#silly shit lol | Explore Tumblr Posts and Blogs

sp0o0kylights · 10 months

Text

Indie horror filmmaker Eddie Munson, high off his first big (underground but notable) success, knows the movers and shakers of the film world have their eyes on him.

They're just waiting to see if he was a one hit wonder before they open all the doors he's been trying to kick down.

His next upcoming film is his chance, his shot at finally making it. Of being like Rob Zombie and the other creators he looks up to that masterfully blended metal and horror.

This is his golden ticket.

The project starts off smooth. His last success has greased the wheels, and things fall into place faster than ever before.

He's got the best idea for this insane haunted house story, a true "mazes in mazes" type of deal with a queer twist. A real look at how a place can haunt a person just as easily as a ghost can.

Everything's going swimmingly--until one of his leads drops out the day they're due to start shooting.

No call no show's, and later, Eddie will find out the guy got a last second call back to be a contestant on one of those Love Island bullshit romance gigs (and laugh his ass off when the main love interest takes one look at Billy Hargrove and goes on a five minute rant about ugly mullets on national television) but right now?

He's fucked.

He's called in every favor he has for this film. Maxed out every credit card he owns, tapped every contact, got on his hands and knees and begged his rising star journalist best bud to help him market it. (Which Nancy agreed too, for way less cash than she should have.)

Eddie can't get anyone on the phone, much less find a replacement actor and the amazing place they rented, that is so dark and wonderfully eerie, is booked out the rest of the year as an AirBnB.

If he doesn't film now, he loses it all.

Cue the other lead, unknown theater actor Steve Harrington, watching his hair pulling, tire kicking, 'cursing and hopping while holding a toe' mental breakdown and asks why Eddie himself doesn't act in it.

"Just go full Kevin Smith man. Act and direct." He says, with an easy grin.

Jeff, Eddie's tried and true videographer, trades glances with Gareth and Grant (Eddie's long used special effects and makeup team, who double for about twelve other jobs because they're also his best friends and they're all in this together, make or break.)

"We don't really have a lot of other options." Gareth hedges. "You're already using me and Grant as background characters."

Eddie, hands fluttering around his face as though trying to wave away this entire situation, squeezes his eyes shut and lets out a pained hiss.

"Fine, fine!" He announces with the air of a man running towards a fire. "Fuck it, this is our one shot and so help me I will be shooting it!"

Steve politely hides a laugh with a cough.

"Chuckle all you want big boy, I'm going to tragically romance you so hard people will forget both of our characters actually live." Eddie snarls.

Steve, the handsome bastard, just winks. "Looking forward to it."

Eddie blushes, but hides it with a surge of frantic energy, conveyed by lots of yelling and moving and getting the ball rolling.

Two days later, Steve would give the performance of a lifetime down on his knees, covered in a literal pound of fake gore, booty shorts and nothing else as he sobbed about how a lover could become a home. His hands clawed at Eddie's jeans before resting a tear stained face on a slim leg as he bent his body towards Eddie like it hurt to be away from him.

Eddie would later receive equal praise in his own acting during the scene, with the world and every reporter in it asking how he conveyed an otherworldly panic so beautifully throughout Steve's performance. What was he thinking, to evoke those expressions on his face?

The way his own pale hand, unmarred by blood and acting as a metaphor for the plot, would come to stroke Steve's cheeks.

Eventually he'd come up with a smooth polished answer that cheekily pleased his audience, but nothing would ever come close to the truth.

("Eddie I've known you since grade school." Jeff said that night, a scant few hours after they'd wrapped. "You can act man, but not like that."

Eddie made a wild "shut up" gesture, looking frantically over his shoulder before admitting; "You saw how close his face was to the prince of darkness!? I was seconds away from popping a boner next to his lips, in front of the 4K camera!”

Eddie bounced into Jeff’s face so he could hiss: “He fucking had his chin on my thigh, Jeff, and I am only a man. A mere mortal!"

"So we're gonna unpack all of that later." Jeff said finally, when he'd managed to get his mouth working and Eddie back out of his personal space. "But dude, we've talked about you calling your dick the prince of darkness."

Eddie flipped him off.)

One year later and critics named Corroded the best horror film of the year, praising the camera work, practical effects, and how there wasn't a soul alive who was surprised to hear Eddie and Steve were dating after their explosive on screen chemistry.

No one ever quite understood the prince of darkness jokes or why Steve mentioning it made Eddie blush, but that was a secret to find out later.

Today on WIP’s I have no intention of writing, indie horror movie AU!

#at some point this became a warmup for the warmup #and it feels very silly #LOL #steddie #Steve harrington #Eddie munson #horror movie AU #no upside down #eddie would have the STUPIDEST names for his dick #I will die on that hill #that is a man who has put googly eyes on his third leg #and then cried because they wouldn't come off #its why he loves steve bc steve would talk to it like a beloved pet #daddy misssess youuuu #corroded coffin as a unit hates them so much when they do this shit its the bane of their existance

3K notes · View notes

nimblefoxes · 2 months

Text

This started with “Dean totally has orange cat energy” and just kept going and now I’ve lost all control???? Also nobody tells you cat anatomy is WEIRD. Why so bendy???

Special thanks to @lordcrowcifer for his suggestions for Crowley & Gabriel! (He made a strong case with the perfect photo of an angery looking Scottish Fold 😂)

More suggestions are, of course, welcomed because I have nothing better to do than draw dudes in plaid as cats.

#hi welcome to my blog I draw silly cute shit #that one day I hope to draw other things but I can’t control my hand #we just end up here LOL #this is low key a redraw of an older piece that gets dredged up once in a blue moon #supernatural #spn fanart #spn #supercatural #spn au #Destiel #crowley #dean winchester #sam winchester #bobby singer #Gabriel #castiel #BYE NOW

908 notes · View notes

tea-time221 · 6 months

Text

wyllstarion chronicles

i ran out of wholesome wyllstarion ideas so i decided to shitpost because i physically cant stop drawing them (this is a cry for help ples give me drawing suggestions thank u)

#i tolf myself i'd draw a solo wyll illustration #but that meant i'd need to render fully and shit #no thanks heart eyes emoji #i need to suck it up and RENDER for once #maybe i can compromise on just posting a sketch 😭#last pic was partially inspired by that new fic asidian posted #becaus i wanted to draw wyll whump based on the fic #but i realized the pose i had in mind was beyond my capabilities #so i had to draw something silly instead #bg3 #wyllstarion #bloodblade #bloodpact #wyll ravengard #astarion #wyll x astarion #farts n sharts #<art tag lol

1K notes · View notes

alleiwentcrazy · 1 year

Text

Eddie hates it when people don’t answer his calls. He hates it with passion.

It reminds him of too many things. It reminds him of manhunts and abandoned sheds, and no one on the other side of the line. It reminds him of cold, clammy hands, of hunger, of fear. Breaking bones and eldritch horrors he’d thought existed solely in cheap movies, not in real life, until he was brutally made aware of the fact that when people say everything’s possible, everything is possible.

Every time someone doesn’t answer the phone when he calls, panic starts to boil inside his veins and his brain immediately makes at least a dozen painful scenarios for him to dwell on. He knows that technically, they just don’t know that it’s him. But it doesn’t make him worry any less, so everyone’s learned to respect the rule. They just have to pick up. No matter what. Or he’ll freak out, drop everything he’s doing and come unexpectedly to check if everything’s alright.

There hasn’t been a single situation when things were actually bad—people go get groceries, take solid, deep naps, or they’re simply too lazy to pick up sometimes—but he always does that. Always.

Especially if it’s Steve who doesn’t answer. What if he fell? Or someone mugged him? Or he got into a fight? This brain can’t take any more damage. What if he’s in the hospital now, waiting to be anesthetized before surgery, and no one’s called Eddie yet, because to society they’re just some dudes living together?

There are too many options. Eddie doesn’t like taking chances anymore, so he slaps the “I’ll be back in a few” sign on the door, closes the shop and speeds through the town like he has nothing to lose. (And it’s quite stupid, because he has too many things to lose now—but he’s allowed to freak out once in a while.)

When he gets there and sees Steve pacing and gesturing animatedly in front of the window of their tiny but awfully cluttered kitchen, he finds out exactly what it means to have the whole world on your shoulders. Or, rather, to be finally freed from the pressure it creates.

It’s okay. It’s just a stupid phone call. It wasn’t even important, anyway.

Despite that, he takes his helmet off. Won’t hurt to remind Steve of the rule. And maybe kiss his pretty face a little while he’s here.

He doesn’t even have to enter their apartment to know that Steve’s not alone. First off – if Steve’s pacing and rambling, an anxious trait he’s picked up from Robin, wasn’t a hint enough – it’s loud. Their paper walls can barely hold back a normal conversation, let alone something resemblant of a heated discussion. Honestly, Eddie has no idea how their neighbors can stand them sometimes, with his metal, their late-night conversations and non-conversations alike, with the kids visiting so often. Although Steve is optimistic (they have some lovely neighbors, like sweet Gran Fran, but don’t ever let Eddie express his opinions about that old hag from across the hallway, Miss Hermans), he’s still waiting for that complaint to be filed.

Second, he smells coffee. Steve never makes coffee for just himself.

Eddie opens the door gingerly, remembering how easy it is to completely unhinge them by accident, and is about to scream something about getting home, when none other than Dustin Henderson cuts him off with a shriek.

“—because it’s actually pathetic, that’s why! Get a grip, man, just do it!”

“Oh, it’s so easy for you to say, because you’ve never actually tried—”

“And maybe I never will! If you won’t do it, how can I learn how to do it myself? You know that you guys are the closest thing to father figures!”

“Hey, don’t make it about yourself for once, maybe? Some humility?”

Dustin’s quiet for a second, but Eddie knows he’s not about to admit full defeat. “Yes, sorry,” he chokes out, finally. “But you’ve tried so many times, you should know that it doesn’t get any easier on another try. Just do it, it doesn’t matter how.”

“It does, though! To me, it—it does. It matters,” Steve mumbles back, and Eddie can picture his face in perfect detail. It’s Steve’s small voice, which means he’s worried about something, even though his worry doesn’t make any sense in everyone else’s eyes. He’s unsure: his brows are pinched, lips pursed, stare skittering around the room, never focusing on anything. Dustin knows this face too, because his tone gets softer.

“Okay, then walk me through it.”

“What?”

“Walk me through it. You’ll know what you want, how you want it, when and where, and it’ll be easier when you try it next time.”

“Dustin, I really don’t—I’m not sure it can get easier, ever.”

“Because you’re scared.”

Steve sighs deeply before he responds. “Yes. Because I’m scared.”

“It’s been eight years, Steve. What are you scared of?” Dustin’s voice is gentle, curious. He’s not judging, he genuinely wants to know the reasons, and so does Eddie. He leans against the wall, trying to sneak a peek of the kitchen unsuccessfully, and listens. A while passes before Steve speaks again.

“I think—There are so many things I’m afraid of. But the main one… It’s still rejection. Not being enough. Because it’s not like it’s anything formal, right? It’s only a promise, and if it ends up turned down…”

Chair legs scrape the floor and Eddie can hear two soft slaps – hands on shoulders, probably.

“Steve Harrington. Calm down. You know it’s not going to happen—no, don’t argue. I know it, and this alone should be enough. You are an amazing person. You’re great with people, you’re bright, you’re sweet, caring, you have so many talents. I love you, Steve,” the pause that follows is filled with something so heavy there’s a shift in the air. It has a different smell now. A little salty, a little warm. “And he loves you. More than you can imagine, probably. So just pop the question, Steve. And don’t back out with some stupid excuse like this morning.”

“Pop the question,” Steve says, his voice firm, only a little timid. “Yes, I think—I think I can do that.”

Eddie bounces off the wall and takes quiet, slow steps backwards. He can’t hear anything else, even though the conversation continues. He bites his tongue hard enough to make it bleed a little. A coppery taste floods his mouth as he closes the door.

Oh, it’s just so, so stupid. He would have said yes. Each and every time, he would have said yes.

Later that day, when they’re lying in bed together, with the sheets rumpled, their bodies warm and mushy from the nap, with Eddie’s lips on Steve’s and Steve’s hands in Eddie’s hair, Eddie remembers the overheard conversation.

Well, no. That’s a lie. Because he hasn’t stopped thinking about it ever since.

Every single second of what, at first, seemed to be yet another annoying Monday, has been filled with reverie and anticipation. Dustin’s right – Eddie loves Steve. He loves him enough to risk hell for him, enough to argue with anyone who’s in any way mean to him. Enough to take his hand and say “You don’t have to be afraid when I’m with you”, even though Eddie’s the biggest coward in the whole wide world.

Eddie loves him. Loves his goofy smiles and scrunched happy faces, loves his moles and the uneven mustache he grows out sometimes when he’s bored. Eddie loves how gentle Steve is, how thoughtful and kind-hearted he is. How he helps Gran Fran replant her flowers each month with more enthusiasm than Eddie’s ever shown to anyone. How he talks to children, how much respect he has for those undermined by everyone else.

Eddie loves how he’s learned to stand up for himself. He’s proud of Steve, of how much he’s grown, of how he knows how to express what he needs and what he wants now. Eddie’s loved him for ages, maybe even longer than he’s aware of, but every single significant and insignificant change in Steve’s behavior and point of view makes him fall a little bit harder, every time. In any shape, in any form, there’s one constant in Eddie’s life: his love for Steve.

He likes to think that they do that to each other, both of them. That they help each other through inevitable changes, painful regressions and euphoric victories alike. He likes to think that together, they make one, healthy, living being – and apart they’re good, because they’ve grown to be good people thanks to the connections they’ve made overall. He likes this idea of just being good, together and apart. And he loves Steve for giving him the opportunity to be just that.

Eddie wants it to last. Desperately, intensely, madly. He wants it to last and he needs it to keep happening – he knows that, and he knows he has the capacity to do that. To be there, to stay. His hands touch Steve’s thigh, not in the slightest covered by those silly Hawkins Tigers shorts he’s kept, then they touch Steve’s soft, scarred belly, then they touch his chest, where his heart is beating steadily and peacefully, and he keeps kissing him and Steve keeps clingling back to him, and Eddie’s so sure.

He wants this. He wants to experience growing old together, he wants them to get all wrinkly and bald together, he wants the fights over who gets the most comfortable chair in their grandkids’ living room. He wants them to experience the highs and the lows of the family that they already have, and the one they’re going to build someday.

Eddie wants this. He wants Steve. The whole deal; the promised forever. And he doesn’t want to wait another second.

“Steve,” Eddie says, cutting the kiss short so suddenly Steve actually pulls him closer, chasing after the warmth of his lips. “I’m saying yes.”

“Mm. Okay,” he mumbles back, too kiss- and sleep-hazy to catch Eddie’s intention right away. He tries to bump their noses together—which is adorable, really, but Eddie can’t let him hijack and self-sabotage this proposal too.

“No, Steve,” he squeezes Steve’s side until he looks at him properly. “I love you. I’m saying yes.”

In awe, Eddie watches as Steve’s face goes through confusion, true bewilderment, a bit of fear and fleeting exhilaration, to finally settle on disbelief.

“How did you—”

Eddie laughs a little at that. “I called and you didn’t pick up.” Steve makes a little oh sound, already looking like a kicked puppy. “But it’s okay, doesn’t matter, not the point,” Eddie jumps in, anticipating an unnecessary apology. “The point is, I love you, and I’m saying yes.”

Steve stares at him for a long second, his eyes wide and earnest. His fingers slide from Eddie’s hair to finally settle on both of his cheeks, cradling them lovingly. Eddie kinda wants to cry.

“You’ll marry me?” Steve asks, incredulous, his voice only a bit louder than a whisper. The way he accentuates the word “marry” gives yet another layer of meaning to such a simple question. You’ll love me? Forever?

“I’ll marry you,” he replies without hesitation. “You’ll marry me?” You’ll love me? With my flaws?

“I’ll marry you,” Steve says back. Then he grins with his eyes glistening in the bedside light, and squishes Eddie’s cheeks so hard it squeezes the unshed tear right from his eye. “We’ll get married!”

Steve giggles happily, and Eddie laughs with him. There’s so much joy inside him—them, the whole room seems to get bigger. “We will,” he adds through a smile, already peppering his fiancé’s face with kisses.

“Oh gosh, I have to call Robin,” Steve manages through his giggles and Eddie loves him so much. “And Dustin!”

So, so much.

#steve harrignton #eddie munson #steddie #dustin henderson #stranger things #st4 fanfic #i've had SUCH a shit and busy month. i'm using them to heal myself lol #i wanted to make them so pathetically in love i accidentally made my eyes fall out of my skull bc of the cheesiness #proposal au #hehe #short and sweet #excuse me if i got too silly. my hand slipped

4K notes · View notes

graveyard-society · 8 months

Text

tell me what possessed me into making this

#I THOUGHT #I THOUGHT HA HA TEE HEE SILLY DOODLE LMAO #BUT NOOO I JUST HAD TO COLOUR IT IN AND GIVE IT A BACKGROUND AND DO SOME LIGHTING AND #THIS ACTUALLY BROKE ME WHY DO I DO THIS TO MYSELF #also i was asking my friend what i should put hajime in and they said 'lol put him in a v-neck'#so i did it out of shits and giggles and IM SO ANGRY THAT IT LOOKS...CORRECT #FUCK HAJIME IMMEDIATELY BECAME THE WORST DR PROTAGONIST #V-NECKS SUCK #(im kidding hajime's currently my favorite protagonist im just mad that he has the actual worst design out of the protags)#this is what we could've had if junko didntSSRKCKCKSVXJZHSJSCK #aiden.png #danganronpa 2 #danganronpa: goodbye despair #danganronpa nagito #nagito komaeda #danganronpa hajime #hajime hinata #danganronpa chiaki #chiaki nanami

963 notes · View notes

ms-scarletwings · 4 months

Text

Other people dragging themselves out of an impending spiral:

- meditation

- positive affirmations

- deep breathing exercises

- gratitude listing

Me pulling myself out of an impending spiral:

#jthm #johnny the homicidal maniac #personal mantra fr #this is a joke if you couldnt tell #but legit it kinda works for some reason #stupid shit #let me be silly #lol

433 notes · View notes

marley-manson · 3 months

Text

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

#mash #this was dumb but writing it was somehow cathartic for me lol #i should've done this with frank and hawkeye as foils wrt subverting masculinity bc i think that would've been much easier #but i got caught up in this honestly. it's incredibly fun to write this kind of shit #maybe i'll post a round 2 sometime #marley on mash #ship ht #mash gs #and like... it's a little bit parodic but also sincere to an extent lol. this is absolutely one way of reading all the freudian #undercurrents in the show. it's definitely silly to contrast trapper and the military to make a point about how the show depicts #masculinity especially for like 1800 words lmao but it's a very fun angle #trapper mash #hawkeye mash #long post

341 notes · View notes

littlelightfish · 25 days

Text

I've been thinking about Mickbell since last chapter came out.

Have you noticed how everyone refers to him as Mick? He's a hafling, they shouldn't call him that since its his first name.

But here's the thing.

We know Mickbell didn't have something to call a family the majority of his life. He was all alone against the word for quite some time. He, as I said before, didn't have a proper family, didn't have any friends. He was alone. No one to care about him, no one to love even in a friendly way.

He can seem to be quite unfair towards Kuro, but truth is he doesn't know any better. He does what he can the best he can, the best he knows, because he loves Kuro so much, he doesn't want to loose his first friend, his first glimpse of a family, the only one that cared for him after so long the first one to recognize him as someone rather than something.

Kuro doesn't understand common language well, we know for a fact that he struggles with it and that he's still learning to communicate. When Mickbell found him, it was his sense of "I'm in great debt to him because he saved me" what made him attack the one that attacked Mick. "How dares he tuch my savior?" Kind of behaviour. And also revenge I guess. But, hear me out. He hears Mickbell telling something to him in a language he doesn't understand, but he sticks to his side from then on, because he saw a savior in him. Because he feels in debt with him, because he sees that this guy enjoys his company and also feeds him. He is like a stray dog after being adopted, loyal. He loves and cares for Mickbell, he wants to be able to truly understand him and to make himself known to him by talking. He's learning how to speak common, not because it might be useful, but because he wants to be able to fully communicate with his dearest friend, with the one he considers family.

Going back to Mickbell, he saw someone caring for him enough to take revenge and protect him. This aren't little things to do for someone you just met. He knows this, because he probably wouldn't have done that, he 100% would've runned away because he has sense of self-preservation and knows damn well he doesn't stand a chance and he wants to continue living. He makes sure to keep this kobold to himself, at first because of his "if it can be made use of, then use it" principle.

He freed the kobold, not because he was a good person, but because he wanted to take revenge in his own terms. He wanted this man to suffer, he can't pick a fight because he doesn't stand a chance, so he steels his merch, or in this case, frees it. He freed Kuro because he wanted the man to suffer the loss of his merch. Not because he feels sorry for a kobold that could easily chomp his head off (they're usually agressive). Now, after freeing him, he noticed that this kobold would die if he didn't take off the thing he had in his mouth, so he helped him a bit there. This seems a bit out of character. Why did he freed the starved kobold from what could've saved him of being eaten himself? Because he is a good person. He doesn't want this creature to starve to death after freeing him, it would be cruel, and he isn't cruel. He doesn't want nothing to do with the kobold at first, he just doesnt want him to die because he didnt properly freed him, but after seeing how far is this someone willing to go for him? He has no room for doubt, he makes himself his boss.

As I said, Mickbell didn't had a real family before. He lacks of proper social interactions and bonds due to his past. But he loves so deeply. He doesn't want to loose Kuro. He sees him as the closest thing he'll ever have to a family, but he doesn't know how to treat him properly. He tries his best. He feeds him, and cares about him a lot, but he doesn't know how to talk to him. He wants to have him close at all times, he wants to pet him, to be carried around by him and only him, to tease him, to help him. He's always worrying about his well-being. And above all, he doesn't want to be alone. Never again. This is why he does everything he can think of to hold Kuro closer to him. This is why he's saving money, why he pays Kuro so poorly for his job. This is why he doesn't spent much money on himself either. He wants to live a life with kuro by his side because he loves him. He loves him deeply, and cares about him deeply too. He's his family. And he is terrified of the sole thought of Kuro leaving his side. Because that wouldn't just mean being alone again. It would mean Kuro left.

Now, this is what the party sees. A hafling that treats his kobold employee quite unfairly. He doesn't pay him almost anything, he leaves him alone as soon as battle starts, he is possessive about him, and he's terrified of someone snatching him away. The kobold doesn't seem to either mind or notice how unfair his owner is being towards him, and doesn't seem to understand him very well either. They see that they both care for each other more than they first thought as time passes by, but the unfairness of it all is still there. They don't get it. Why would the hafling, if he cares so much, reward him so badly? Why is he taking advantage of the kobold he loves so much? Why wouldn't he let him express himself in his mother language? They don't fully get it.

Time passes and they become closer to each other, just as Laios's party does. They start opening up, bonding, and before they knew it, they're something like a small family, rather than just a group of friends adventuring together. It's clear as day something in Mickbell wasn't quite right just by the way he behaves. He is childish, but it doesn't seem to be intentional. He behaves like a kid, but he is quite mature at the same time. He is like this because he didn't had a proper childhood? He only now can allow himself to behave lightly as he does? To cry at minor inconveniences? To want to be hold on someone's arms? They don't know, but they don't prey about it either.

And without realizing it, they call him just "Mick". Some of them, if not them all, know what it means to call a hafling by his first name. They maybe did it to tease him, maybe because they wanted him to know they consider him family, but he didn't even noticed. He hadn't a proper social interaction with haflings that ever got to the personal level of teaching him something he should already know. Haflings call him Mickbell, he doesn't mind, it's his name. His party calls him Mick, he doesn't mind, it's his name. He doesn't even know hee should care. The party picks up he doesn't mind being called that and gets surprised. Is he letting them know he sees them aa family too? They at first are really surprised, but it losses importance over time. They just use it as a nickname now, but they started using it because they wanted Mickbell to know they're family too, that they don't want to hurt him nor Kuro.

Mickbell it's just a good hearted guy who doesn't know how to do good. He saves up money so he can, one day, live with Kuro. So he doesn't pays him well even if he works hard. So he starves himself (he is underweight too, but it could be for the same reason Chilchuck is, he is 5 cms taller than the common hafling after all). So he allows himself to steal from corpses. He needs money. He has a dream. He wants to have a family.

345 notes · View notes