enforce a nap and some semblance of lunch.

10. IR got kidnapped, what guest character would help you save them.

I'd say Moffie and Tico Reeves. They're geniuses, they'd help to whip out some cutting edge machinery and to process data. Especially if EOS is unavailable. They also both have a fondness for IR members, so would give it their best. Maybe Lee and Col. Casey? I would kinda want to see the Old Guard assemble to help Jeff's boys out.

#thunderask #methinks i have astronomy #thunderbirds are go #scott tracy #scott tracy needs a hug

[mostunderratedawards]

Most Underrated Lead Actor

Jake Gyllenhaal in The Guilty

Max Harwood in Everybody's Talking About Jamie

Adam Driver in House of Gucci

Simon Rex in Red Rocket

Anthony Ramos in In The Heights

Filippo Scotti in The Hand of God

Kai Luke Brümmer in Moffie

Matt Damon in Stillwater

#jake gyllenhaal #max harwood #the guilty #everybodys talking about jamie #adam driver #house of gucci #red rocket #simon rex #anthony ramos #in the heights #the hand of god #filippo scotti #moffie #kai luke brummer #matt damon #stillwater #golden globes #oscars #awards

[la-principessa-della-squadra]

La Squadra x Reservoir Dogs: Why am I Melone?

(Italian edition)

Scroll down for the english version

Risotto: I voscri nomi su: Pesci, Ghiaccio, Formaggio, Illuso, Prosciutto e Melone

Melone: Oh peicchè sare io Melone?

Risotto: Picchì tu si ricchiuni, vabbò?

Formaggio: HAHAHHAHAHAHAAHA!

Melone: Ma unsi pole scegliesselo dassoli?

Risotto: Mancu pu cazzu! Ci pruvai na vóta, non funziona. Quacctru cristiani, tutti chi si sciarriaunu pi cui avia a gghiessiri 'Maradona'! Tutti a vuliunu vinciuta e nuddu a finía i cacari u cazzu. Nenti, decidu jò! Tu si Melone! E non ci scassari a minchia.

Formaggio: Aò, ma, pure Formaggio è un nome un po' demmerda.

Melone: Unvoglio avecci i nome da becco!! Mi voglio chiamà ‘Chianti’, Dio bonino fo' i vino!

Risotto: Tu non si 'Chianti'. Quaccun‘autru ‘nta n’autru ctravagghiu è 'Chianti'. Tu si MELONE.

Ghiaccio: Dioboia tosi,chi diocane se ne ciava del nome?!

Melone: T'ha detto stecco te, tu ti chiami Ghiaccio! Gliè un nome ganzo!! Se un ti cambia nulla fallo te i' popone, dio bestia.

Risotto: Ou, ‘cca NUDDU cancia cu NENTI. Chista non è na minchia i riunioni comunali! Senti ‘cca, Melone, poi fari du cosi: o fai chiddu chi dicu jò, o ti suggi e tinni vai. Allura, che minchia scegli, Melone??

Melone: Risotto maremma serpente degli stronzoli de culo, vabbene lo fo' io Melone!! Niamo che si fa com i Nardi tra un po', e si fa tardi.

Risotto: Si fici taddu u dicu jò. Allura, u capistu chiddu chi vi dissi? Mi facistu usciari u cazzu o puntu chi aunnè chi vi gghiavu du moffi a tutti quantu siti. Fuozza, amuninni a travagghiari.

ENGLISH VERSION:

Risotto: Here your names: Pesci, Ghiaccio, Formaggio, Illuso, Prosciutto e Melone.

Melone: Why am I 'Melone'?

Risotto: Because you're a faggot! All right?!

Formaggio: HAHAHAHAHAHAHA!

Melone: Why can't we pick out our own names?

Risotto: No way.No way. Tried it once. It doesn't work. You get four guys all fightin' over who gets to be 'Maradona'. But They don't know each other, so nobody wants to back down. No way. I pick. You're Melone. Be thankful you're not Cetriolo.

Formaggio: Yeah, but Formaggio? That's a little too close to Joe DiMaggio.

Melone: Melone' sounds like Mammone. How 'bout if I'm 'Chianti'. That sounds good to me, I'll be Chianti.

Risotto: You're not Chianti. Some guy on some other job is Chianti. You're MELONE.

Ghiaccio: Who cares what your name is?

Melone: Yeah, that's easy for your to say, you're Ghiaccio. You have a cool-sounding name. Alright look, if it's no big deal to be Melone, you wanna trade?

Risotto: Hey! NOBODY'S trading with ANYBODY. This ain't a goddamn fucking city council meeting, you know. Now listen up, Melone. There's two ways you can go on this job: my way or the highway. Now what's it gonna be, Melone?

Melone: Jesus Christ, Nero, fucking forget about it. It's beneath me. I'm Melone. Let's move on.

Risotto: I'll move on when I feel like it... All you guys got the goddamn message?... I'm so Goddamn mad, hollering at you guys, I can hardly talk. Pssh. Let's go to work.

#la squadra #la squadra esecuzioni #jojo's bizarre adventure #reservoir dogs #jjba #prosciutto #melone #ghiaccio #risotto nero #formaggio #pesci jojo #illuso #jojo vento aureo #quentin tarantino #le iene #italian culture #jojo in italiano #jojo fanart #jjba fanart #f slur

[as8bakwthesage]

I am giving you pres mission to say one headcanon for Jon that is dear to your heart and will never change. Gush all you want, I need to hear it.

Moffy you don't know what you've unleashed-

A headcanon/AU thing near and dear to my heart would probably be that Jonathan Crane is biracial and transgender. But one that I especially love and wanna talk about is how his parents were actually really good people.

All he has ever heard about his mother from his grandmother was that his mother, Eileen, was an evil mother and a horrible person.

But truth be told, that was not true. Eileen Lucy Keeny was a wonderful woman who many people talk about with reverence but express disappointment that she ended up having a son out of wedlock. She was a very loved person in Arlen and a devout Christian.

Jonathan's father, William Gerald Crane was an impoverished biracial black and native american man who was a lovely fellow and a quiet soul. He had a great love of art and philosophy and Eileen and William fell in love because of their mutual interests and because of their genuine bond together.

But William died due to cancer, and when Eileen found out she was pregnant, it was too late for both of them. Eileen died in childbirth when giving birth to Jonathan.

Eileen would have been the best mother to Jonathan and so would William have been the best father. Jonathan ended up finding her brooch as a child and kept it close to heart, wondering if his mother was truly the evil person his grandmother claimed she was.

Jonathan was assigned female at birth, so alongside his dead name, his middle name is Eileen and he keeps it to this day.

(BUT! A BIT OF A HAPPY BIT AND RELATED TO MY OC; later in life, Jonathan goes back home with Clotilde and they search the house and find a diary by his mother. He reads it and learns about her and he genuinely wishes he had gotten to know her. It's a big plot point for Jon's arc in my story!)

#jonathan crane #the scarecrow #mad satyrs au #gotham's mad satyrs #gotham mad satyrs #ask

[jonathan-cranes-mistress-of-fear]

moffy dude your blog is insane. thank you for being so dedicated to posting about jonathan for so long. its really fun to just scroll sometimes and read posts from years back or see fanart thats been long buried over the years... my buddy who doesn't even really like scarecrow sometimes mentions your blog because he sees it when researching scarecrow so he can understand what im blabbing about when talking about crane. your influence is CRAZY. if i had 3 billion dollars id give them to you rn.

THANK YOOOOU <3 this is so nice and means a lot to hear, I wasn't gonna respond cus I wanted to keep the kind words in my inbox, but I decided to share anyway.

This meant a lot to me, the dedication is strong lol

#MIstressAnswersYourLastWords

[moffymoth]

I remember when looking at a video on the metamorphosis book I saw this one comment of someone trying to understand what the theme of the story was, and a reply to that comment said something along the lines of ‘It’s about not leeching off your parents or you become a burden and wallow in your own grief’ and while I know art is interpretative by nature..this is literally the reverse of whats going on since it’s Gregor supporting his family as the sole breadwinner. 

It’s not an issue of choosing to live with you parents as an adult (Which there is nothing wrong with) it’s a critique of multiple societal issues that still permeate today. The story is tragic not only for Gregor’s end, but also for how much work Gregor would put in for a world that would mourn little for him in the end. 

For me, the story reads as a cautionary tale, a personal one, and I think it can be interpreted in many ways but this? This ain’t it chief...

#moffy rambles #Gregor Samsa #the metamorphosis #franz kafka #not iz #im so sorry for the sudden rant but #I've wanted to talk about my feelings on this for awhile now #if anything needs to be tagged #please don't hesitate to let me know

[soniabigcheese]

Awake at silly o'clock ... again. Not guilt but feeling parched and nose clogged up, as well as a grunting, snorting, coughing, farting old man next to me who thinks that the bed is solely for him whilst I teeter on the edge. Surprised I haven't fallen out yet.

Anyways, I thought I'd do the little bit of ironing and this popped into my head.

It surfaced earlier but I didn't have access to a pen and paper and was thusly distracted by something or other.

When Mike confronted Brains about knowing one another. Was that him ... or the Hood talking? Brains vehemently denied all knowledge and the storyline wasn't expanded by the writers.

Which is a pity, as I'm sure many of us might have been interested in the 'how'

Putting my twist on this.....

I believe that they DID work together, on campus. Both shy and studious. They probably crossed paths but never really saw one another, too focused on their pet projects.

Brains' stutter was more pronounced and Mike decided to send self help stuff. Breathing exercises etc. Heck, through Moffie, he would shyly ask how Hiram was, since he most likely had a bit of a crush, that wasn't reciprocated.

I dunno, forgive my ramblings here. I'm sure someone else will put me straight

#brains vs brawn #brains hackenbacker #the mechanic

[princessnicasia]

“He listens. He’s good at that.”

#damaged like us #dluedit #likeusedit #like us edit #kbmritchie #kbritchie #wearecallowaydaily #addicteddaily #maximoff hale #moffy hale #mine* #ik the color choice is controversial #but it heavily emphasized he loves green #and thats a part of who he is #dlu spoilers #also this scene honestly made me cry so hard #because it felt like me talking to moffy #or like to daisy #or to any of them #it just struck a chord with me #i love my humble son #ch: maximoff hale #lit: like us series

[titsthedamnseason]

also please reblog and put in the tags what the funniest scene/chapter you’ve ever read in a book is and what book it’s from

#now this one i have ANSWERS #ignite me *chefs kiss* kenji and juliette really pull out the full stops w the laughs #but the scene where they’re sitting on the roof >>>>>> #and then also. SO MANY addicted series scenes omg #like when 3yo moffy just starts talking to jane in french and lily is like ‘THE FUCK???’ #OR PSHSGJA WHEN RYKE YELLS AT LILY ABOUT HER WHINY VOICE IK IT ISNT MEANT TO BE FUNNY BUT ITS HILARIOUS #when lily is like ‘don’t curse him rose!’ #these aren’t even the greatest hits i’m just Blanking #i have to add to this later #and then like. again this isn’t meant to be funny but nothing makes me laugh harder then nick at the end of the royal we #‘IM ON THE EDGE OF MY PEW’ AISGAJKANSKS GOODBYEEEEEE #mine #please a lot of these were dry i need to Think and reblog w proper ones

[sinistarz]

It’s crazy to think I’ve had this blog less than a month. I literally made it so I could just share some crap I drew here and there and it’s slowly become one of my favourite things to check up on every day, see what new ideas you have and see how much I can make you guys smile or laugh with the dumb things I write and draw. I barely talk to some of you but I genuinely feel like I could call some of you guys my friends, especially @gothamsworst for being the first person to sort of shout me out, @dinofur for being my very first spam-reblogger, and even @jonathan-cranes-mistress-of-fear, who I knew back on my old blog in like 2016 and she was literally one of the first people to send me an ask on this blog, so thanks for acknowledging my existence, Moffy. (get it? MoF-y? Mistress of fear-y? I’m calling you that now)

I have over 50 prompts in my inbox (I’ll get to them soon, I promise, I just get more every day! It’s hard to keep up with the asks and my working full time often six days a week) but no matter what I post you guys are happy and that makes me happy. It’s just so heartwarming how literally welcoming you guys are. I abandoned interacting with the DC/Batman community a long time ago, and the moment I returned you guys treated me like I was an old friend. You guys made me feel more confident with my artistic abilities. Did you know I’m able to draw seven different rogues without a reference now? And they still look good? I’ve never been able to do that. It feels amazing.

I can’t stress my thank-you’s enough. Y’all are amazing. I’m shit at writing posts like these so I apologize. Just- thanks a million.

#i love yall 🥺 #sinistart #siniself