#the main things are 1. my ability to judge my own work as i make it and 2. what medium is better suited for a situation

[jichanxo]

how different is your creative process between writing and drawing (and in which areas)? do you have a different approach in each artform? if you have an idea, you first think how you'd write it or draw it?

This is definitely going to be long so. Cut.

Just to preface, obviously both writing and drawing are a form of art, but I tend to use the word “art” when I mean illustration or drawing, so that’s what I’m going to do here. And of course a disclaimer that I’m only speaking to my subjective experience.

Tbh I don’t think my approach to both is that different from each other, which is odd, because I’m used to thinking of them as very different processes. Probably because the mediums themselves are so different. But like with my writing, I tend to improvise. Feel it out, see how things go, throw ideas at the wall. I would probably say that I’m more willing to experiment with/scrap my art than my writing. Probably because I’m more confident with my art than my writing, so I find it easier to make judgments like that, or because I’ve made so much that throwing stuff away when it isn’t working is very easy. I get a bit more precious about my writing. I always want to keep it or at least try to adapt it into something less bad, lmao. I’m also just not as confident in my ability to judge what writing is worth keeping or worth permanently deleting. I just haven’t polished that skill for writing as much as I have for art.

With regards to planning my art – I definitely do sometimes, because I consider art my Serious Hobby, which means I do like to have a go at more serious projects as opposed to just improvising all the time (a contrast to my writing where my only “serious project” is senseific, and I fell into that by accident). The things I plan out are the idea/s I want to convey, and what imagery would express that. (like this IW art, and the second one in this umineko post) Or sometimes the imagery gets stuck in my head and I work from that. (yagami’s hair clinging to his neck here)

I actually find that planning too much can be detrimental to my art process. That is to say, not in terms of figuring out ideas/themes, but doing too much drafting. I find it very difficult to do things like clean lineart unless I’m having a Weirdly Good Art Moment, so I just don’t. Hence a lot of my art is very sketchy. I’m just not good at capturing the same looseness with “proper” lineart than with my sketches, so I keep them. Not worth fussing over. This is what works for me.

(even in this, and the first image here, you can see a lot of breaks and incomplete looking lines. not to say necessarily that this is a bad thing of course, but you can see that even in what I consider my “polished” work, I won’t use “proper” linework, but instead a high quality/detailed sketch. I imagine some other artists would have their proper linework stage after these sketches, but i choose to stop here)

this probably reads like I’m talking myself down, but that’s not really what I’m meaning to say – my point is that I don’t figure out details even for my bigger pieces, and that with drawn art I have a better time judging where my time is best spent. I don’t think I have a strong understanding of my writing by comparison, so I can’t decide how to play to my strengths or anything like that, I just have to see how i go.

For writing, either it’s “i’m in the mood for it” or “i’m not in the mood for it”. For art, it’s “today is a good day/bad day”, “today’s a painting day”, “today feels like masking”, “today I just want to sketch”, “today I’m too loose for what I want to work on”, “today I’m too stiff”. You can see the difference in my ability to judge, yeah? So a big difference is to do with just my own (relative) inexperience with writing as opposed to drawing.

I think the other major factor is the differences in the mediums themselves. A fanfic is sequential. There’s a change in time. Illustrations are by nature a single moment in time. Big difference there. Of course, there are comics and animatics and other art that’s both drawn and sequential, but since I don’t do a lot of that, just count that as exceptions for now (and in a way, those are kind of like a combination of writing and illustration, aren’t they?) I find there are some ideas that are conveyed easier or better through writing, and others where the better option is art.

So to answer your last question, often ideas come to me pre-packaged as a “writing idea” or an “art idea”, rather than having to decide that separately. In the case that a sequence is better conveyed with a visual element, that’s when it’s comic time. The gorillashipping comic is a great example of this. The punchline is at its best when it’s not explained in words, and the expression of the final panel does all the heavy lifting. I pitched this idea initially in words (as a joke on discord), but the comic version has more punch.

Comics are also great for when you want to avoid explaining context, and for when you want to force the reader to take a specific pace. Here’s the example I’m thinking of.

The visual space dedicated to the fighting forces you to take time to process, and that time is important for the buildup to the punchline. This wouldn’t work as well if we cut this down to, say, the four panels of the last example. So yeah, timing. And then my other point – context – why are these two fighting? I don’t know. Where are they? I don’t know. It’s not necessary for the joke. The same is true of the gorillashipping joke. How did the relationship between kiryu and kaito happen to make this even remotely possible? I don’t know. But I don’t need to explain it in a joke comic. With writing I find that it feels more necessary to make context clear to the reader so they understand what’s happening, but with illustrations, it’s a lot easier to skip over that. Obviously this isn’t impossible in a written format, but that’s just my personal opinion.

Admittedly I think this second example is doable with just pure writing (replace all the panels with descriptions of the fight that take long enough to simulate the time it takes for the reader to digest the build up, then make the punchline a wham line, yknow), but it varies on a case to case basis. Also I would not want to write fighting. Lmao. I’m not… any good at that. So I guess it is also just in part about playing to strengths.

Anyway, enough comic side tangent. I’ve already started talking about it there, but was going to do a comparison between writing and art as mediums. The main thing, I find, is that they have different strengths. More than strengths/weaknesses though, the mediums themselves convey some things with ambiguity, and other things with detail.

Like I first mentioned, time: it’s easier to convey the passage of time with writing than with illustration. And like I said before with comics – conveying context – because an illustration captures a single moment in time, it’s a lot easier to avoid context entirely, while it’s harder to avoid in writing. I’ve drawn kuwagami cuddles before, and there’s no background, nothing discernable as to the lead up or any other detail. And that’s great! I don’t want to have to invent a plausible reason for them to end up hugging. I can just do it, right? But sometimes it’s the context that makes things significant, so you do want it there. A better job for writing. Writing allows you to be detailed with your context, while illustration leaves it ambiguous. Different strengths. You just pick which best fits the situation.

It’s a similar case for a lot of different factors – they're conveyed differently through both mediums, and depending on your idea, some results are more desirable than others. Rather than explaining, it’s probably better to do a direct comparison. (If it makes any difference to your curiosity, I did the drawing first then the writing. You’ve caught me on a good art day, what a nice sketch…)

I’ll try not to talk too much because I think the comparison and table say enough, but you can see how, despite depicting basically the same thing, these two things feel pretty different from each other. The mediums do different things. The mood of both is similar, but not quite the same. It’s these differences that inform the choice of mediums instinctually. (but again. points at disclaimer. as is true with all “rules” about art, none of these are absolute. you can make an illustration that conveys a strong context. you can write fic that favours describing facial expressions and leaves the intended emotion ambiguous. i’m generalising to make a point here.)

I guess the other thing is that it’s pretty easy to do writing in bed on my phone compared to my art setup, lmao. Convenience and timing also play into it probably.

#jitxt #long post #word on the street is that if you send me enough asks i'll start replying with kuwagami art /jk #......and a table and like 1000 unnecessary words attached #fellow artists if you saw me admit to manually masking my work in this post no you didn't #(i try to strategically use selection tools when i can but i don't fully trust them. since my lineart is Like That) #but yeah the process itself is not super different #the main things are 1. my ability to judge my own work as i make it and 2. what medium is better suited for a situation #fun to go back and find examples for this one #about judgment: it's still new to me that people might enjoy my writing. whereas with my art i'm like Yeah I Know It's Good. #perspective's a funny thing #thank you everyone for being nice. and thank you sunday six #my enjoyment for writing has really grown since i've been able to talk to other people about it #might have to come back to this kuwagami sketch later. i like it a lot! #certainly worthy of its own post #for now it's a treat for those who scrolled far enough #thank you for the ask i've been wanting to go on a tirade about how i find writing and drawing different

[scorpiussage]

The Lost Footage of You | Part 1 (Tom Buckley/OC)

Pairing: Tom Buckley (Red Lights)/OC

Summary: Tom gets called to a review a very odd case involving a young woman and some unexplainable found footage. 

Warnings: Violence, very dark themes

i.

Tom hates dealing with cops and he’s certain they hate him just as much. They watch him with open disdain as he gets buzzed through the locked security check points that keep the patients at Creekwood Sanitarium in and the regulars of society out. 

A nurse with the look of someone exhausted down to their soul meets him once he’s completely through security. She holds out a laminated visitors pass and he barely gets the chance to grab it and fix it to his clothes before she’s marching away from him down the main entrance corridor. 

“You’ll get thirty minutes to talk to her, so make it count,” the woman utters boredly, her gait surprisingly fast given her overall disposition and it causes Tom to have to power walk in order to keep up with her.  

“Er— right,” Tom replies weakly, trying to get his thoughts in order, “Has she said anything since being admitted?”

The nurse shoots him a sharp eyed, pursed lip look, “No.” 

Tom mentally adds “Nurses” to his ever growing list of things and people he hates. 

This entire case is sort of an unconventional one for Tom. Usually he’s exposing supposed psychics and tarot readers as fraudulent— never has he been asked by law enforcement to work on a case. 

Two weeks ago, six people were found brutally murdered at what appeared to be some sort of séance. A seventh person was found unconscious at the scene, a one Y/F/N Y/L/N, and with her a camcorder and a purse full of tapes. Now, Tom hasn’t seen the tapes yet, (he’s still waiting for clearance from the county judge to be allowed to watch them) but he’s been told roughly what they consist of. Whatever is on those tapes has law enforcement quaking in their boots. 

Tom has been called in to not only determine the validity of the tapes, but to also see if the young woman involved has some sort of supernatural ability. The police certainly think that the tapes are supernatural in nature. 

For a psychiatric facility, the living quarters of the patients and the inmates are actually pretty nice compared to the standard. Y/N has her own room and it has a few furnishings like a desk and a cushioned chair near the barred window. She’s sitting in said chair, starring out into the gray gloom of the facility grounds and the forest beyond them. 

This is the first look that Tom is getting of her and while they told him she was young, he’s still surprised. She can’t be older than 25 and she’s shockingly beautiful too. He sort of freezes in place when their eyes meet for the first time. He feels all too like the skinny weird kid he used to be and being faced with the local hottie. 

“Remember Mr. Buckley, 30 minutes,” the nurse says, shocking Tom out of his trance as she leaves the two of them alone, locking the door behind herself. 

Tom clears his throat awkwardly and takes a seat on the edge of Y/N’s desk, realizing too late that it probably makes him look like a middle school teacher trying to seem down to earth. 

“Hello,” he says with a weak smile, “I’m Dr. Tom Buckley.” 

“You don’t look like a doctor,” Y/N replies with a voice so soft that Tom has to lean forward to hear her better. 

“Er— I’m not a medical doctor, actually I’m a physicist.” 

Trying to grasp onto what to say next, Tom pulls the desk chair out and brings it over to where she’s sitting, placing himself in front of her, “I’m sort of a specialist in my particular field.” 

The woman stares at him blankly and it prompts him to start info dumping, “I deal with uncovering frauds who claim to be psychic or to have supernatural abilities. Not to say that that’s what you are, but that’s why I’m here.” 

The woman nods, “The police think I killed all those people.” 

Tom winces, “Um, yeah, they do.” 

Sinking into her chair she regards him with those piercing eyes of hers, almost making him feel like he’s being dissected. 

“Sometimes things happen around me that don’t make sense,” she says after a while, cutting off Tom who was about to start asking questions if only to fill the silence, “I carry around a videocamera to document everything.” 

“Have you? Documented these weird happenings?”

Y/N fidgets, her eyes darting to look back out the window, “A friend of a friend of a friend heard about me and requested me to do this séance? Like with a ouija board and stuff? I didn’t really want to do it but he said he’d pay me for my time.”

She takes a deep breath here, seemingly struggling to say out loud what occurred, “I told them it was a bad idea. The weird things that happen around me? The energies don’t like being taunted and I told those people that but they didn’t listen to me.” 

Tom quickly pulls out a notebook and pen, ready to take notes, “Can you tell me a bit more about these ‘energies’? What do they do?” 

“I— I wouldn’t call them ghosts, that seems too simple to what they are. They just— they’re always there, following me around? They get mad if I ignore them too long or if I try to provoke them.” 

“What do they do if you ignore them?” He asks. 

Y/N bites her lip nervously, eyeing him like she’s trying to decide if he’s trustworthy or not. She must come to the conclusion that he is, because she turns around in her chair and lifts up the back of her shirt. 

Tom’s notebook and pen go clattering to the floor, his shock audible in the horrified gasp he lets out. Big ugly bruises and weeping claw marks mar her back, in locations and styles that she would not be able to do to herself. 

Tom thinks that this case is going to end up being more than he bargained for. 

ii.

Tom isn’t sure what to expect when he finally gets approval to view the video tapes. He’s left alone in an unused interrogation room with a small box TV and a larger-than-he-expected stack of tapes. None of them are labeled and the cop that escorted him to the room fucked off without saying anything. 

With a deep sigh, Tom grabs the first tape on the top and pushes it into the VCR. It starts off how all home made videos are want to do, with jumbled, unfocused images before they finally settle.

It’s Y/N filming herself through the reflection of a bathroom mirror. She’s breathing heavily and the camera is shaking with her unsteady hands. Gulping audibly, she starts talking, “It’s— uh— Tuesday, August the 5th. The noises are back.” 

She jumps when a loud thump echoes in the background. She swings the camera to face a closed door— either the door to the bathroom or a closet, Tom can’t tell. Everything is still and quiet before another bang visibly rattles the door in its frame. Like someone slammed their fist into it. 

Y/N drops the camera in fright, the visual becoming that of her feet and the bottom of the door. 

Tom is both captivated and horrified, this whole thing is playing out like a real life horror movie.

“Don’t do it, don’t open the door,” he mutters to himself, both literally and figuratively on the edge of his seat. He holds his breath when she cracks the door.

She stands there for a moment before reaching down and picking up the camera. The door is now open to show a tightly packed linen closet. There’s absolutely no where a person could hide in that. 

Tom turns off the TV. 

iii.

The next time Tom goes to visit her, it’s during the patients’ outside recreational time. She’s sat off by herself under the shade of a large tree and she’s ripping up fistfuls of grass boredly. Tom rubs his sweaty palms on his pants before taking a seat near her. 

“Hey,” he greets awkwardly, “How are you?”

She shrugs and he tries to figure out what to say next. 

“How long have weird things been happening to you?” He eventually lands on, his curiosity getting the better of him. 

“Since I was a kid, I guess? My mom kept making us move because she was convinced the houses we lived in were haunted.” 

The ‘but it’s actually me’ goes unsaid. Tom feels a lot of sympathy for her, he can’t imagine being terrorized by unseen forces for years. He doesn’t really know how to express that sentiment to her though without flat out saying her life is a fucking horror movie. 

Deciding to change trajectory of the conversation, he asks, “Can you tell me more about that night?”

“It was supposed to be a seance,” she tells him and then after a long pause adds, “I think.” 

He frowns, “You think?”

She brushes the loose grass off of her palms, “The set up was really weird. Everyone was in a circle and they made me sit in the middle.”

“You were in the middle?”

She nods, “I brought my camera, but they told me I wasn’t allowed to film. I lied about turning it off and left it recording inside my bag. I just felt weird about the whole thing.” 

Tom bites at his thumb as he thinks. He hasn’t made it to the video of that night yet and this conversation is creating more questions than answers. 

“What happened next?” He finally asks. 

“That’s the thing. I can’t remember.” 

iv

Tom doesn’t know how many more of the tapes he can watch. Each one is more horrifying than the last and if it were him, he would’ve taken a swan dive off a building out of sheer terror. 

For not the first time, he wishes Margaret was still alive to give him some guidance on what to do. Part of him feels relief that there’s another with strange abilities, but not at the suffering of this poor woman. 

He’s only halfway through the stack and he feels like this entire experience has aged him 10 years. With an exhausted sigh, he pops the next one into the VCR and hits play. 

The video starts off with a visual of the end of her bed before she turns the camera around to show her face. The lighting is poor, coming only from the faint glow of her bedside lamp. 

“It’s 2:38 am,” her voice is in a hushed whisper like she’s afraid of being overheard, “There’s something under my bed.” 

She peeks the camera over the edge of her bed to show her wooden floors. Nothing happens for a long moment before the camera jolts as the bed is shaken in its frame. She lets out a scream and buries herself under the covers like a child would, bringing the camera with her. The video goes on with a close up of her panicked face until eventually she falls asleep. 

Tom feels like he’s the only one who’s capable of protecting her. 

to be continued...

#there's so little love for Tom I thought it was high time he got his own fic 💖 #tom buckley #tom buckley/oc #tom buckley/reader #tom buckley fic #tom buckley x oc #tom buckley x reader #red lights movie #red lights #tom buckley red lights #cillian murphy #cillian murphy fic #cillian murphy/oc #cillian murphy/reader #cillian murphy x oc #cillian murphy x reader

[elnathsstar]

//BSD THEORY- S5EP11 SPOILERS//

MULTIVERSE THEORY BABY LET'S GOOOO!!!!!

Bsd multiverse. We already know it exists because of beast, where Dazai travels all the timelines to find one where Oda can live.

My big point here being, I think the villain(AU Fukichi?) who shows up, is from a different universe. Same with the Akutagawa who shows up next to Atsushi.

As far as I'm aware, we aren't actually sure whether the current timelines Akutagawa is alive after vampirism ended, or even if all the vampires have been removed from their possessed states.

But yet, an Akutagawa shows up next to Atsushi? In a completely different outfit, no less? Plus, he appears to be a lot stronger, and his ability doesn't have the same red glow that the first Akutagawa has.

I believe that the villain and Akutagawa are from the same timeline- judging by the very similar styles of their clothing, and Akutagawa seems to know who Fukichi is, and potentially has fought with him before. I also think that the reason that they have only showed up now, after Fukichi died, might be because they can only exist in the current universe when the version of them that belongs there had died. (The entire thing with Dazai having to kill himself at the end of beast to keep the world stable reinforcing this.)

Here's my main point; I think that this villain(I keep saying villian instead of Fukichi because I'm not 100% sure on him actually being Fukichi, but he has the same facial markings and stuff, so honestly probably) and Akutagawa are the Beast universe version of these characters, and have jumped timelines to the current one.

Remember at the end of beast where Dazai says to Akutagawa and Atsushi;

Beast Dazai already remembers that these two fought, and about the rats, so likely knew about the DOA and the inevitability of Akutagawa's death.

He also probably recognised that the current timelines Atsushi and Akutagawa are not strong enough to fight Fukichi on their own. (Especially if it's a super cool futuristic Fukuchi who has been through another war- that being the one that Fukichi was trying to prevent in the current timeline, after the warning from what I believe to be his beast counterpart).

This is reinforced by this panel, talking about how he needed them to fight to understand each other better.

So why is only Beast Akutagawa there, and not a super buffed Beast Atsushi?

Because 1. Atsushi is still alive in the current timeline, 2. Beast Atsushi is hidden away with Beast Mori, and 3. Dazai needs the Beast Akutagawa, and current Atsushi to work together.

Beast Dazai also briefly mentions how he thinks it's just the influence of the ADA which makes the main timeline ADA Atsushi win all his fights against PM Akutagawa, and the Beast timeline ADA Akutagawa wins when he fights against PM Atsushi.

This would bring the ADA Akutagawa and ADA Atsushi together, bringing the strongest of each together, plus adding on the entire ADA always wins thing.

So yeah, the cool futuristic Akutagawa next to Atsushi at the end is Beast Akutagawa.

That was my ted talk, thank you.

#bsd dazai #i'm crying #bsd #soukoku #bungou stray dogs #i love them #shin soukoku #bsd akutagawa #bsd atsushi #bsd beast #bsd theories #guys #the autism is autisming #we live we love we lie #AAAAAAAAAAAAAAAA #idk man #Please this is so complex I don't know it this even makes sense #If only I put this much effort into my school work or dnd campaign

[disabledunitypunk]

[Image ID: a post by wolfmoonjournal with a picture of a page reading: (title)"Two Beers and a Puppy": A Helpful Test for Determining How You Feel About Someone (body)"Two Beers and a Puppy" is a test that I devel oped while working on an Esquire story on the American "son of a bitch. The test is: In order to find out how you actually feel about someone, ask yourself, "Would I have two beers with this person!" And: "Would I allow this person to look after my puppy over a weekend?" Some people are no and no. These people are to be avoided at all costs. Some people are yes and no. These peo- ple are to be cautiously trusted. Some people are no and ye. These people are no fun but they make the world a better place-for puppies, especially. And some people are yes and yes. These people are wonderful people and your fe and work are better for having them in your life. Seek them out. Collaborate with them. Enjoy their company wolfmoonjournal then comments This has been going around my work and friend group on other platforms, and I thought it deserved a place here too. archdemoning then reblogs with tags saying #fit's a good limitus test. take out the specifics of drinking or not drinking alcohol vs owning a dog or not #it's basically 1) would you spend an evening laughing and enjoying conversation with someone and walking away like that was good: #and 2) do you trust this person has a basic level of willingness and ability to care for others and repay your trusting in them? Wit's just getting you to tap into the unconscious micro-tells our brains collect about other people #which are by far the most accurate assessment tools we have to judge peoples' characters on the fly and in general (via purplehawke) thegreenmeridian then says Shoutout to that time someone posted this on one of my servers and multiple people were going "this is exclusionary to people who don't drink/are allergic to dogs, also it is ableist to expect me to understand the concept of an analogy" Like yes ok I would definitely have neither 2 beers with you nor leave a puppy with any of you /end ID]

...

Okay, but were they saying "it's ableist to expect me to understand the concept of an analogy" or were they rightfully upset that when they took it literally you made fun of them, shit on them, or got overly angry at them for MISSING a metaphor, which some people in fact DO struggle to catch and understand? If you had just said "hey, I get what you mean, but what I meant was [good explanation that was provided in the tags], if you reframe it that way does that help? It was meant as a metaphor" would they have been chill?

Because if they'd still be bitey about it, yeah, I wouldn't share a beverage, food, OR time with them OR trust them with a task involving caring for others. But I'm SO USED TO people twisting the words of disabled people and taking them out of context to make it look like we're saying something completely ridiculous and shut down discussions of our actual struggles and oppression than I'm willing to bet I wouldn't even consider giving you the time of day after seeing which one it was. -_-

Also literally, EXPECTING everyone to get metaphors without being told they are not literally, especially when phrased in a way that a literal read makes sense, and then making fun of them or getting mad at them for making a single damn MISTAKE based on the way their brain naturally interprets things??? Yeah, that's fucking ableism.

You ever listened to a neurodivergent person talk about the trauma they went through as kids? This is one of the main. fucking. things!! We had to be explicitly TAUGHT to recognize and understand metaphors, and some of us still struggle with it! Hell, neurotypical kids had to be taught too, their brains are just naturally more able to "get it" in some cases.

Don't @ me about this because I struggled as a kid but in fact I do get, use (even overuse), and love metaphors nowadays! But I spent YEARS dealing with adults going "why don't you get it. it's obvious. you should know this already," when I DIDN'T AND COULDN'T AND THAT WAS THEIR FAILURE, NOT MINE.

Perpetuating that treatment with traumatized adults because they made a mistake, or yes, even are truly incapable of understanding metaphor, is ableism, asshat.

"Is it ableism to expect an adult to [be able to] do/understand-"

Let me stop you right there. If you're asking if it's ableism to expect someone to do something - mentally or physically, as even something like understanding is a neurological process - then yes! It's fucking ableism! Because there's virtually nothing that's impossible for a disabled person to be unABLE to do, and especially one of the neurodivergent DISABILITY symptoms that's so common as to be a stereotype.

(No, it's not a false stereotype. It's less common than the stereotype suggests, mind you, but I'm not going to throw my siblings with that symptom under the bus because of it.)

Next time maybe just take the time to EXPLAIN to someone instead of basically saying "lol these id*ots think it's ableist to judge them for not being able to immediately understand this actually fairly complex concept that requires significant critical thought without help just because I falsely think I'm really good at the same concept (which, even if they were good at reading comprehension would be just as bad, but it adds some irony due to their hypocrisy)".

Anyway tl;dr I wouldn't share a cup of piss or entrust a pet rock to the person saying that, given that they are in fact a massive ableist and are likely even worse than we have full context for given the prevalence of the ableism bad faith misinterpretations and manipulative reframing of them as a form of ableism itself used to shut down discussions of ableism overall.

Oh, and bonus, aside from the whole "this isn't a clear metaphor and I'm reinterpreting your words in the worst faith possible and making fun of you for not understanding something...

Some people are incapable of the puppy one, even at a metaphorical level, because they are too disabled to take care of even the simplest living creature. Hell, "trust to do a task" can be something you can't do with severely disabled people. AND some people are often unable to give you their time, especially in person nowadays but sometimes even over safely distanced video calls and such. They should be ACTIVELY AVOIDED because they're not able to spend time with you?

I get that this wasn't the point the original was making, because it didn't consider the nuances of the disabled experience. People rarely do. This is about abled people. And yes, you can make an argument about "people I want to spend time with even if they can't always" vs "people I don't" or "people I need to rely on for tasks" vs "people I don't", but perhaps you should check and make SURE you're not in fact being biased by ableism into not wanting to hang out with good caring friends because they can't often do so, or relying on them for tasks they've told you they can't do but you're putting on them anyway.

Nearly every disabled person with more than minimal support needs has experienced the "friend exodus" when they become disabled/chronically ill. A video call becomes an "inconvenience" when it's really just that the abled person has a preference to hang out in person despite doing so quite literally being less convenient (and often, they are not safe for an immunocompromised person to be around).

Many of the same people have also experienced the "oh of course you can do it/you used to be able to so you need to now/you're the only one who can do it so you need to magically overcome your disability and do so/well do you just not do [chore] in your own home (what do you think home help aides are for?!?)/well you did it the other day (yes, with serious health consequences, and/or as someone whose abilities fluctuate from day to day".

Like I'm not sorry that I'm not sorry. Abled people shut up forever. Disabled people with low support needs and relative privilege? Stay in your lane and STOP with the assimilationist "well I'm disabled and I can do this/don't need this/don't think I'm perpetrating lateral ableism against disabled people with higher support needs". If you've been guilty of this (as I myself have been in the past!) just fucking apologize and do better! Don't DOUBLE DOWN because you refuse to face up to your own guilt and remorse!

Yes, all that is a reading of what the author said that wasn't intended and isn't present in the text. Knowing that is reading comprehension, and how's that for critical thought? Expanding on how a passage exhibits indirect bias influenced by disabled erasure and influences and shapes the attitudes of people who ARE ableist because of THEIR pre-existing biases... y'know, I get the urge to make fun, because I'm also pissed the fuck off, but actually I'll not give into the urge to do so because that would be hypocritical and ableist.

Instead I will say if you would like me to expand on that, or explain it better, or honestly use simpler language because I know I use high level words all the time, I am genuinely ALWAYS happy to talk about it with you and help people understand.

My frustration is with the people who do understand but wilfully refuse to genuinely engage with it and listen and have a real dialogue, and instead get defensive and double down on their ableism - and the second part is the part I have an issue with. I can't actually tell if someone is being ableist because they genuinely don't understand - in which case they need to ask questions or simply not speak over us as if they are an expert - or because they are pretending not to (which is a behavior I recognize from my past self, hence naming it at all).

It's not really about the understanding. It's about how you respond to it. Naming both is important because to be better, people need to respond to them differently. They need to recognize whether they are getting defensive over a genuine struggle to understand what someone means or over a denying a recognition of their own complicity in ableism. Each has a slightly different solution, but both boil down to not asserting that the person complaining about ableism is wrong and either asking questions or doing some damn introspection to make sure you root out your OWN ableist biases and are a better ally (as an abled person) or not hindering disabled liberation by being an assimilationist (as a disabled person).

Anyway look out for an essay eventually on the specific phenomenon of this manipulation of disabled people's conversations on ableism to shut them down. We will have it up as soon as the hyperfocus strikes.

#ableism #we changed the ID format slightly so feel free to give us feedback #if you're here to whine about how 'everything is ableism' btw yeah. ableism is in fact super pervasive. it is in fact everywhere #the more you listen to disabled people of all kinds the more you realize just how badly ableist our world is #and then you start to realize that YOU'VE been ableist and yeah that fucking sucks #the RIGHT thing to do though is say 'oh fuck I'm sorry' and then work to do better #I don't exactly believe in simplifying people to 'good' and 'bad' but in that moment that you double down instead of doing the right thing #you are in fact not ACTING as a 'good' person and are in fact DOING a bad thing

[squish--squash]

Upon every post I see of the new Tumblr changes, the replies and reblogs are filled with people HATING them, WANTING them to not be implemented, and WARNING how much of a bad idea it's going to be. But staff isn't listening.

But we can try to do something about this, but only if we're coordinated and smart.

the main reason this seems to be happening is to go with the status quo of all the other social medias out there (which makes me feel sick) and because as the CEO said (according to this post from a live session- I highly recommend reading it) tumblr is in the red financially, and needs more financial support.

What the staff fails to realize though is that once these changes are made, they'll go even further in the red from users leaving.

I'm not sure if it'll work, but us as the userbase can put our collective foot down about this, even while our screams of uproar and warnings fall upon deaf ears.

First thing anyone with a phone can do is give the app a 1-star rating and explain why, specifically about the upcoming features and how the previous updates are fucking up things too (there's a 500 character word limit unfortunately, but a lot can still be said under that constraint). People have started to do this, judging by the most recent stream of ratings, but there are over 3 million reviews already, so unless we want to show how mad we are about this by changing our reviews to a 1-star, it's going to stay up.

Second thing is to stop buying stuff from Tumblr. Getting ads? Ad-blocker (unless you're on the app, I wish there was a way to get an ad-blocker on the app; however, you can download firefox on your PHONE and run the website on there with an ad-blocker, so I suggest trying that out). Stop buying checkmarks. Don't buy anything from the shops. Money talks, especially when the CEO of Tumblr is in the red.

Third thing, and the hardest to set up, would be to set an example of what Tumblr's user traffic is going to look like if the changes roll through by logging out and staying off tumblr. This will be hard for people who mainly use this site as their main social media (like me), but it's possible. Watch movies or tend to hobbies. Visit other social medias if you feel like you need to. Go outside and sit in the sun for a little bit. The most impactful form of this would be to stage an organized log-out, but there's just way too many users for something like this to be scheduled, but there's a saying about how something small can pile up and snowball into something massive.

All we want as the users are simple things. We want more accessibility features for our disabled friends instead of having them be screwed over with every new update; we want to maintain what makes this place so special and different from all the other social medias; we want to be able to see and communicate with others, so curate our own unique experiences without having an algorithm try and shove things down our throats like baby birds. And for the financial part of it all, instead of locking things behind paywalls, open donations. Sites like Wikipedia and Archive of our Own are two successful and large sites that are run off of donations. People are more willing to simply donate to a site that runs zero ads than to buy things like the ability to not see ads or to have some sort of custom domain.

I really don't want to leave Tumblr. It's been my primary (and basically my only) social media since I discovered it in 2016. But I'll leave. And I know for a fact a lot of people agree with that settlement

#long post #tumblr update #tumblr staff #how the fuck do I tag this #btw if you could please reblog this #I know this blog is mainly filled with positive things and fandom stuff but I think this is very important to share

[eyes-talks-ocs]

Tagged by @winterandwords !!!

Thank you for the tag. (And people please go check them out, since I created my writing blog I feel like I've been the lost shy puppy following them around haha. I love their blog so much 🖤)

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FIVE THINGS I NEVER TIRE OF WRITING!

Rules: list five things you never get tired of writing. It can be anything, tropes, character situations, themes - whatever brings you joy.

(let me know all of your secret self indulgence, haha).

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No.1: Contradictions.

My favorite characters I have, are nothing but a bucket of contradictions. Macaw, he's the brute with a nasty reputation and a sour attitude that will put you in the ground for looking at him wrong. But - he's gentle. He'll go out of his way to help or comfort random strangers or be a listening ear for someone. Just don't preemptently judge him before he speaks or initiates an interaction. That will determine how he treats you. Lucan, my DnD child. A genuinely kind and friendly guy who wants nothing more than to make the people around him happy. He's carefree and always in good spirits - yeah he's deeply traumatized with anxiety and guilt chewing at him in every silent moment he has. Before running into the current party he's traveling with, he was an honored member of a cult and by his hands, countless people were sacrificed to his gods. In any moment it's called for, he has no problem being brutal and unusually cruel to the point he scares himself by his own actions because he enjoys letting his frustration out a little too much.

No.2: I'll bring you down with me *insert crazy eyes*

Also a trait both Macaw and Lucan share. Just. A complete stupid disregard for their own life? I don't know what to call it. Both of them so jaded with their own actions of the past that it's led to both of them being reckless with no self preservation left to care. Will sink a ship with them on it just to make a point. Will burn a building to the ground with them in it just to watch their enemies burn with them. Fuck around, find out because I am no longer afraid of death and some days I welcome it. Definitely - hurt me so I can feel alive or else I'll do it myself.

No. 3: Symbolism, Symbolism, Symbolism.

Uff. Especially animal symbolism. But everything from the landscape to phrases, to little Easter eggs for myself when I go back through to reread things. It won't bother me if no one else picks up on them. I know they're there and what they mean. My mind works in weird ways and makes strange connections between things and you bet your sweet bippy it's littered throughout all the writing and art I create.

No. 4: Tragic Backstory.

I think that's enough said. I just. It just happens. I create characters just so I can hurt them I guess. Even the ones I make that WEREN'T supposed to be tragic somehow get a little bit of traumatic spice thrown in there. I mean. Look at Lucan. My goal wasn't to have a sad backstory player character. But a happy go lucky adventurer. Well after rolling stats and all that fun stuff I made a backstory that would fit his stats and abilities. Somehow that led to being a cult runaway? Now as the campaign has progressed more and more dark details have been added to his backstory to incorporate and fit into the DM's main storyline. But hey at least he's still a ball of sunshine to be around! (And my DM loves my character's story and every opportunity he gets, he goes ahead and throws a curve ball just to emotionally hurt my character too haha. Like the last one was a small fight with a Kenku and he used my DEAD FATHER'S VOICE to taunt me. Fuck that was something I wasn't expecting the DM to pull. I loved it.)

No. 5: EVERYONE IS BI.

Self projection. I know. I gotta keep reminding myself that not everybody is attracted to everybody. Ha. But reasoning for why basically all my characters are when I try to justify it ranges from: "This is DnD, how could anyone possibly be just straight?" to the dramatic "he's never been treated with compassion or has felt a soft loving touch. He'll bond with anyone who's willing to give him that." and everything in between.

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This tag is open to whoever wants to do it!!

#eyes talks #oc #social throwaways #dnd #dustin #lucan #original character #writing #original writing #writing tag #writblr #writing tropes #tag game

[kanazero-vk]

𝕄𝔹𝕋𝕀 𝕤𝕥𝕒𝕟𝕕𝕤 𝕗𝕠𝕣 𝕄𝕪𝕖𝕣𝕤 𝔹𝕣𝕚𝕘𝕘𝕤 𝕋𝕪𝕡𝕖 𝕀𝕟𝕕𝕚𝕔𝕒𝕥𝕠𝕣.

What are the 4 MBTI types?

The 𝕗𝕠𝕦𝕣 categories are introversion/extraversion, sensing/intuition, thinking/feeling, judging/perceiving.

If you want, I can make another post concerning MBTI and cognitive functions, here I'll be focusing on the 𝕔𝕙𝕒𝕣𝕒𝕔𝕥𝕖𝕣𝕤.

𝔼𝕒𝕔𝕙 𝕡𝕖𝕣𝕤𝕠𝕟 𝕚𝕤 𝕤𝕒𝕚𝕕 𝕥𝕠 𝕙𝕒𝕧𝕖 𝕠𝕟𝕖 𝕡𝕣𝕖𝕗𝕖𝕣𝕣𝕖𝕕 𝕢𝕦𝕒𝕝𝕚𝕥𝕪 𝕗𝕣𝕠𝕞 𝕖𝕒𝕔𝕙 𝕔𝕒𝕥𝕖𝕘𝕠𝕣𝕪, 𝕡𝕣𝕠𝕕𝕦𝕔𝕚𝕟𝕘 𝟙𝟞 𝕦𝕟𝕚𝕢𝕦𝕖 𝕥𝕪𝕡𝕖𝕤. For example, I am an INFJ.

Cognitive functions are mental processes that allow us to carry out any task. There are 8. For example, my main cognitive function is Introverted Intuition (Ni) The INFJ is Ni Fe Ti Se. (Introverted, Intuitive, Feeling, Judging)

(example) Ni - People with this function tend to reach conclusions without a clear idea of how they got there. They are wise, convicted, and always have a plan to work toward a bigger picture and seek to build and understand complex systems.

1. ℤ𝕖𝕣𝕠 𝕂𝕚𝕣𝕪𝕦𝕦 𝕚𝕤 𝕒𝕟 𝕀𝕊𝕋ℙ

ISTPs are often described as quiet, but with an easygoing attitude towards others. ISTPs are not well attuned to the emotional states of others, and they can sometimes be seen as insensitive. They also distance themselves from their own emotions, ignoring their feelings until they become overwhelming.

People with this personality type are fearless and independent. They love adventure, new experiences, and risk-taking. They tend to be quiet observers.

ISTPs enjoy taking things apart just to see how they work. They are logical and rational but are more interested in practical applications than in abstract ideas. They love doing new things and can become bored with routines rather quickly.

People with an ISTP personality are results-oriented. When there is a problem, they want to quickly understand the underlying cause and implement some type of solution.

While they do tend to be reserved, this does not mean that they do not experience strong emotions. Instead, they are good at keeping a cool head, maintaining their objectivity, and coping with crises.

Cognitive functions: Ti Se Ni Fe (Introverted, Sensing, Thinking, Perceiving)

2. 𝕂𝕒𝕟𝕒𝕞𝕖 𝕂𝕦𝕣𝕒𝕟 𝕚𝕤 𝕒𝕟 𝕀ℕ𝔽𝕁

People with this personality type are serious, logical, and hardworking. They are also compassionate, conscientious, and reserved.

They're easy-going perfectionists. Both logical and emotional, creative and analytical. People with this personality type often feel misunderstood. Perhaps it's because they're the rarest MBTI personality type.

With their strong sense of intuition and emotional understanding, INFJs can be soft-spoken and empathetic. This does not mean that they are pushovers, however. They have deeply held beliefs and an ability to act decisively to get what they want.

While they are introverted by nature, people with this personality type can form strong, meaningful connections with other people. They enjoy helping others, but they also need time and space to recharge. People with this personality type like to exert control by planning, organizing, and making decisions as early as possible.

When making decisions, INFJs place a greater emphasis on their emotions than objective facts. But this doesn't mean they see the world through rose-colored glasses. INFJs understand the world, both the good and the bad, and hope to be able to make it better.

3. 𝕐𝕦𝕦𝕜𝕚 𝕂𝕦𝕣𝕒𝕟 𝕚𝕤 𝕒𝕟 𝔼𝕊𝔽𝕁

People with an ESFJ personality type tend to be outgoing, loyal, organized, and tender-hearted. ESFJs gain energy from interacting with other people. They are typically described as outgoing and gregarious.

ESFJs are conscientious helpers, sensitive to the needs of others, and energetically dedicated to their responsibilities. They are highly attuned to their emotional environment and attentive to both the feelings of others and the perception others have of them. ESFJs like a sense of harmony and cooperation around them, and are eager to please and provide.

They are assertive and concerned with making sure things run smoothly and according to the rules.

They have strong beliefs and possess sensible judgment—and they expect that others will uphold these same principles as well.

They tend to be very frank and honest when it comes to sharing their opinions, which can sometimes be seen as harsh or overly critical.

4. If you want to know your personality type, I suggest taking these tests:

- keys2cognition

- John's test

- idrlabs

- ojets

STRENGTHS AND WEAKNESSES IN THE PICS BELOW

Zero

Kaname

Yuuki

#vampireknight #zero kiryuu #kanamekuran #yuuki kuran #vampire knight memories #eternalyume #radiant zeki #mbti personality types #infj #istp #esfj #myers briggs #mbti thoughts #vampire knight blog #i'm an infj like kaname chama :3 #pureblood #vampire hunter #personality types

[nikitafiber]

Questions of the Week 11/15

1.) What are you most proud of?

I am not sure exactly of what I am most proud of. I have thought about this now for a couple of days and I cannot come up with one specific thing that elicits only a sense of pride within me, but I will share something that I do feel good about.

Mental health is greatly stigmatized around the world, but also in the United States. For a country that claims to be number one in the world, and might be in terms of military power, our health education and health access is poor. The limited access to proper healthcare goes on to limit the access to reliable information. As our society changes and newer generations face more issues than were prevalent in the past, mental health proves to be a larger issue that demands more public attention than what it receives. With this being said, getting help with mental health issues is by no means easy. There are many hoops to jump through and getting prescribed the correct medication can be challenging due to insurance issues, discrepancies among healthcare providers, and various drug restrictions. The irony in this is that making mental healthcare access harder, makes people who do suffer with these issues less likely to want to get help even if they know about resources that are available. I have found this to be the case within my peers, they know there is a problem, or they have a diagnosis, but they do not want to go through re-evaluation, testing, and dealing with insurance companies. But I am proud of my perseverance with my own mental health issues. Being able to realize that there is an issue, going through finding a responsible provider that will conduct the correct testing, and having to follow up with my insurance companies regarding medications was and continues to be very tiring but I am proud that I was able to get through these obstacles. I am now able to live a much better quality of life. Mental health is as important as physical health, but it is harder to identify, making it easy to scrutinize and judge someone for. But knowing first hand how bad it is to struggle with these afflictions has given me the ability to have more empathy towards others. I feel like after getting the help that i needed, I am able to contribute better in society and have a better outlook on helping other people as well and this is what I am proud of.

2.) What makes artwork good or bad?

EDIT: ok, so I clearly misinterpreted the question, but since I took all the time and effort to type out this rambling mess, I will honor my past self and let it stay. I will answer the correct question below.

What constitutes as good or bad is relative. People or things are only deemed as "good" or "bad" in comparison to other people or things that exhibit what is socially deemed as the "normal". So, essentially, people's perceptions are the main determinants of what is considered good or bad. Perceptions are inherently biased based on unique experiences, environment, and culture. These same concepts apply to art, as work can be neutral, but after it is perceived by a brain and processed by the frontal cortex, in which creativity and thoughts are formed, it can be deemed as good or bad by the audience. A work can be deemed as bad, in accordance to societal norms, but that does not necessarily make it objectively bad. Perceptions and interpretations vary, therefore I believe that nothing is truly good or bad, but it is the way that art is perceived that people may constitute it as good or bad.

Now, what makes someone perceive something as good or bad is usually determined by what is considered "normal" by most. Normal, in itself does not mean good or bad, but people usually associate it with a neutral connotation, as if normal is a baseline to which various things are compared to in order to form judgements. I understand that this is a very concrete and almost scientific interpretation of the word, but I feel like this currently applies to abstract things such as art. What is generally considered to be "good art" by the majority becomes a baseline to which other artist's work is compared to. To draw a comparison, "normal" is like a statistical average in which variances in data are compared to to determine abnormalities, extremes, or outliers. While this concept is invaluable to scientific methods of discovery, it does not makes sense to deem art as normal. Creating a norm in art, results in other artist's work being compared, thus being deemed either good or bad.

EDIT: This is my actual answer. After the question was talked about in class, I realized what I had typed in advance is not what the question was really asking. What I think makes artwork is good is not based on what is traditionally considered "good", but seeing how much time and thus effort was put into the work itself. Time, in my opinion, is the ultimate sacrifice, does not matter what it is you are doing, time is limited and therefore there is value to it. It is something we as humans require to be able to do what we are passionate about. Knowing or even being able to look at the work and see the time that an artist put into a work is so beautiful to me. Regardless of what they make, or if their work is pleasing or not to look at, knowing that so much time and passion was placed on a piece of art reflects the passion of an artist. This is what I think makes artwork good.

[supersaiyanjedi14]

RCA: Sources

My primary source for analysis will always be RWBY itself; the show and its trailers. If the character has sufficient combat feats in the show proper, then tie-in material such as books, comics, or video games can be overlooked since they don't tell us anything we don't already know. If the character is only sparsely shown, however, then tie-ins will become relevant or even necessary to flesh out their capabilities. At the same time, I am judging the viability of sources on a case-by-case basis, and their material can still be included or omitted depending on how consistent they are with each other in relation to the character in question. Just as a brief rundown for what I mean;

-The World of RWBY: The Official Companion and the bios for RWBY: Amity Arena will almost always be included, as the information in the former adds names and certain functions to the characters' weapons, powers and abilities, while the former usually is just in-universe biographical information. These sources are generally pure worldbuilding and have no conflict.

-The tie-in novels written by E.C. Meyers are the most case-by-case examples here, given the...inconsistent quality of them. While there is a good deal of worldbuilding and expansion done, certain characters either mesh poorly with the show or inform little of their combat capabilities. In the case of Sun Wukong, his ample combat showings in the show proper make his feats in the books redundant, and the only relevant details are tied to his serious mischaracterization.  In the case of Velvet Scarlatina, her limited appearances in the show, both character-wise and combatively, mean that her appearances in the books are not only necessary to flesh out her capabilities, but also still consistent with what appearances she did have. Similar stuff accounts here and there (on the extreme side of things, Carmine Esclados is exclusive to the books and therefore needs them for analysis, while the less said about what they did with Neptune the better.)*

-RWBY: Ice Queendom, the spin-off anime currently being aired at the time of this blog’s debut, is currently not being considered in my analysis due to the nature of the main story.  Aside from the adaptations of Volume 1’s battles, all the relevant combat showings in this series take place within the Dreamscape realms created by the Nightmare Grimm.  All the individuals present either being projections from the subconscious of the Nightmare’s victim or astral projections inserted into the realm by Shion Zaiden’s Semblance, and they consistently display various skills and powers that they lack in the main series.  In simpler terms, Ice Queendom’s showings are the equivalent of the main action in the film Inception; it is, for all intents and purposes, a dream sequence, and therefore cannot be taken as a definitive or accurate gauge of the combatants’ capabilities.

-The RWBY comic series published by DC and written Marguerite Bennett will not be considered in any capacity whatsoever. This is due to the sheer number of continuity snarls, characterization problems, and complete lack of consistency with the main timeline. Considering how heavily my analysis focuses on the combatants' development and personality informing their skills and tactics, these snarls are a massive issue beyond the poor quality of the work. The sources are completely incompatible with each other, to the point where I am surprised that they have not been officially deemed non-canon despite the glaring inaccuracies. As much as I complain about how Meyers messed up certain characters, these are ultimately still minor hiccups compared to just how broken Bennett's comics make everything.

*Just so we are clear, these are all my personal opinions on the tie-in work related to my own issues related to them. I am not some gatekeeping asshole who tells people what they can or cannot enjoy. If you like Before the Dawn or the RWBY comic, more power to you. All I ask is that we be respectful of each other's stances.

And on that note (and I hate that this has to be said), if you agree with my positions, do not, I repeat, do NOT attack the creators of tie-in works. Meyers and Bennet were professionally contracted to write and were merely doing their jobs. The quality of their work has no bearing on their persons or their status as people. If the work is bad, say so, but don't become a freaking supervillain. If you are someone with no respect, kindly read something else. I will not tolerate my words being used as ammunition for attacking creators.

#rwby #rwby combat analysis

[mahoneyhaastrup41]

Social Media Marketing With Video - Get Famous Online!

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#COREL VIDEOSTUDIO PRO

[ohmyeyesmyeyes]

hi, i just wanted to say i loved your charles oneshot :) i was wondering if you could do an enemies to lovers w/ daniel ricciardo? thanks!

DANIEL RICCIARDO ONESHOT

TEMPORARY STRANGERS

( WARNING: swearing, alcohol, blood/injury, little bit of fluff/angst? )

word count: 5.4k

< this is my attempted version lol >

You’d debated whether or not to go to Theo’s party. For one, it was on a Thursday night, which, in itself, was rather tragic for a party thrown for an adult because surely he had to have thought that most people would be working on a Thursday night? Secondly, you had an early shift at the hospital in the morning, so you weren't sure if staying at a party fit for Blair Waldorf for a couple of hours was entirely worth your presence.

But, after a persuasive conversation on the phone — in which Theo spent the majority of it begging you to make an appearance — you’d caved and now you found yourself standing in the middle of a kitchen sipping on a lemonade, expertly avoiding everyone’s eyes and wondering why you agreed to come in the first place.

The apartment was a large, luxurious one, decked from head to toe in pricey decorations and with an open-plan layout. You even had half the mind to compare it to what you imagined a Royal Palace looked like.

In other words, it was big and incredibly tasteful and fancy, in the most annoying way possible.

Then again, Theo did own a successful Estate Agency, which specialized heavily in selling buildings in the centre of London. The money pooled from that spoke for itself, and it also meant that since university he’d met people in all aspects of his work, all of which looked like they’d been invited to his party, which unfortunately meant you didn’t know anyone, and the couple that you did, you had absolutely zero intentions of actually talking to them.

The guests themselves were glamorous, dressed to the nines and decked with expensive watches and jewellery, and you felt out of place wearing your best dress with your favourite high-tops and a blazer.

On another note, the lemonade and food were delicious. It was almost as if he’d hired a private caterer and then shoved them out of the back door before people started arriving.

“You know, I didn’t think you meant it when you said you’d come.” A smooth voice knocked you out of your reverie, and you whirled around, hastily swallowing the lemonade when you noticed the familiar blonde that you’d befriended in uni.

“I didn’t think I did either if that makes a difference.” You replied, biting the inside of your cheek as Theo rolled his eyes, making his way around the kitchen island to place a couple of collected empty glasses near the sink.

“Well, are you having fun?” He asked, leaning back against the counter next to you, his shoulder judging yours teasingly.

You hummed, narrowing your eyes, “Not as much fun as when you crashed my Grandparents party and scared away the boy they tried to set me up with, let’s just leave it at that.” You breathed a laugh, swirling the lemonade in your cup as if it had suddenly become the most interesting thing.

“Oh, I haven’t had that much fun in ages.” He said, his attention turning to the other partygoers in the near vicinity, his eyebrow raising as he spotted someone trying to sneak one of his clocks into their bags without being caught. It didn’t work; they saw his gaze and turned a suspicious shade of red and pretended as if they’d simply been admiring the thing before walking away.

Theo cleared his throat, adjusting his tie.

“I think I’m just gonna…” he trailed off, his finger pointing in the direction of the culprit, an apologetic look in his eyes. You nodded, breathing a short laugh in understanding.

“I think I’m going to head out anyway—”

“Oh, please stay.” He held out a hand, silently begging for you to stay.

You hadn’t seen each other in at least a couple of months because of clashes with schedules, and it was getting to the point where the odd texts and phone calls and video calls were starting to feel more like a chore than a privilege. You had been close friends for the best part of ten years now, and you were still close, but adult life was more difficult than you expected trying to balance relationships and work.

You breathed in deeply, eyes flashing around the guests, accidentally catching the eye of Daniel and flicking your attention back to Theo hastily.

“I’ll stay for now but I’m going home in an hour, I have an early shift in the morning.” You promised, offering a small smile as Theo nodded, returning the gesture before disappearing into the throwing of people.

It wasn’t long before you were approached by an unfamiliar face. She was — like all the other people in the room — dressed nicely, and she stumbled slightly in her heels, almost running into you.

“Oh, shit, sorry about that.” She muttered, and you could smell the faint, bitter scent of alcohol on her breath, indicating that she wasn’t completely sober.

“Oh, it’s no problem.” You reassured, asking if she wanted something else to drink, seeing as though you were standing next to the drinks table and the fridge.

She shook her head, instead resuming Theo’s place against the counter next to you.

“Do you see that man over there?” She whispered, pointing her finger in the direction of the crowd out in the living area.

You furrowed your eyes, trying to lean slightly to make sure you could see who she was pointing at.

“I think you’re gonna have to be more specific because there’s about thirty people in that general direction.” You said, resisting the urge to laugh as the woman sighed, shuffling closer to the group and standing in her heeled tiptoes to see over the sea of heads.

“Okay, so he’s about 6 foot, brunette, curly hair…” she snuck a glance at you out of the corner of her eye to make sure you were trying to look out for the person she was talking about, “really fit and has an Italian nose.” She concluded.

You pursed your lips, suddenly feeling quite awkward in the presence of a stranger. You averted your eyes back to the pile of drinks on the kitchen island and halted your actions in searching for who could only be Daniel Ricciardo.

She noticed your reaction and gasped loudly, her hand flying to her mouth as if you just spilled the hottest gossip of the season.

“You know him.” She stated, stepping back slightly with an accusatory shine in her eyes.

“I don’t know him, I just know of him.” You lied, trying to brush the topic off as subtly as possible.

“Nuh-uh,” she said, taking your arm and ignoring the cry of protest from your lips as she dragged you away from the kitchen area and into the heart of the party, where the chatter was significantly louder, “I don’t believe that. You can introduce us.” She insisted.

You dug your heels into the floor as best as you could, trying to push away the wave of panic that surged through your veins.

“Lady,” you started, ripping your arm out of her iron grip, “I don’t know him.” You reiterated.

“If you don’t know him, how can you know of him?” She enquired snarkily, arching a perfectly plucked eyebrow in your direction.

“How can you not know of him?” You returned, shrugging. Her face remained blank, and it occurred to you she really didn’t know who Daniel was. “That’s Daniel Ricciardo. Formula 1 driver for McLaren this year.” You told her, straightening out your blazer uncomfortably, unaware of the eyes on you from the other side of the room.

“Formula 1? So he’s, like…a millionaire?” She licked her lips,sultry eyes slipping over the crowd and fixating on who you assumed to be Daniel.

You cringed, resisting the urge to turn your nose up at her. You suddenly regretted telling her about his career because even a blind man could see that his money was the main thing on her mind at that moment in time.

You neglected from answering her question, instead trying to slink back to the kitchen, but you were interrupted by the scuffle of feet and the sound of something shattering before an obvious cry of pain was heard throughout the room, nearly drowned out in the volume of the music pumping from the speakers.

You swivelled back around, and several people had stepped away from the scene leaving an open gap in the crowd as more people gathered around to see what the kerfuffle was.

The girl had disappeared seemingly into thin air and you were about to take the moment of peace as an opportunity to leave, but Theo’s voice called your name over the crowd, laced with urgency.

You furrowed your brows in confusion, heart pounding with anxiety at the panic in his voice. You made your way to the crowd, apologising to people as you pushed your way through to get to the centre of all the attention.

As soon as you edged into Theo’s vision, he dragged you by the elbow into the centre, pointing to the person who’s cry of pain was heard over the music.

Blood was dripping from a deep gash in the palm of their hand, and the person in question looked a little pale, holding their hand up above their head, a permanent wince etched onto their face. Despite that, they looked rather uncomfortable with all the attention, and it was this that caused Theo to turn to the crowd and usher them away.

“I have a first aid kit in the bathroom.” Theo informed you, and you wasted no time in helping the injured person raise their arm higher above their head, guiding them through the crowd with a secure arm around their waist.

“A cut on my hand doesn’t hinder my ability to walk, okay?” They tried, shifting out of your grip.

“No, but if you pass out, it hinders my ability to patch you up.” You retorted, hurriedly passing your glass of lemonade back to Theo.

The person let a weak, sarcastic huff pass their lips, but they let you guide them to the bathroom, keeping an eye on the blood dripping down their arm and creeping into the sleeve of their blazer.

“Toilet or tub?” You asked, kicking the door shut behind you and casting a weary glance back at their hand.

“Depends on the context.” They answered.

You rolled your eyes, settling them on the toilet and quickly rifling through the sink cupboards, locating the first aid kit with ease.

“I’m gonna need you to take off your blazer.” You said, never imagining that you’d say those words to Daniel Ricciardo of all people.

Your relationship with Daniel was weird to say the least. You first met at — surprise, surprise — Theo’s party a few years ago. You’d gotten along swimmingly, perhaps a little bit too well, and it was safe to say he was incredibly charming and cursed with good looks. You were quite good friends, actually.

Until one day he pulled a face at you when you approached him at an award’s evening of some sort. You’d got no idea what happened to elicit such a negative reaction, or any idea on what you could have done, but he’d sneered at you and turned around, making conversation with the person next to you. He’d never explained why, but ever since that day he’d ignored you as much as possible, and it wasn’t exactly hard not to enjoy his company when he was so obviously disgusted with your presence.

Maybe it was the fact that you only managed to snag one piece of cake that night.

“You want a striptease? At least take me out for a date, first.” He muttered, pressing his lips together in obvious discomfort as he peeled his blazer off, being cautious of the blood. “I don’t even know why you’re bothering with this anyway, I’m fine.” He insisted.

You perched yourself on the edge of the bath, placing your bag on the tiled flooring and zipping open the first aid kit.

“Dan, you’re dripping blood…you’re clearly not fine.” You muttered, carefully rolling his shirt sleeve up past his elbow, ignoring the fact that this was the first time in a long time you’d been this close to him. Ignoring the fact that he looked positively fine in a suit, minus the blood.

He let out a shuddering breath, closing his eyes and shifting uncomfortably under your touch.

You turned his hand over, assessed the gash and winced, trying to ignore the tingling, uncomfortable sensation mirrored on your own palm as your eyes ran over the gash. It ran the width of his palm, and it didn’t take a genius to notice that it was quite deep in some places.

“Can we please be quick?” He sighed, his other hand smoothing out non-existent creases in his dress trousers.

You hated to admit it, but his words stung.

“Can you at least pretend like you don’t hate me, for fifteen minutes at least?” You said, an unintentional fierceness to your tone, one that you’d tried your best to dial down in his presence, but it seemed to no avail.

“Only if you do the same.” He muttered, and you took the liberty of ignoring his comment, reaching to fish an antiseptic wipe from the first aid kit, gently dabbing at the edges to clean off some blood so you could see the extent of the damage. You flexed his hand, ignoring his hiss of pain as the cut stretched slightly.

“What was that for?” He asked, his free hand slapping your hand as he fought to take his cut up hand out of your grip.

You opened your mouth in surprise, the skin on your own hand stinging slightly with the sudden contact.

“Don’t slap me! I’m trying to make sure you don’t have glass in it, you twat.” You said, shaking your head, “Which it doesn’t, by the way, so you’re welcome for checking.”

“How did you even know to check for glass?”

“Because there was broken glass on the floor?” You answered, applying pressure to the wound and lifting his hand a little higher again.

He huffed, turning his face away from you, so he was facing the wall, his lip curling into a sneer.

You rolled your eyes, “What did you mean when you said ‘only if you do the same’, anyway?” You murmured, keeping one hand on the wound and reaching to the floor to pick up your bag and unclip the front.

He narrowed his eyes, watching you root around in your bag for something, and he was about to say something, before he was interrupted by a knock on the bathroom door.

“Everything ok in there? Everyone still alive?” Theo’s muffled voice echoed into the room.

“We’re fine.”

“Yeah.”

Daniel grimaced, brown eyes burning through the door as if he was trying to send a telepathic message to Theo through the door.

“Good.” Was all Theo said before the full sound of his shoes against the wooden veneers could be heard on the other side of the door.

You hummed in delight, producing the very thing you were originally looking for in your bag.

“Haribo?” Daniel asked, raising his brows expectantly.

“To get your blood sugar levels up, you’re still pale.” You answered, ripping open the packet, and just as you were about to pour the sweets into Daniel’s outstretched hand, you paused, recoiling.

“What?” He asked, noticeably frustrated that he wasn’t scoffing the sweets.

“Why don’t you like me?” You questioned, biting on the inside of your cheek anxiously as he stared straight at you, his face expressionless.

He was quiet for a while, and you almost told him to forget you even said anything because the simple question looked like it hit home, but he opened his mouth, quickly closing it again. He looked at you from behind furrowed brows, apparently confused by your question.

“Why don’t I like you?” He repeated the question. “Why don’t you like me?”

You gaped at him, your cheeks flushing with irritation at his words.

“I don’t—I never—” you sighed in frustration, the hand clutching the packet of Haribo clenching unconsciously as Daniel looked at you with mild concern, “Why the hell would you think I don’t like you?”

He blinked, casting his sights back to the wall, ignoring your eye contact.

“Theo told me you, and I quote, ‘hate me’,” he answered, swallowing roughly as you continued to stare at him.

His discomfort under your gaze brought a sick sense of satisfaction, but at the same time you were having difficulty wrapping your head around what he’d just admitted.

“Theo? My Theo?” You clarified, arching an eyebrow.

He nodded.

“When did he tell you that?” Your heart was starting to hammer in your rib cage, the power of which was almost painful to endure.

“When we went clubbing a while back,” he shrugged.

“Why would he—?” You muttered, before turning back to Daniel. “Are you sure he said that?”

“Positive.”

“So you’ve been so hostile towards me for months now, all because of something someone else said to you in a dark, loud club when you were — let’s face it — probably drunk?”

Daniel sucked in his cheeks, now realising how there would have been so many chances for misunderstanding in such an environment.

“Yes…” he replied, dragging the word out slowly, trying his best to take his mind off the way your grip on his wound was slowly increasing.

“I never said I hate—”

“So…you don’t not like me?” He interrupted, his eyes wide.

“No…Yes…I don’t know how I’m supposed to answer that, but I never hated you.” You said, ducking your head down at his intense glare, instead turning your attention back to his bleeding hand, carefully peeling off the gauze to take a peak. You suddenly remembered the scrunched up packet of Haribo still clutched in your grasp, and you shoved it in Daniel’s direction, not bothering to even look at him when he took it, humming quietly in thanks.

He didn’t know how to respond to that, the revelation sending his mind spinning about a hundred different directions.

He was mad at Theo, even if what happened wasn’t entirely his fault, but he was mostly mad at himself for not even bothering to try to talk to you and hash it out. The months he spent trying to ignore you were completely miserable, and the worst part is, he put you through hell without even giving you any reason, and all of that ignorance was not even worth it…that is, if what you said was true.

“Oh.” Was all he said, taking to watching you strap up his hand after telling him he (thankfully) didn’t need stitches, but he did need to rest it for a while, which was probably for the best because the F1 Summer Break was currently in full swing.

Once you’d put the soaked gauze in the bin and tidied everything away to how you’d arrived before the bloodbath ensued, you stood up, brushing nonexistent dirt off your dress, and offered Daniel a rather confused smile.

He bit his lip in thought, your eyes unconsciously zipping to his mouth, before steering your gaze back up to his eyes when he caught you, raising his eyebrow slightly, a pale shade of pink tinting his cheeks as he fought back a smirk.

You turned away, looking at the door, which was very much tempting you at that moment in time.

He cleared his throat once he’d noticed your attention flicker away from him, and it was only then he registered he practically craved you to be looking at him. Whenever he was at functions with Theo, he would always unknowingly search for you, even when he thought you hated his guts, he’d still scan the crowd of unfamiliar faces in the hopes that he’d see you again.

He chewed on the inside of his cheek nervously, feeling your eyes on him. It was as if he’d suddenly melted into a teenager again right beneath your eyes. He cleared his throat again, sinking back against the toilet in an attempt to make himself smaller at the revelation he’d just arrived at.

It was weird, seeing him so shy when he was naturally such an outgoing character.

You found a part of your brain secretly admiring his flustering, but you quickly shut that down, reminding yourself that you shouldn’t be having those thoughts, especially since you’d just had to mop up a slice on his hand.

“I think I’m gonna go grab a drink and join the fray.” You said, hating the way your voice sounded so small against the echoing walls of the bathroom tiles.

Daniel snapped his eyes to yours, holding them intently, slightly alarmed at your words.

The last thing he wanted was for you to leave him; call it soppy, but he wanted to make up for lost time as soon as he possibly could, and he knew there would be very few opportunities considering both your careers were so demanding.

“Um…” he cleared his throat, “Yeah, I just want to say, thanks for all of this.” He gestured down to his hand, and you smiled.

“No problem. Just…stay away from broken glass for a bit and you should be fine.” You mumbled, words not registering in your brain as Daniel breathed a small laugh, looking utterly starstruck and sad at the same time.

“I’ll try my best.”

You offered one last smile, checking you still had your bag, and without another word you slipped out of the bathroom door, hearing the handle click behind you.

You could still hear the thumping remnants of the party in the next room, and without really caring who you bumped into along the way, you made a beeline for the kitchen, filling up a plastic wine glass with the nearest spirit and downing it as quickly as possible. You wiped your mouth with the back of your hand, immediately feeling guilty because of the early shift, and hurried to fill the glass back up with water, trying your best to dispel the effects of alcohol before they even had an impact.

It seemed to work.

Your head was spinning, unrelated to the liquids you’d just absorbed, but because of the bathroom fiasco that had just occurred only moments prior.

You were that caught up in your own thoughts, trying to separate fact from fiction and thought from feeling, that you completely missed the very brunette on your mind stride past the kitchen and into the living area, looking like a man on a mission as he tried to seek out Theo.

It didn’t take him long, he just had significantly more trouble trying to shake off a blonde that refused to let go of his arm, and he found Theo leant against a table, looking worn out, his mind absent from reality.

In the time it took for you to patch Daniel up, it looked as if Theo had faced a war and somehow escaped.

“You okay?” Daniel asked, hand clapping into Theo’s shoulder in an attempt to bring him back to reality.

He jumped, immediately relaxing when he registered just who was standing in front of him.

“I’m fine, but if that…person over there takes another step towards my Grandma, he’s not going to know what hit him.” He answered, finger pointing at a rather suspicious looking man.

“I don’t see a Grandma anywhere.” Daniel pointed out, slightly concerned.

Theo rolled his eyes, as if he’d had to answer the question a million times already, “She’s the purple one on the mantelpiece.” He muttered, taking a swig of whatever was in his glass.

Daniel nodded, feeling guilty for even bringing up the topic, but the completely detached behaviour from Theo was giving him a hard time in focusing on what he actually came over to do.

“Sorry about that, mate.” He apologised, breathing in deeply.

Theo shrugged.

“Anyway, does Y/N still have the same phone number or did she change it?” Daniel questioned, attempting to pretend like the question wasn’t that big of a deal by shrugging and avoiding making eye contact with Theo, but the raise of the eyebrow and curious, piercing blue stare proved that his attempt was futile.

“I knew you still liked her.” Theo chuckled.

“Am I that transparent?” Daniel quipped, pressing his lips together in a tight line.

“Only for me.” Theo grinned, patting Daniel’s cheek.

Daniel pulled a face, swiping Theo’s hand away.

“But no, she’s still got the same number. Why’d you ask?”

Daniel shrugged, already backing away, attention flickering around the room, once again searching for something — the action of which didn’t go unnoticed by Theo, who positively cackled inside, “Just curious.”

“If curious means ‘I-fucked-up-with-a-really-good-person-big-time-and-I-need-to-make-it-up-somehow-before-I-ask-her-out-for-real-this-time-instead-of-practicing-it-in-the-mirror’, then, whatever you say.”

“That was ages ago!”

“People don’t forget!” Theo yelled, smirking in triumph as Dan disappeared around the corner, no doubt searching for you.

You were sitting on the cold, stone steps outside the apartment building, your phone in your hand and debating whether or not to call a taxi or walk home before it gets too dark.

Your thumb was hovering over the call button to your local taxi when the building doors slammed open, the sound of shoes slapping against the concrete as a tall figure leapt down the last three steps, running a hand through their curls in frustration as they looked left, then right, and sighed, reaching into their jacket pocket to produce their phone.

You couldn’t see their face, only the back of their head, but you’d recognise that figure anywhere.

You looked down, your heart stuttering at the sudden buzzing of the phone in your hand.

You narrowed your eyes, resisting the urge to laugh at the hilarity of the situation, and answered the call, lifting the phone up to your ear, your eyes fixated on the pacing figure on the pavement, watching him from your spot at the top corner of the stairs.

“Hello?” The person asked, sounding a bit breathless through the phone.

“Hi.”

“It’s Daniel...Ricciardo.” He winced at his own awkwardness.

“I know. You’re still saved in my contacts.”

“I am?” He replied, tone laced with shock.

You were almost embarrassed to admit that you’d held onto a little shred of hope in thinking he’d eventually get over himself, “You had a paddy with me, remember?”

“About that, I’m really sorry. Like, really, really, really,really, really—”

“I get the idea.” You sighed.

“No, I don’t think you understand how sorry I am for it. It was so insanely stupid of me to stop talking to you because of something I thought I heard in a club — a fucking club of all places — without even thinking of talking to you—”

“Why didn't you talk to me?”

He was silent for a while, and you noticed he’d halted his pacing on the pavement. “I know it sounds like I’m making up excuses, but I really thought you hated my guts, and that...it hurt because I kind of had a bit of a crush on you and I pushed you away because I think a subconscious part of my mind thought that if I did that then it would be better in the long run because I wouldn’t be so attached to you if something went weird later on.” He explained, his voice lowering and quieting towards the end, as if he’d just understood what he didn’t understand.

“That’s...a lot to unpack.” You murmured, noticing the way his shoulders had slumped.

“Yeah...we don’t have to do it right now, though.”

“No, I agree, I think we’d need a nicer place to sort though our emotional struggles than outside Theo’s apartment building.”

“Yeah, it’s a bit weird — what?” He caught himself, spinning around on his heels.

You offered a shy wave once he’d tilted his head in your direction, realising you’d been watching him talk to you the entire time.

“I was looking for you.” He said once he’d hung up the phone, meeting you halfway on the steps.

“Why?”

“Can I walk you home?” He resorted to asking.

_____

The journey home took about twice as long as it usually would, and by the time you’d both made it onto your street, night was beginning to creep through, the sky changing to a darker blue, street lamps beginning to turn on.

The conversation flowed remarkably easily, albeit there was a noticeable hesitance in dancing around that subject, but you pretended not to notice it, and you had a feeling Daniel was trying to do the same.

He kept glancing at you out of the corner of his eye, almost disbelieving of that fact that you were in front of him, even after what he’d put you through, and he had to keep catching himself to ensure you didn’t notice him looking.

You did.

“So, how are you feeling about going back after the Summer Break?”

He stifled a smile, “I don’t know why, but I have a really good feeling about going back. You know what? It has to be those Haribo’s.” He breathed a laugh.

“What? I hand out magic Haribo?” You smirked, shaking your head in disbelief.

“Yep.”

“No.”

“You say that now, but you’ll take it back when I get a podium.”

“When you do win, just don’t go around telling everyone about my magic Haribo.”

“Oh, the Haribo are reserved for me and for me only. It won’t have the same effect if you give some to Lando.”

“I’ll just take your word for it, I guess.”

You breathed a laugh, coming to a halt on the pavement, the familiar house standing to your left.

Daniel looked up.

“I thought you had a Fiesta?” He asked, pointing to the blue Hyaundi parked on the driveway.

“I’m sorry, is my car not up to the standard you’re used to?” You questioned, raising an eyebrow teasingly in his direction.

“Oi, I’ll have you know that I learnt to drive in a — I can’t even remember what model it was, but I do remember having to really press down on the brake…and the air con was broken.” He defended, throwing his hands up as if to say he was surrendering.

You bit your lip, “I learnt to drive in a Mercedes.”

His reaction was priceless.

“A Mercedes? You learnt to drive in a—wow.”

“It was just the company car, I didn’t really have a choice.”

“Still…wow.” He paused, feet tapping the pavement agitatedly, “I have a proposal.”

You met his eyes, unable to help feeling slightly anxious by the prospect.

“Go on.” You encouraged, crossing your arms tightly.

“If I win a GP…wait—can we make a deal?” He asked, throwing his hand out.

You nodded.

“If I win a GP, I get to take you on a date.” He offered, raising one eyebrow but somehow maintaining eye contact.

“But…what’s in it for me?” You smirked.

He scoffed, rolling his eyes, “That’s so rude…but, okay…I take you to Monza, and if—when I win a GP, I get to take you out. For my own sake, I’m gonna pretend like I will win one because I don’t know what I’ll do if I don’t.”

“You’ll win one.” You stated simply, shrugging.

“What makes you so sure of that?”

“Because you’re Daniel Ricciardo, when have you ever not been successful in a car?” You asked, pulling a face as if it was obvious from the get-go.

Daniel didn’t say anything after that. He just sort of looked at you, twisting his mouth up in thought. You couldn’t tell what was going through his mind at that moment in time, but you had a sneaking suspicion he was trying to believe your words.

“You really believe that?” He finally said, a hint of what sounded like insecurity laced in his tone.

“You don’t?” You shot back, your heart breaking slightly at his demeanour.

“I never left.” He mumbled under his breath, turning away from you slightly with furrowed brows, seemingly having a conversation with himself.

You knew those words would stick around in your mind for a long time.

But there was something so addictive about ‘Daniel Ricciardo wins the 2021 Italian Grand Prix’.

#daniel ricciardo #f1 #f1 imagine #f1 oneshot #driver x reader #daniel ricciardo imagine #daniel ricciardo oneshot #mclaren #daniel ricciardo x reader #enemies to lovers #f1 fanfiction #fluff #angst

[lokiondisneyplus]

'Loki' takes over: Tom Hiddleston on his new TV series and a decade in the MCU

Ten years after Hiddleston first chose chaos in Thor, Marvel’s fan favorite God of Mischief is going even bigger with his time-bending Disney+ show.

Tom Hiddleston is Loki, and he is burdened with glorious purpose: After playing Thor's puckish brother for over a decade in the Marvel Cinematic Universe, no one understands the mercurial Asgardian God of Mischief as well as the actor. He can teach an entire seminar on Loki if given the opportunity — which he actually did during pre-production on his forthcoming Disney+ show. In conversation, Hiddleston quotes lines from his MCU debut, 2011's Thor, almost verbatim, and will playfully correct you if you mistakenly refer to Asgard's Rainbow Bridge as the Bifrost, which is the portal that connects Loki and Thor's homeworld to the Nine Realms, including Midgard, a.k.a. Earth. "Well, the Bifrost technically is the energy that runs through the bridge," he says with a smile. "But nine points to Gryffindor!" And when he shows up to the photo shoot for this very digital cover, he hops on a call with our photo editor to pitch ways the concept could be even more Loki, like incorporating the flourish the trickster does whenever magically conjuring something. The lasting impression is that playing Loki isn't just a paycheck.

"Rather than ownership, it's a sense of responsibility I feel to give my best every time and do the best I can because I feel so grateful to be a part of what Marvel Studios has created," the 40-year-old Brit tells EW over Zoom a few days after the shoot and a week out from Thor's 10th anniversary. "I just want to make sure I've honored that responsibility with the best that I can give and the most care and thought and energy."

After appearing in three Thor movies and three Avengers, Hiddleston is bringing that passion to his first solo Marvel project, Loki, the House of Ideas' third Disney+ series following the sitcom pastiche WandaVision and the topical The Falcon and the Winter Soldier. Led by head writer Michael Waldron (Doctor Strange in the Multiverse of Madness, Heels), the six-episode drama sees Hiddleston's shapeshifting agent of chaos step out from behind his brother's shadow and into the spotlight for a timey-wimey, sci-fi adventure that aims to get to the bottom of who Loki really is. "I wanted to explore slightly more complex character questions," says Waldron. "It's not just good versus bad. Is anybody all good? Is anybody all bad? What makes a hero, a hero? A villain, a villain?"  

Even though Loki — who loves sowing mayhem with his illusion magic and shapeshifting, all with a major chip on his shoulder — has never been one for introspection, the idea of building an entire show around him was a no-brainer for Marvel. When asked why Loki was one of the studio's first Disney+ shows, Marvel president Kevin Feige replies matter-of-factly, "More Hiddleston, more Loki." First introduced as Thor's (Chris Hemsworth) envious brother in Kenneth Branagh's Thor, Loki went full Big Bad in 2012's The Avengers. That film cemented the impish rogue as one of the shared universe's fan favorites, thanks to Hiddleston's ability to make him deliciously villainous yet charismatic and, most importantly, empathetic. The character's popularity is one of the reasons he's managed to avoid death many times.

"He's been around for thousands of years. He had all sorts of adventures," says Feige. "Wanting to fill in the blanks and see much more of Loki's story [was] the initial desire [for the series]."

The Loki we meet on the show is not the one who fought the Avengers in 2012 and evolved into an antihero in Thor: The Dark World and Thor: Ragnarok before meeting his demise at the hands of the mad titan Thanos (Josh Brolin) in 2018's Avengers: Infinity War. Instead, we'll be following a Loki from a branched timeline (a variant, if you will) after he stole the Tesseract following his thwarted New York invasion and escaped S.H.I.E.L.D. custody during the time heist featured in Avengers: Endgame. In other words, this Loki hasn't gone through any sort of redemption arc. He's still the charming yet petulant god who firmly believes he's destined to rule and has never gotten his due.

Premiering June 9, Loki begins with the Time Variance Authority — a bureaucratic organization tasked with safeguarding the proper flow of time — arresting the Loki Variant seen in Endgame because they want his help fixing all of the timeline problems he caused while on the run with the Tesseract. So there will be time travel, and a lot more of it than in Endgame. As Loki makes his way through his own procedural, he'll match wits with new characters including Owen Wilson's Agent Mobius, a brilliant TVA analyst, and Gugu Mbatha-Raw's Judge Renslayer. The question in early episodes is whether Loki will help them or take over.

"One of the things Kevin Feige led on was, 'I think we should find a way of exploring the parts of Loki that are independent of his relationship with Thor,' or see him in a duality or in relationship with others, which I thought was very exciting," says Hiddleston, who also serves as an executive producer on the show. "So the Odinson saga, that trilogy of films, still has its integrity, and we don't have to reopen it and retell it."

Yet, in order to understand where Loki is going, it's important to see where he came from.

Hiddleston can't believe how long he and Loki have been connected. "I've been playing this character for 11 years," he says. "Which is the first time I have said that sentence, I realize, and it [blows] my mind. I don't know what percentage that is exactly of my 40 years of being alive, but it's substantial."

His time as Loki actually goes a bit further back, to 2009 — a year after Robert Downey Jr. big banged the MCU into existence with Iron Man — when he auditioned for Thor. It's no secret that Hiddleston initially went in for the role of the titular God of Thunder, but Feige and director Kenneth Branagh thought his natural charm and flexibility as an actor made him better suited for the movie's damaged antagonist. "Tom gave you an impression that he could be ready for anything, performance-wise," says Branagh, who had previously worked with him on a West End revival of Checkov's Ivanov and the BBC series Wallander. "Tom has a wild imagination, so does Loki. He's got a mischievous sense of humor and he was ready to play. It felt like he had a star personality, but he was a team player."

Hiddleston fully immersed himself in the character. Outside of studying Loki's history in the Marvel Comics, he also researched how Loki and the Trickster God archetype appeared across mythology and different cultures. "He understood that he was already in something special [and] it was a special character in a special part of that early moment in the life of the Marvel universe where [he] also needed to step up in other ways," says Branagh, who was impressed by the emotional depth Hiddleston brought to the part, especially when it came to how isolated Loki felt in the Asgardian royal family.  

There was a lot riding on that first Thor feature. For one, no one knew if audiences would immediately latch onto a Shakespearean superhero movie partially set on an alien planet populated by the Norse Gods of legend. Second, it was integral to Feige's plans for the shared universe. Loki was supposed to be the main villain in The Avengers, which would not only mirror how Earth's mightiest heroes joined forces in 1963's Avengers #1 but also give Thor a believable reason for teaming up with Iron Man, Captain America (Chris Evans), and the rest of the capes. Feige first clued Hiddleston into those larger plans when the actor was in L.A. before Thor started shooting.

"I was like, 'Excuse me?' Because he was already three, four steps ahead," says Hiddleston. "That took me a few minutes to process, because I didn't quite realize how it just suddenly had a scope. And being cast as Loki, I realized, was a very significant moment for me in my life, and was going to remain. The creative journey was going to be so exciting."

Hiddleston relished the opportunity to go full villain in Avengers, like in the scene where Loki ordered a crowd to kneel before him outside a German opera house: "It's the unspoken truth of humanity, that you crave subjugation," says the Machiavellian god. "The bright lure of freedom diminishes your life's joy in a mad scramble for power, for identity. You were made to be ruled. In the end, you will always kneel."

"I just knew that in the structure of that film, I had to lean into his role as a pure antagonist," Hiddleston recalls. "What I always found curious and complex about the way Loki is written in Avengers, is that his status as an antagonist comes from the same well of not belonging and being marginalized and isolated in the first Thor film. Loki now knows he has no place in Asgard."

Loki did find a place within the audience's hearts, though. Feige was "all in" on Hiddleston as his Loki from the beginning, but even he couldn't predict how much fans would love him. Feige recalls the reaction at the 2013 San Diego Comic-Con: "Did we know that after he was the villain in two movies, he would be bringing thousands of people to their feet in Hall H, in costume, chanting his name? No, that was above and beyond the plan that we were hoping for and dreaming of." It was a dream Feige first got an inkling of a year earlier during the Avengers press tour when a Russian fan slipped past security, snuck into Mark Ruffalo's car, and asked the Hulk actor to give Hiddleston a piece of fan art she created. "That was one of the early signs there was much more happening with this quote-unquote villain."  

Despite that popularity, the plan was to kill Loki off in 2013's Thor: The Dark World, but the studio reversed course after test audiences refused to believe he actually died fighting the Dark Elves. Alas, he couldn't out-illusion death forever. After returning in Taika Waititi's colorful and idiosyncratic Thor: Ragnarok, Hiddleston's character perished for real in the opening moments of Infinity War. In typical Loki fashion, before Thanos crushed his windpipe, he delivered a defiant speech that indicated he'd finally made peace with the anger he felt toward his family.  

"It felt very, very final, and I thought, 'Okay, that's it. This is Loki's final bow and a conclusive end to the Odinson saga,'" says Hiddleston, who shot that well-earned death scene in 2017.  

But, though he didn't know it yet, the actor's MCU story was far from over.

Credit: Charlie Gray for EW

When Hiddleston returned to film two scenes in Avengers: Endgame in 2017, he had no idea where Loki portaled off to after snatching the Tesseract. "Where'd he go? When does he go? How does he get there? These are all questions I remember asking on the day, and then not being given any answers," Hiddleston recalls. To be fair, it's likely the Powers That Be didn't necessarily have answers then. While Feige can't exactly recall when the writers' room for Endgame first devised Loki's escape sequence, he does know that setting up a future show wasn't the primary goal — because a Loki series wasn't on the horizon just yet.

"[That scene] was really more of a wrinkle so that one of the missions that the Avengers went on in Endgame could get screwed up and not go well, which is what required Cap and Tony to go further back in time to the '70s," says Feige. Soon after that, though, former Disney CEO Bob Iger approached Feige about producing content for the studio's forthcoming streaming service. "I think the notion that we had left this hanging loose end with Loki gave us the in for what a Loki series could be. So by the time [Endgame] came out, we did know where it was going."

As for Hiddleston, he didn't find out about the plans for a Loki show until spring 2018, a few weeks before Infinity War hit theaters. "I probably should not have been surprised, but I was," says the actor. "But only because Infinity War had felt so final."

Nevertheless, Hiddleston was excited about returning for his show. He was eager to explore Loki's powers, especially the shapeshifting, and what it meant that this disruptive figure still managed to find a seat beside the gods in mythology. "I love this idea [of] Loki's chaotic energy somehow being something we need. Even though, for all sorts of reasons, you don't know whether you can trust him. You don't know whether he's going to betray you. You don't why he's doing what he's doing," says Hiddleston. "If he's shapeshifting so often, does he even know who he is? And is he even interested in understanding who he is? Underneath all those masks, underneath the charm and the wit, which is kind of a defense anyway, does Loki have an authentic self? Is he introspective enough or brave enough to find out? I think all of those ideas are all in the series — ideas about identity, ideas about self-knowledge, self-acceptance, and the difficulty of it."

“The series will explore Loki's powers in a way they have not yet been explored, which is very, very exciting.”

The thing that truly sold Hiddleston on the show was Marvel's decision to include the Time Variance Authority, a move he describes as "the best idea that anybody had pertaining to the series." Feige and Loki executive producer Stephen Broussard had hoped to find a place for the TVA — an organization that debuted in 1986's Thor #372 and has appeared in She-Hulk and Fantastic Four stories — in the MCU for years, but the right opportunity never presented itself until Loki came along. "Putting Loki into his own procedural series became the eureka moment for the show," says Feige.  

The TVA's perspective on time and reality also tied into the themes that Waldron, Loki's head writer, was hoping to explore. "Loki is a character that's always reckoning with his own identity, and the TVA, by virtue of what they do, is uniquely suited to hold up a mirror to Loki and make him really confront who he is and who he was supposed to be," says Waldron. Hiddleston adds: "[That] was very exciting because in the other films, there was always something about Loki that was very controlled. He seemed to know exactly what the cards in his hand were and how he was going to play them…. And Loki versus the TVA is Loki out of control immediately, and in an environment in which he's completely behind the pace, out of his comfort zone, destabilized, and acting out."

To truly dig into who Loki is, the creative team had to learn from the man who knows him best: Hiddleston. "I got him to do a thing called Loki School when we first started," says director Kate Herron. "I asked him to basically talk through his 10 years of the MCU — from costumes to stunts, to emotionally how he felt in each movie. It was fantastic."

Hiddleston got something out of the Loki school, too. Owen Wilson both attended the class and interviewed Hiddleston afterward so that he could better understand Loki, as his character Mobius is supposed to be an expert on him. During their conversation, Wilson pointedly asked Hiddleston what he loved about playing the character.

"And I said, 'I think it's because he has so much range,'" says Hiddleston. "I remember saying this to him: 'On the 88 keys on the piano, he can play the twinkly light keys at the top. He can keep it witty and light, and he's the God of Mischief, but he can also go down to the other side and play the heavy keys. And he can play some really profound chords down there, which are about grief and betrayal and loss and heartbreak and jealousy and pride.'" Hiddleston recalls Wilson being moved by the description: "He said, 'I think I might say that in the show.' And it was such a brilliant insight for me into how open Owen is as an artist and a performer.'"

Owen Wilson as Mobius and Tom Hiddleston as Loki in 'Loki.'| Credit: Chuck Zlotnick/Marvel Studios

Everyone involved is particularly excited for audiences to see Hiddleston and Wilson's on-screen chemistry. "Mobius is not unlike Owen Wilson in that he's sort of nonplussed by the MCU," says Feige. "[Loki] is used to getting a reaction out of people, whether it's his brother or his father, or the other Avengers. He likes to be very flamboyant and theatrical. Mobius doesn't give him the reaction he's looking for. That leads to a very unique relationship that Loki's not used to."

As for the rest of the series, we know that Loki will be jumping around time and reality, but the creative team isn't keen on revealing when and where. "Every episode, we tried to take inspiration from different things," says Waldron, citing Blade Runner's noir aesthetic as one example.

"Part of the fun of the multiverse and playing with time is seeing other versions of characters, and other versions of the titular character in particular," says Feige, who also declined to confirm if Loki ties into Doctor Strange in the Multiverse of Madness and/or other upcoming projects.

Making Loki was especially meaningful to Hiddleston because they shot most of it during the pandemic, in late 2020. "It will remain one of the absolute most intense, most rewarding experiences of my life," he says. "It's a series about time, and the value of time, and what time is worth, and I suppose what the experience of being alive is worth. And I don't quite know yet, and maybe I don't have perspective on it, if all the thinking and the reflecting that we did during the lockdown ended up in the series. But in some way, it must have because everything we make is a snapshot of where we were in our lives at that time."

While it remains to be seen what the future holds for Loki beyond this initial season, Hiddleston isn't preparing to put the character to bed yet. "I'm open to everything," he says. "I have said goodbye to the character. I've said hello to the character. I said goodbye to the character [again]. I've learned not to make assumptions, I suppose. I'm just grateful that I'm still here, and there are still new roads to explore."

#Tom Hiddleston #Loki #Disney+ #interview

[nobodyfamousposts]

Any Tikki/Plagg salt?

So I'm taking this to mean you are asking if I have salt about Tikki and Plagg.

Here's the main central issue: Why are the kwamis even necessary? I mean this narratively. What purpose do they serve to the story that couldn't be accomplished without them?

When I was originally introduced to the show and the concept behind it, I thought Plagg and Tikki were going to be the Wise Mentors/Wise Animal Mentors for the heroes. The ones who offer the "moral of the story", give advice to their respective chosen, and...y'know...train them. Prepare them. Give them some lore and history of how things worked for them in the past as well as info on what they are, what their powers are, and what they're up against.

We got a little of that with Tikki offering lessons and advice, but the advice is minimal and comes few and far between for what should be warranted by the situations they face. Tikki had no problem with judging and admonishing Marinette for things, but Tikki has done very little to actually help guide Marinette on the "right" decisions she seems to want Marinette to take. She did reprimand Marinette for selfish use of her Lucky Charm in Bubbler and trying to help Juleka in a dishonest way in Reflekta, but she didn't really come up with other options for her or offer any real advice or input other than telling Marinette that she disapproves.

With Plagg, we didn't get that at all. Sure, he's made catty comments on Adrien's behavior such as in Copycat and Desperada, but since Adrien "is perfect" and thus never needs to learn a lesson, Plagg never needs to be the mouthpiece for the episode's moral. This also cements Plagg as the lazy and "fun" kwami in contrast to Tikki—which would work if we had more consistent interaction between the two to highlight that comparison.

The only purpose the kwamis seem to have is to 1) be the cute mascot characters for the series and 2) have someone for Marinette and Adrien to talk to and play off of—the second of which is specifically notable in the case of Plagg, who is ultimately the only thing about any of Adrien's scenes when he's not Chat Noir that makes them entertaining or interesting to watch.

This is especially noteworthy as the writers clearly struggle with the "show, don't tell" philosophy of writing, and the kwamis are prime tools to try to get around that little issue without putting in any actual effort because Miraculous has all the subtlety of a brick to the face. Why SHOW the Main Duo falling in love over time through their interactions and slowly growing closeness and relationship building among all four sides of the love square that is touted as the main draw of the series in the first place...when they can just have the two be cringingly awkward around one another and chuck in a magical plot device I mean mouthpiece I mean kwami for the heroes to expound on their "unrequited love" to?

Also, much like many things in this series, everything about the kwamis from their powers to their natures to their personalities are contradictory and confusing. For all powerful beings who serve as the focus of the plot as well as the plot device around which the series is supposed to revolve, they are demoted both narratively and in the story itself.

If they HAVE any personality, it's that of children. Children who don't understand the world, don't understand people, don't actually actually embody the concepts of which they are supposed to be centered around, and quite frankly don't seem to have any business having the level of power they seem to have given the complete lack of control they display they actually have over it. These ancient beings—OLDER than the universe, who should at least have SOME idea of how their own powers work or at least what the leaking from people's eyes means but honestly come off as the biggest threat to everyone around them through sheer callousness and ignorance.

It's the same issue with Adrien that if this individual is supposed to be the moral mouthpiece for the writers, one would think they would have more maturity, especially as ancient all powerful beings that they are who predate humanity. It could be argued that it's a result of them being trapped in the Miracle Box for so long, but that still doesn't account for all the time they existed BEFORE being put in the Box or the times they were taken out and used after it was made. Nor does it account for why they all seem to have a childish mob mentality.

It'd make sense if their childishness served a purpose in a narrative sense—like haivng them actually learn about the world and get some growth of their own, but that doesn't happen. And if two or more kamis appear on screen together, they seem to revert to the same personality.

As it stands, all of this really countermines the idea that the kwamis are supposed to be the guides or go-to figures for morals and lessons for our main heroes or even the temporary heroes. It'd be one thing if their morals were just "different" due to being active at different ages and time frames. That would explain some discrepancy. But the writers don't use that and all the kwamis pretty much act the same.

Then comes the OTHER narrative issue that as soon as Fu and the Order of the Guardians officially enter the picture, the idea of kwamis being guides or mentors for the heroes is made completely moot. And it says something when a guy who never completed the test to become a true Guardian and whom was ultimately responsible for the entire Order being destroyed made for a better mentor figure than the kwamis whose power is supposed to be running the show.

It would be one thing if it ultimately became a sort of reversal where Marinette's time with the kwamis makes her reevaluate their roles and look at Tikki in a new way as someone who ISN'T perfect and who CAN be wrong. But the show still has Marinette looking to Tikki for answers in a way that gives me the same impression as if she was looking for life guidance from Manon.

Other than giving credence to the "5 minute time limit" and some "missing kwami/can't transform" shenanigans, removing the kwamis really wouldn't lose anything narratively from the show.

...well, other than what entertainment there can be had from Adrien's scenes secondary to Plagg's involvement in them.

So, tl;dr, my biggest salt about the kwamis boils down to:

They have little purpose narratively.

Anything they could do is devalued by the presence of others that perform their roles and explain or use their abilities better than they can.

For ancient beings with immense lore and involvement in history, they don't do much to expand on that.

For moral mouthpieces, they don't do much to actually HELP their holders.

In and of themselves, they are used by the writers in such a way that they end up limiting the ability of the narrative to tell a good story instead of adding it.

#ml salt

[ynscrazylife]

Loki request (spoilers)

Reader is a variant who got captured by the tva, they're sent to trial and Loki saves them from getting killed bc he still owed them a favour. Morbius gets confused bc those two dangerous variants know each other, turns out they were best friends in their original time line. Now Morbius has to babysit two sarcastic assholes. Double trouble ensures.

Double Trouble | l.l fluff fic

Summary: The request. 

Authors Note: I fully acknowledge and support Loki being genderfluid. In this fic, I will be using he/him pronouns for Loki since those were the pronouns they’ve used for Loki in the show so far, indicating that at the time this fic is set, Loki’s genderfluid identity is of a man. Should those pronouns/identity change, so will the pronouns for my fics. I do not intend to be harmful in any way so if this is harmful to the genderfluid community, PLEASE let me know!

Request to be on a Taglist (or multiple) here! (Taglists are at the end of the fic)

MCU Masterlist #1 | MCU Masterlist #2 | Main Masterlist

PSA: Do NOT copy, steal, translate, plagiarize, republish, etc any of my works on Tumblr or any other platform. Also, do NOT claim any of my works as your own. All of these works are either requests I’ve gotten that people have wanted me to write or original ideas I’ve had for works. If you happen to take inspiration from anything I’ve written and want to write something inspired by that, please a) ask me first and b) IF I say yes, credit me as inspo in your post by tagging me and link whatever work of mine that inspired you. Thanks.

header c @dearcardan on twitter

Yeah, Loki was definitely not taking any of this seriously. At this point, he theorized that the Avengers were laughing their asses off on this elaborate prank they were playing on him, and he decided to just wait it out. It had to stop at some point, right? There was no way that this “TVA” bullshit was actually, in any way, real.

At least . . . He believed that until he saw a familiar face.

Mobius had just saved him from being reset to the original timeline and they were walking out of the courtroom just as the doors opened and two TVA agents were walking another “criminal” in. Loki still wasn't buying this elaborate scheme so he didn’t really pay this new person much attention, until he heard the judge speak. 

“Miss Y/N Y/L/N - am I correct?” 

Loki froze, eyes traveling to the “criminal” passing him. He first thought that Thor had set this part of the prank up, but he knew his brother didn’t really understand how mischief really worked. Plus, Loki could tell Y/N wasn’t an illusion. 

. . . So that meant she was actually here. 

“Hey, wait, can I see this trial?” Loki whispered to Mobius, who glanced back at the judge and raised his eyebrows skeptically at the brunette deity. Loki added, “I just want to see a little more of how this place works, okay?” 

Mobius was sure Loki was onto something and after a couple moments of thought, he agreed. At least this would give him a chance to get to know this troublemaker better, and they both shuffled into seats. 

“You are correct, madame,” Y/N answered mockingly, a big grin on her face as she walked up to the podium. She then looked around in an exaggerated manner. “Well, do I get a lawyer or what?” 

Loki smirked and the judge scoffed. “How do you plead?” The judge asked, dismissing her questions. 

“What ‘crimes’ have I supposedly committed?” 

“You have been accused of creating an alternate timeline that does not fit into the main continuum. You snuck into Odin’s vault using your Asgardian abilities  and when you used the fake Infinity Gauntlet and, in your attempt to enchant the Gauntlet to work like the actual one, you accidentally travelled forward in time and created a new timeline,” the judge summarized. 

Loki smiled, amused and proud. He only wondered what led her to this. 

“In my defense, I heard that my friend was in trouble and wanted to help out,” Y/N said with a shrug. 

“Well, the enchantments were not supposed fully work. They were meant to just backfire on you and knock you unconscious, where you’d be imprisoned in the dungeon. But then you tried to use another powerful object in Odin’s vault which created a Nexus event, messed with your enchantment on the fake Power and Time stone, and here you are,” the judge explained.

“If I wasn’t meant to do this - why didn’t these ‘Time Keepers’ control my actions and make me do something else?” Y/N asked, changing the subject.

“I am not going to entertain you any further. In your previous statement, quote: ‘In my defense, I heard that my friend was in trouble and wanted to help out’ You have admitted your guilt and will now be reset,” the judge declared sternly.

Immediately, two TVA agents grabbed Y/N harshly and began to drag her away from the podium. Loki, who at this point had connected the dots that he was the friend she had been trying to help, knew he owed her one. He couldn’t just let her be reset and then be imprisoned. So, thinking rather quickly, he leapt up from his seat and shouted, “No!”

All heads turned to him. Y/N’s eyes went wide, not having spotted him, and Mobius was beginning to regret his decision. Loki turned to Mobius. “You need me to help you with this ‘sacred timeline’ stuff. I’ll only do it if Y/N stays,” he said, panting.

Mobius caught an angry look from the judge but his gaze settled on Y/N. After a couple moments, he sighed and relented. “Fine.”

Y/N and Loki cheered and she broke out of the agents’ grips, running to Loki who picked her up and hugged her. “That’s my girl,” Loki said, proud of her for her prank.

Mobius internally groaned. This was going to be a long day.

———————————

“So how do you know each other?” Mobius asked as he walked in-between the Asgardians, leading them to his office.

“Y/N’s been my best friend, partner in time, ever since I was little,” Loki said, grinning.

“Got it,” Mobius said, frowning. He could only imagine the mischief they had conjured.

———————————

After reviewing both of their files, Mobius had to step out for a second, leaving Loki and Y/N alone. “Let’s try to break out,” was the first thing to leave Loki’s lips.

Y/N rolled her eyes. “And suppose we do, how the hell are you gonna get the Tesseract back? Plus, I won’t wanna be imprisoned on Asgard,” she reasoned, quickly shutting the idea down.

Loki huffed. He was bored. He wanted to do something.

And he had something to do when Y/N stood up and started walking around. With a smirk, he grabbed the remote controlling Y/N’s collar and clicked it, immediately sending her back to her seat.

She turned and glared at him, and he just smirked, innocently shrugging. “I wanna have fun,” he said.

Y/N rolled her eyes and cautiously stood up again. When nothing happened, she walked around a bit more, and Loki let her . . . Until he got bored again. With another click, she reappeared on the other side of the room, in mid-walk.

Before she could protest, Loki did it again. And again. And again. He finally stopped when she got out the words, “CUT IT OUT!” and laughed to himself.

“You asshole,” Y/N grunted, beginning to walk towards him, but skidded back when Loki clicked the button just one more time.

“Oops. My finger slipped,” Loki smirked.

Y/N glared, but being reset made her lose her footing, and she tumbled to the floor, causing her best friend to cackle. Annoyed, she ran at him and managed to push him off his chair, tackling him to the floor. They rolled around, neither one gaining the upper hand for too long, until Mobius re-entered, saw the chaos, pulled Loki to his feet, and grabbed the remote, resetting Y/N so she was back in her chair.

“Hey!” Loki exclaimed, pushing Mobius off him. “No one controls my best friend!”

Y/N couldn’t tell if he was being serious or not, but smiled nonetheless. Mobius glared and grabbed Loki’s remote, resetting him so he was back in his chair. He then turned to them both.

“I’m beginning to agree with my colleagues that this-” he gestured to Loki and Y/N, “-was a bad idea.”

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[mollrat101]

Hacks Appreciation Week

Day 4: Favorite Main Character

Gonna have to go with my girl, Ava. 

A happy birthday to me because I get to talk about my favorite show and this loser right here today 😜

We know, Ava. 

Why do I love Ava? Let me quote Ruby for a second.

“You know, [she’s] charming. It’s annoying, actually.”

Not sure I trust you if you’re not at least a little charmed by Ava Daniels.  

I’m not going to lie and tell people who don’t like her she’s not annoying because she is. Congratulations, that’s the point. But I think people equate being annoying and sometimes being self-centered and entitled as automatically being a bad person and I’m here to tell you that’s not true at all of Ava. 

She is a person like everyone else. In order to survive, she’s had to develop certain kinds of habits and behaviors. While they worked for her at a point in time, they are no longer serving her. Wow, it’s almost like she’s human or something. 

(I apologize for sounding bitter, I just hate when people hate on her.)

Anyway, I could probably go on forever about what I love about Ava. 

I love that she is somehow Deborah’s worst and best employee ever. She’s not at all what mostly anybody around her wants but they need her. Ava is a forest fire burning down the old growth in Deborah’s life and allowing new growth to begin. She illuminates what Deborah wants to change in her life. She injects passion and creativity back into her life. She becomes Deborah’s muse. 

(I mean “Fire” by Etta James, really??? My gay heart exploded into glitter.)

But what makes her such a real character is that her strengths can easily become weaknesses if not used in the right way. 

She can burn too hot, be too quick to burn bridges. She runs her life like she’s constantly slamming the self-destruct button. She can be a wildfire out of control which can cause great destruction. She needs to be more like a kindling, patiently tended to and providing warmth for the people in her life which she is extremely capable of. She becomes the hearth in Deborah’s life in the last half of the season and my hope is that she really becomes that permanently. 

People vastly undervalue the amount of emotional labor that Ava does throughout season 1. It’s any wonder with a mother like Nina that Ava is used to it. 

What can be so easy to miss is how kind Ava can be. 

Similar to how we find out Deborah is very generous to people she loves, Ava shows kindness by listening and trying to support them emotionally. It’s easy to have that go unnoticed because that kind of labor is undervalued in our society, but I digress. 

(Definitely not saying she does it all the time. We see her being unkind to people, but I just think in general she wants to be kind to others. Also, I’m definitely not saying that Deborah’s way of showing love is somehow less, it’s just different.)

When she manages to get over her own ego and her own assumptions, she shows kindness to Deborah even if Deborah still acts cold towards her. Where everyone believes that Deborah is eternally strong, Ava believes (without Deb showing much) that Deborah is human and deserves to have her feelings taken into consideration. 

She doesn’t necessarily act kind because other people deserve it, but just because she thinks it’s right. Think of all the ways she acts with DJ. There’s no real benefit to being kind to her but she does it anyway. She offers to be a confidante to Ruby despite how much I’m sure Ruby breaking up with her hurt her. She tries to look after her mom’s emotional health even after her mom hurt her feelings. That absolutely beautiful gift she gave to Deborah. Ava doesn’t have a lot to give in terms of money (and even that, she gives to her parents because they likely won’t make it without it), but what she does give is the ability to pay attention, to listen, to not judge, to support and to intuitively know what someone needs to be told in order to show how sincerely she cares. Those things are invaluable. 

I’ve said before that I think, in another life, Ava could make a great therapist and I stand by that. Of course, again with the whole strengths become weaknesses, I wish this girl would seriously consider taking care of her own mental health. But that’s also incredibly relatable as someone who is a confidante to a lot of people but struggled to ask for help myself. We can feel compassion for others, but struggle with having compassion for ourselves. 

She is a sweet, sensitive, and sincere little muffin and she needs to be protected. 

Is it any wonder that I theorize so hard that Ava is going to be the one that heals the Vance family? She is the emotional salve that this family has been needing for so long. 

But in a broader sense, Ava also shows a desire to show kindness even to those she doesn’t know. Ava has a strong moral compass (not always great at following it, but that’s human) and says something if she feels vulnerable people are being attacked. Ava and Deborah actually have similar values, but Ava helps remind Deborah to stand up for what she believes in. And she does this even when sometimes it costs her. Ava seems to believe that staying silent is akin to condoning something and while her morals could use more nuance, it’s hard not to admire someone who cares so much about doing the right thing. The world needs more people like Ava who are willing to speak out and not just accept the status quo. 

Ava has a writer’s temperament towards curiosity, empathy, sensitivity, openness to new experiences, introspection and a deep desire for the truth. 

No wonder I relate to her so much, as a writer myself. 

And no post about Ava Daniels would be complete without talking about how she is a bisexual icon. 

Bisexuality is still a pretty stigmatized sexuality both in the straight and gay world. The fact that Ava is so unapologetic about her sexual experiences and refuses to let others shame her is incredibly admirable. But while her sexuality is important, neither is she over sexualized or is it made out to be the most important part about her. And the fact that the writers directly confront the nuanced ways of bisexuality is just *chef’s kiss*. Ava is a bisexual woman who romantically prefers women and this is accepted with no arguments. Absolutely amazing. 

Also, she’s a queer loser and honestly I think we, as a society, just need more loser queer characters. 

And you guys know me, I think the fact that Deborah is confronted with a bisexual young woman isn’t an accident. While I definitely think there’s something to be said for Ava taking better care of herself and indulging too much and using it to avoid emotional pain, there’s also something cool about the fact that Ava never feels shame for the pleasure she takes in her body. Whether it’s sex, food or drugs, Ava opens up Deborah to the possibility that part of a healthy life also involves allowing room in our lives for pleasure and relaxation. 

Ava has fucked up big time coming into season 2, but like Marcus, I honestly have nothing but faith in her that she’ll grow and learn from this and that she and Deborah will eventually be okay. Another thing that intrigues me about her honestly is that we still don’t know that much about Ava. Why is she the way she is? We could take guesses, but I really want to know more about her. Fingers crossed, more Ava background in season 2. 

Finally, just want to give a shoutout to Hannah’s performance because I think it’s true that she is such a natural actress. I was shocked to find out that this was her first real acting role because she doesn’t give off that impression. She somehow manages to go toe-to-toe with Jean Smart of all people and still manages to be engaging in her own right. Her and Jean prove that good chemistry is about complementary energies and that’s what make pairings compelling cause I never would’ve thought I would ship a pairing like this. I think Hannah has a really bright future ahead of her and I’m excited to see what she does next. 

Ava Daniels, my love, my chaos child, my bisexual mess, my sensitive little bean, I love you. 

#hacksaw22 #hacks hbo #hbo hacks #hacks #ava daniels #hacks thoughts

[chiro-asuta-vulpes]

19. Introduce an OC that means a lot to you (and explain why)

One of my MAIN LATEST OC "SNOWDROP / SNOWY" means a lot to me because I put all my heart and passion on making my baby girl Snowy it was difficult at first, to come up an idea to make her but I had fuuunnnn and happy she exists,

I'm really proud that I made her as a POSSIBLE OC CHARACTER she is KIND SWEET AND VERY COMPASSIONATE to any beings/creatures around her, specially on children and her fellow friends she works with in the Plex, she's like a lil FLOWER-ANGEL, which makes her different from the other.

It will be an honor to share you all how I made Snowy.

She is the very first Fnaf OC I ever made, also a mixture of a Floral inspired OC (˶◕‿◕˶✿) (✿◠‿◠)

-Snowy maybe not like those scary monsters/hostile robots/animatronics that MURDER, KILL, AND SLAUGHTER etc.

NO JUDGING PLS!🤬😡

Let's gooo see my notes how I got inspired making my baby girl , Snowy💙🤍✨

(HERE ARE SOME NOTES how I begun and started making constructing, Snowy also HERE Some TRIVIA and INSPIRATIONS how I made her.)

It all begun when I seen and know Fnaf SB, one of the characters I really love and adore in the game are Sun and Moon, I got inspired of this two to make my own "LIL DAYCARE INSPIRED OC" Thus Snowy was Born..

I relate a little bit of Snowy's story along with the Flower itself , don't get what I mean? Well continue reading and find out

What Do Snowdrop Flowers Symbolize?

The Symbolism of Snowdrops

Snowdrops symbolize modesty due to their bell-shaped flowers which hang down loosely.

Snowdrops are often REPRESENTED AS SHY FLOWERS, who are afraid to raise their heads.

They are small, delicate and easy to overlook, but still beautiful and slightly fragrant. They light up the woodland landscape with their profuse clusters of shiny white flowers.

It is seen as a symbol of rebirth and the ability to overcome challenges in life. It can serve as a delicate reminder that we can all do great things in life. This flower can also show sympathy for somebody who is struggling. It can serve as a symbol of hope and innocence, too. 

The WHITISH APPEARANCE of this plant can be associated with innocence and purity.

Snowdrops are small and delicate, yet charming. If you are gifting Snowdrops to someone, you are telling the recipient about their innocence and purity of heart.

Their fragrance is not particularly strong, but it generates positive and comforting vibes, which make us look forward to the next competitive events with confidence.

The Folklore of Snowdrops

There are many folklores that are generally associated with Snowdrops.

One of the most interesting stories comes from Germany.

In the beginning when God created the earth, he asked the flowers to give some of their color to the snow. All the flowers refused, but the Snowdrop mercifully gave the Snow its color. In return, the Snowdrop was given permission to bloom each year before all the other flowers. From then on, the Snow and the Snowdrop became best friends, always there for each other.

The moral of the story is that modesty and generosity have a purifying quality for everyone.

This story is not only entertaining and inspiring, but it is also a story of joy, friendship and connection between Snowdrops and Snow.

While I was making SNOWY and thinking how to design her so I decided to combine/mix her with my favorite flower, which is a "Snowdrop", There are 44 different species, varieties, cultivars and hybrids of snowdrop (Galanthus)

The Snowdrop I chosen for Snowy is called a "Galanthus Angelique" & "Galanthus E. A Bowles"

"Galanthus Angelique"

"Galanthus E. A Bowles"

"GALANTHUS" meaning

Galanthus is derived from the Greek γάλα (gala), meaning "milk" and ἄνθος (anthos) meaning "flower", alluding to the colour of the flowers. The epithet nivalis is derived from the Latin, meaning "of the snow".

THATS ALL FOR NOW THHHAAAANKKSSAA FOR READING MY LIL ANGELS MY APOLOGIES IF THIS IS VERY LONG AAAGAAAAINNNN HOPE YOU ALL HAD A GREAT TIME READING IT THO HHEEHEHEHEHE AND YES I relate my baby girl Snowy from a Snowdrop flower what do you all think the story behind of how I make and the inspiration I use to make my OC SNOWY?

Feel free to comment down below or message me I would love to tell you all more about her🥰🌼💙🤍✨✨✨✨

ANYWAAAYYSSSS HI HI EVERYONEEEEE YOU ALLL HAVEEEE A BEAUTIFUL WONDERFUL DAY AND NIGHT OVER THERE!!🤍🤍💙💙💙✨✨✨✨

HAPPY DRAWLING MY LIL ANGELS🌼🌼✨✨🎨🖌️

#oc inspiration #oc intro #oc tag #oc only #i hope this is okay! #oc story #ocplans #Oc sharing #something to share #ocs #inspiration #storybehindONMakingMYOC #flower oc #snowdrop #SnowDropAzura #snowdrops #littlesnow #shybean #fnaf au oc #little angel #oc plan notes #oc notes #floral inspired oc