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#to Peter and mike respectively

wibble-wobbegong · 1 year

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just fyi that big peter post doesn’t cover every little detail, just the big stuff. peter’s a character, not even a canonical one yet, so i’m probably gonna be talking about him for a while. that’s like trying to summarize every little detail about one of the party members in one post lmao

#sorry i do not have the time or energy for that and i need to move on #like i didn’t get into mike and peter both predicting future events or the potential of the lonnie/victor parallels with the gun in regards #to Peter and mike respectively #peter owens

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murdrdocs · 8 months

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MURDRTOBR !

thirty one nights of classic, horny, fun.

requests: closed + note from celeste

𓆩ᥫ᭡𓆪 FORMIDABLE COOL. ETHAN LANDRY OCT 01

an exclusive with the infamous ghostface killer from the recent 6th installment

manipulation, p in v, choking/breath play, mean!ethan, ghostface!ethan

other articles include ...

INTERVIEW 007 - ,, ethan landry + suffocation + oral OCT 15

INTERVIEW 008 - ,, eddie munson + non con voyeurism OCT 16

INTERVIEW 009 - ,, rafe cameron/sarah cameron + stepcest OCT 18

INTERVIEW 010 - ,, ghostface! jj maybank/rafe cameron + dubcon OCT 21

𓆩ᥫ᭡𓆪 BUT YOU'RE NOT MINE. MIGUEL O'HARA OCT 25

in this tell all, miguel o’hara details the time he got with you. well not you you, but the you in another universe. the faces are the same, so he wonders: what else is the same?

fem!reader, dubcon + cnc, size kink, dacryphilia, oral sex (f receiving), p n v

INTERVIEW 011 - ,, robin buckley + voice kink OCT 24

INTERVIEW 012 - ,, theo raeken/stiles stilinski + voyeurism OCT 26

INTERVIEW 013 - ,, finnick odair + filming OCT 28

INTERVIEW 014 - ,, mike schmidt + filming OCT 29

INTERVIEW 015 - ,, stepsis!hazel callahan + filming + blackmail OCT 30

INTERVIEW 016 - ,, hazel callahan + corruption OCT 31

rules.

respect the authors wishes; do not request any kinks not on the list; if unsure about anything, contact me! most if not all works are dark content. minors pls dni !

characters.

Chad Meeks Martin, Charlie Walker, Corey Cunningham, Dave Lizewski, Eddie Munson, Ethan Landry, Finnick Odair, Hobie Brown, Hazel Callahan, Harry James Potter, Jackson Whittemore, Jake Seresin/Hangman, Jake Sully, JJ Maybank, Miguel O’Hara, Mike Schmidt, Namor, Peter B. Parker, Peter Parker (all), Peter Quill, Quinn Bailey, Rafe Cameron, Robin Buckley, Rodrick Heffley, Sam Carpenter, Scott McCall, Stiles Stilinski, Steve Harrington, Steven Grant, Tara Carpenter, Theo Raeken

kinks.

Age gap/age difference, Blood Play, Bukkake, Car sex, Cock ring, Cuckold, Double Penetration, Exhibitionism, Femdom, Filming, Groupsex/Gangbang, Hate Fucking, Heat, Knife play/danger kink, Mommy kink, Monster fucking (vampires, werewolves, incubus/succubus), Mutual Masturbation, Pegging, Piss/Bladder control, Public sex, Sex Pollen, Size difference, Somnophilia, Stepcest, Voyeurism

original blog navi

#viewed best on light mode #🕸️ 𝐌𝐔𝐑𝐃𝐑𝐓𝐎𝐁𝐑 #kinktober 2023 #kinktober #–𝐌𝐀𝐒𝐓𝐄𝐑𝐋𝐈𝐒𝐓𝐒

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thislovintime · 4 months

Photo

Photo 1 from the Reelin’ In The Years Photo Archive, photographer unnamed; photo 3 by Ken McKay/Shutterstock.

Remembering Michael and Davy on their birthdays.

“The man was unique and a huge, huge talent. We’re not going to replace him. […] [Davy] was such a little heartthrob. I don’t think people knew how bright and talented and gifted he was in all things. I’ve come to believe he was, in his own way, the smartest, most musically talented and best actor among us.” - Peter Tork, Boston Globe, May 16, 2013

“Mike and I have been back and forth with the emails […] I bore him no ill-will. I have a lot of respect and admiration and some affection for Mike. And I’m glad to be back in touch with him.” - Peter Tork, interview with Iain Lee, 2012

Q: “I’m curious about the various reunions that happened over the years. Is it safe to say that you guys were never really friends?” Peter Tork: “Oh, I don’t know. I would say I was pretty good friends with Micky, and there was a lot of love between me and Davy. I have a lot of respect for Mike Nesmith and we’ve structured ways to work together. Things rotate. It’s like having a basketball team. You know, gosh, it’s like having a championship basketball team. They go on the road every so often and do tours, you know, just exhibition tours but fortunately your music skills don’t deteriorate as fast as your basketball skills do, but I wouldn’t know what else to compare it to. We had a chance to go out together and we took it, and we had a great time, and if we were not friends at all we would not have been able to do it. We played tours months and months long: ‘86, ‘87, ‘89, ‘91, ‘92, ‘96, ‘97, 2001, 2002 and 2011, so we couldn’t have been such enemies.” - Phawker, circa 2012; re-published 2019

“[Micky] and Mike and I have a very cordial relationship and share a lot of common topics. We go to lunch together when we’re all in town and have a good time. I love and respect each of these guys in their own way, although the real joys that I shared with Davy were special. At one point we had some good hard connections but as the years rolled on, those things faded away. But I am sorry to see Davy go. He was the one member in the group that I had the strongest human connection with. I still have two guys that I love and respect left from the band, but we share a different dynamic.” - Peter Tork, Review Mag, May 27, 2016

“Well, I’ve never been really close with Michael [Nesmith] for some reason. You know, I have a lot of respect for him and admiration. But somehow we’ve never integrated. We’ve never been warm with each other. We worked together and did pretty well at it really. But Micky on the other hand, I enjoy hugely. We have some very good times together. We laugh a lot. We pay attention to what each other is doing on stage and so there’s communication there. Micky’s always been a lot of fun. Who I miss is Davy of course. Davy is the guy who…I’ve always said I loved, liked and respected [the band members] in different proportions but Davy actually kinda got my heart.” - Peter Tork, Clevescene, March 13, 2017

#Michael Nesmith #Davy Jones #Peter Tork #Tork quotes #The Monkees #Monkees #Peter and Michael #Peter and Davy #Head (1968)#long read #Micky Dolenz #Peter and Micky #Capricorn and Jones birthday remembrance #Happy Capricorn and Jones Day #can you queue it

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princessanneftw · 6 months

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The Princess Royal interview: ‘I’m not sure that rewilding at scale is necessarily a good idea’

With conservation close to her heart, HRH explains what’s needed to save animals under threat and how the monarchy plays its part

By Jessamy Calkin for The Telegraph

Inside St James’s Palace there is a bit of a flutter about the weather. Her Royal Highness the Princess Royal has several engagements today, and things are not looking good; due to wind, the helicopter might not be able to land at the designated sites, which will make travelling times to and from events longer.

The staff are waiting to be informed by the police, who are in touch with the helicopter pilot. HRH, as everyone seems to call her, has not yet been told.

She has a lot to fit in: directly after our interview, she is off to a meeting about Gordonstoun school, in London, by car, then by helicopter to give a speech at an English Rural Housing Association conference in Bedfordshire, followed by a visit to the Aircraft Research Association, where she will unveil a plaque, then back to St James’s Palace to change for evensong at The King’s Chapel of the Savoy, where she will be reading the lesson for the Royal Victorian Order.

Her day will finish at about nine, when she will be able to eat. Quite often she has a dinner engagement as well. Next week she is going to Mumbai for four days.

Not for nothing is she known as the hardest-working royal. She is involved with more than 300 charities, organisations and military regiments, and last year carried out 200-plus engagements – more than any other member of the Royal family.

Her first official engagement was at the age of 18; shortly afterwards, in 1970, she became president of Save the Children – a position that led to her being nominated for a Nobel Peace Prize – and her work with that charity continues to this day.

Early on, her father, the Duke of Edinburgh, advised her to pick the charities she was interested in – and her interests have multiplied.

But one charity that is particularly close to her heart is the Whitley Fund for Nature, which is why I’m here. Started by Edward Whitley OBE as the Whitley Awards, WFN is now celebrating its 30th anniversary, and the Princess has been a patron for 24 years.

The annual ceremony takes place at the Royal Geographical Society in London and is colloquially known as the Green Oscars; WFN distributes grants totalling around £500,000 to worthy international winners.

So far, £20 million has been awarded to 200 conservationists across 80 countries. And the Princess has never missed a single ceremony, presenting the awards and delivering heartfelt speeches.

HRH is quite probably the most respected member of the Royal family. Her lack of pomp and ceremony and the low-key dedication with which she carries out her duties is much admired. There is no whingeing. She refused titles for her children, Peter and Zara.

She is well known for her dry sense of humour. She is an exceptionally accomplished horsewoman and in 1976 became the first member of the Royal family to compete in the Olympics; she had won Sports Personality of the Year five years earlier. She famously resisted an attempted kidnap in 1974.

She has also become an inadvertent style icon, often rewearing outfits she first wore decades ago, which is both charmingly thrifty and impressive in that she can still fit into them, and she seldom buys anything that is not made in the UK.

She recently made a good-natured appearance on her son-in-law Mike Tindall’s podcast The Good, the Bad & the Rugby and she seems like an all-round good egg.

She has both gravitas and spirit – there was some very moving footage of her accompanying her mother’s coffin on the long journey from Balmoral to Westminster Abbey.

Back in St James’s Palace, Charles, her private secretary, is arranging the chairs, anticipating where she might like to sit. HRH arrives in a striking bright-green suit over a striped silky shirt and heads smartly for a different chair than the one offered.

How did she first get involved with Whitley? ‘That’s entirely Edward’s fault,’ she says in her crisp voice. ‘But the common denominator is Gerald Durrell.’

The Princess grew up reading Durrell’s books and became patron of his zoo in Jersey, part of what is now the Durrell Wildlife Conservation Trust, in 1972. ‘He very kindly asked me to become involved in the zoo – as it was then – in Jersey, and Edward [later became] one of Durrell’s trustees.

‘He and I had similar beliefs in what Gerald was doing. Apart from the fact that Gerald wrote very good books, during his travels he seemed to understand better than most the impact on the populations in which animals lived and the relationship between them and their animals.

‘Being told you have to save this, that and the other is all very well but have you been there? Have you ever tried living in that environment to find out what that means to them? Because the fundamental point is that unless the conservation comes from the local area, it won’t be sustained.’

No one is going to save an animal just because they’re told to. ‘You’ve got to work out how the animals are going to survive with the people who live there, who will be the ones who make sure that it works.’

What was Durrell like? ‘Every bit as entertaining as you would think. His humour but also his understanding of the relative importance of things in other people’s lives was absolutely fascinating – and he was spot on.’

Durrell said he felt ‘sympathy for the small and ugly; since I’m big and ugly I try to preserve the little ones’. He was an expert on captive breeding, with a view to releasing into the wild, and he tended to select animals that were close to extinction, or those that could best be helped, or just ones that were not very charismatic.

‘Yes, not the sexy ones,’ says the Princess. ‘Or the obvious ones. His approach was very holistic. He understood the impact of habitat – not just on one species but how all of the things that lived in that habitat related to each other and that you couldn’t replicate that instantly somewhere else – it was very specific to an area.’

Gerald Durrell died in January 1995, of septicaemia. He was an alcoholic and had successfully received a liver transplant but died of complications it gave rise to. ‘He told me that there was no point doing a transplant because his old liver had got used to being fed all the things he’d been given to eat and drink in order to make deals as he went round the world,’ the Princess says, smiling.

Durrell’s legacy is long. One of his innovations was to establish training for conservationists from around the world. The first trainee went on to become the first director of the National Parks and Conservation Service in Mauritius, and thousands of students from 151 countries have since attended the centre, whose graduates became known as Gerald Durrell’s Army.

This became the title of a book by Edward Whitley, who travelled round the world to assess the progress of some of the trainees and the animals they were conserving – such as the largest eagle in the world in the Philippines and Alaotran gentle lemurs in Madagascar.

To launch the book in 1992, Whitley was invited to give a talk at the Royal Geographical Society, and he asked the Princess to come along. It was at the book launch that he decided to set up the charity.

‘I sat down with Nigel Winser, who was the deputy director of the RGS and a long-time friend, and we designed what became the Whitley Awards on the back of a napkin,’ he tells me. In 1999, Whitley asked the Princess to become a patron. By then, ‘Attenborough was already on board, which encouraged her to think it wasn’t a fly-by-night organisation which would crash and burn’.

The awards focus on community-based conservation projects around the world. In order to qualify, each project has to be up and running – it cannot be a pipe dream. Initially there was only one award; this year there were six – of £40,000 each in project funding – plus a Gold Award of £100,000, given each year to a past winner in recognition of their outstanding contribution to conservation.

‘The reason WFN is so effective,’ says Alastair Fothergill, whose company Silverback made the acclaimed TV nature series Wild Isles, and who like Attenborough is a WFN ambassador, ‘is because its grants are awarded at the very cutting edge of conservation, where relatively modest funds can go a long way. Over the years, the fund has kickstarted the careers of many pioneers who have become leading lights in conservation.’

This year’s projects included safeguarding seabird nesting sites in Mexico; establishing ‘lion guards’ promoting coexistence in Cameroon; and protecting pangolins in Nepal, lemurs in Madagascar, freshwater fish in Lake Victoria and saiga antelope in west Kazakhstan. Each one heavily involves local communities.

In addition, WFN provides continuation funding for award-winners. To mark the 25th anniversary of Whitley, Kate Humble, also an ambassador, and Attenborough hosted an event at the Natural History Museum to help raise £1 million for continuation funding.

‘It was the first really big fundraiser we had,’ says Humble. ‘And one of the donors underwrote the entire cost of the event – so everything raised went into the continuation fund.’

The RGS ceremonies are joyous events. In addition to being presented with their award by the Princess Royal, each winner has a short film made of their work, narrated by Attenborough, screened at the event. ‘I’ve been going for 20 years,’ says Humble, ‘and every year I’m blown away by the winners – what they’ve overcome, what they’ve achieved.

‘You hear so much bad news, and you think, you know what? The world can be OK because people out there are doing this stuff – it’s demonstrable, it’s scientifically rigorous and it’s working. [It’s] an incredibly uplifting and inspiring evening.

‘And every year I watch Princess Anne speak and she never sounds like she’s reading someone else’s words. She cares deeply about what this charity does and what these people who win the awards have achieved – she is not a figurehead just trotting out nice words and providing a photo op. She could run the charity, she knows it so well and cares about it so deeply.

‘I’m not anti-royal,’ says Humble, ‘but neither am I someone who would go and wave a Union Jack. But when I see her I think, frankly you’re worth whatever it is we pay.’

HRH talks with fluency and knowledge on every subject. ‘She’s like a sponge – it’s unbelievable the information that’s stored in her brain,’ said her daughter Zara in an interview for ITV’s Anne: The Princess Royal at 70. ‘It’s quite annoying as well.’

She needs to know a lot because she works with a diverse range of charities, taking in early years, healthcare, microfinance and animal welfare. Promoting collaboration between charities is key. ‘I do a lot of that,’ she says now. ‘I have meetings bringing them together which they all seem to enjoy, though sometimes it’s a bit illogical.

‘Knitting together all the international NGOs is important, but we need to look slightly outside the box – can we do this better, are there ways of helping people to be more sustainable?’

The Princess does occasionally discuss conservation with the King, she says, but she won’t say if they always agree. And her grandchildren? How does she teach them about conservation? (She has five, four girls and a boy.)

‘I don’t see so much of them but making the point that they live in an area which they shouldn’t take for granted is important I think; both my children are aware of that.’

Gatcombe Park in Gloucestershire, where the Princess and her husband, Vice Admiral Sir Timothy Laurence, live in an 18th-century manor with 730 acres of parkland, has some beautiful trees – ‘the ones that survive – quite a lot don’t, we live on Cotswold brash which is not popular with plants; but having said that we have beeches.

‘You’ve just got to live with what’s there and make sure it doesn’t get overwhelmed. I’m not sure that rewilding at scale is necessarily a good idea – it probably is in corners, but if you’re not careful you rewild all the wrong things because they are just the things that are more successful at growing.

‘My biggest row at home is ragwort. Lots of people think that ragwort is absolutely brilliant because butterflies love it, but it’s not good for the horses [it is toxic]. I would say don’t take all the ragwort out, just where the horses are – but it’s quite a delicate balance.’

There are, she says, ‘quite a lot of horses at home, but they’re other people’s as well’. She rides whenever she can. ‘It’s a very good place to observe nature from.’

The Princess supports several horse-related charities, and became patron of Riding for the Disabled in 1971, and president in 1985. ‘It was just becoming a national body when I was invited to become a patron – at that stage I knew nothing about disability but the concept that ponies or horses could make a difference was obviously interesting and I knew about them. No matter what the disability was, the answer was, if they’d like to ride, we’ll give it a go. The commonality of the experience was important.’

Essential things for running a charity, she says, are evaluation and thinking of the long term. She cites the influence of Eglantyne Jebb, founder of Save the Children, ‘who constantly evaluated programmes to see if they were making a difference, whether they were doing the right things and whether people were invested’.

And it’s important to keep projects focused and manageable. ‘I’ve come to the conclusion that scale is the thing that defeats any good idea, because it can get to a size where people can’t cope.’

She has spoken in the past about the huge value of long-term commitment, in terms of the constitutional monarchy as well as in charity work. ‘Seeing things in the long term is a challenge,’ she says now, ‘but maybe part of our [value] – as a family – is long-term continuity, because the long-term view is quite hard to come by. And I think we can do that.’

May I ask what she might have done as a profession in another life? HRH laughs and looks vaguely impatient. ‘You can ask but I’ve no idea.’ Does she ever think about that?

‘Not really, and it’s way too late to have those concerns – in a way the fortunate part of my life has been the broad spectrum, to see so much. Not having a very specific interest has been a bonus, I suppose. We all have ways of doing things and with Whitley it is the practical aspects of what they do, and how to support them [that has been my focus].’

Edward Whitley, a member of the wealthy Greenall Whitley brewing family, set up Whitley Asset Management in 2002, alongside its finance director Louise Rettie, to serve a small number of clients. But there had always been animals in his life – his great-grandfather founded a small charity called the Whitley Animal Protection Trust; his great-great-uncle Herbert was an eccentric animal breeder who started Paignton Zoo.

In Edward’s office is a stuffed cockatoo that belonged to Herbert and a photograph of Mary, his favourite chimpanzee. Mary was famous for riding around on her tricycle and walking the dogs, or taking visitors by the hand and leading them round the zoo.

Edward studied English at Oxford then went into banking, joining NM Rothschild & Sons in 1983. He left in 1990 to write: Gerald Durrell’s Army came out in 1992 and he also co-wrote Rogue Trader, the autobiography of disgraced banker Nick Leeson, and worked with Richard Branson on his memoir.

Whitley is a tall, gentle man who doesn’t like talking about himself but is full of unbridled enthusiasm for WFN, and in particular its royal patron. ‘She transformed the charity – we never would have had the success we’ve had without her involvement. She saw what was possible and really helped us to achieve it, and she inspires the winners to do more. The winners are always pretty amazed at how she cross-examines them and cuts to the chase so quickly when she meets them.

‘She has an encyclopaedic knowledge of the world, and a phenomenal memory, and she is also very funny… And think of her father and the Duke of Edinburgh’s Award – she’s seen what a lifetime of work can achieve.’

In her speech at the Whitley Awards earlier this year, the Princess Royal cited her father, Gerald Durrell and Edward Whitley as the inspirations for her work with WFN. Among winners and their communities, she said, ‘it’s the global ambition to truly make a difference that has been astonishing’.

The awards, she continued, are for ‘the people on the ground, they’re the sharp end… It’s all very well to be here and understand what we think are the challenges, and want to make a difference, but when you meet the people who are actually out front and can turn that into a reality, it’s a real inspiration.’

Over the years, she has visited some of the winners’ projects, when her charity work takes her to those countries, ‘but not as many as I would like’, she says. In Uganda, for example, she met Dr Gladys Kalema-Zikusoka, who was working on improving hygiene in local communities after viruses had spread to gorillas she was managing in Bwindi national park. And in 1997, before she became a WFN patron, she travelled in a boat up the Amazon to see pink dolphins.

‘She was in Colombia for Save the Children and she asked the British embassy to include a visit to the Amazon in her trip – she was very interested in the dolphins,’ says Dr Fernando Trujillo, who went on to win an award in 2007.

‘The British embassy contacted me as an expert on rivers and dolphins. I was a little bit intimidated, and it was raining and I was worried we wouldn’t see any dolphins, but in the end we counted 32 – and she was so excited, every time she saw one she would jump up and down with excitement, and then rein herself in as if she suddenly remembered she was a princess. I could see her love for the environment was very genuine. From that day she was my favourite royal person.’

Another winner, Pablo Bordino, whose picture with HRH had been in the paper in Buenos Aires was flying back to Argentina. One of the flight attendants recognised him and when he arrived at the airport there was a television crew waiting to meet him. It raised the profile of his NGO - which protected marine life and habitats in Argentina - enormously and enabled him to generate further funding. ‘That’s the effect HRH has,’ says Whitley. ‘You can’t quantify it.’

Several award-winners went to the Princess’s 60th-birthday celebrations, including Claudio Padua, a successful businessman from Rio who gave it all up to pursue conservation, training at Durrell in Jersey and moving to a forest in Brazil with his wife, Suzana, and three children.

HRH had been to see them at their headquarters outside São Paulo and had taken an interest in their efforts to conserve the black lion tamarin, a monkey. They had no idea her visit would be such an ordeal, with all the security arrangements. ‘We had a call to ask what kind of security we had,’ says Claudio. ‘I said, “I have an old dog, that’s all.”’

‘She turned up with a security detail and entourage,’ Suzana adds. ‘They wanted to go into the forest to see the monkeys in our Land Rover and her security team asked, “Has this car been checked?” I said it hadn’t and they became very nervous but she ignored them and just got in anyway.’

Years later, the Paduas were invited to Buckingham Palace for her 60th. ‘It was a beautiful opportunity for us,’ says Suzana, ‘and as she came down the stairs she spotted us and said, “Oh how nice to see you. How are the monkeys?”’

The Whitley Fund for Nature is hosting a #PeopleforPlanet biodiversity summit on 6 and 7 November at London’s Royal Institution, where members of the public can hear live from Whitley Gold Award-winning conservationists from Africa, Central and South America, and Asia

#a new anneterview!#I love that she seems to remember everything and everyone #the part about her jumping up and down when she saw the dolphins #what a mood #princess anne #princess royal #british royal family #brf #newspapers #anned i quote

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septembercfawkes · 1 year

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Turning Relationship Arcs into Plotlines

Most stories will feature a relationship arc as a key plotline. But in order for a relationship to be a plotline, it not only needs an arc, it needs a plot.

Showcasing an amusing friendship or a fiery rivalry, or throwing in a love triangle or family feud here and there doesn't make it a plotline any more than having an entertaining protagonist doing random things makes a plotline.

You can have ideas for a riveting relationship, but if it isn't arcing because of the story, it's probably just cleverly disguised "plot" filler.

We usually don't want a protagonist without an arc doing random things. That's not really the protagonist's story.

The same is true with relationships.

Now, real quick, not all relationships in a story will need a plot--that would be near impossible, overdramatic, and would read as soap opera.

This is one of the reasons why there is a difference between a relationship arc and a relationship plotline.

Recently I did an article on the four basic relationship arcs. For convenience here is a quick recap:

Positive Change Relationship Arc:

The characters start distant--they may be strangers or downright enemies--and grow closer in love and respect. Ex. Elizabeth and Mr. Darcy, Mulder and Scully, Sulley and Boo

Positive Steadfast Relationship Arc:

The characters start close--already having some love and respect for each other--and have their relationship tested through the obstacles of the plot. Ultimately, they stand by one another at the end; often their love and respect grow by degree. Ex. Frodo and Sam, Harry and Dumbledore (in book 7), Peter Parker and Mary Jane (depending on the rendition)

Negative Change Relationship Arc:

The characters start close with love and respect and are ultimately pulled apart and become distant, as strangers or enemies. They grow in dislike or disrespect for each other. Ex. Anakin and Obi-wan (in Revenge of the Sith), Mike and Will (Stranger Things seasons 1 - 4), Katniss and Gale (in The Hunger Games).

Negative Steadfast Relationship Arc:

The characters start distant--as strangers or enemies--and might be pushed together through the plot, but ultimately won't stand by one another at the end. In the end, they are strangers or enemies. Often their dislike and disrespect will grow by degree. Ex. Winston and Julia in 1984, Angier and Borden in The Prestige, Estella and the Baronness in Cruella

These are just basic relationship arcs and there is room for variations, so don't panic if yours doesn't fit any description perfectly. However, it should, more or less, be able to fit into one of them, which can be useful to get started.

Now we need to take some time to address plotlines, because how much you develop your relationship plotline will depend on how prominent it is. And the more prominent, the more it needs to be on the page. So hang with me as we cover some bases.

Relationship Plots for A Stories, B Stories, C Stories & More

Usually a relationship plotline is a key plotline, but where it fits in priority isn't the same for every story or even every genre.

Most stories, specifically long stories (a novel as opposed to a short story), will have at least three kinds of plotlines. The most popular combo is this: the protagonist's external journey, the protagonist's internal journey, and the protagonist's relationship journey (with the Influence Character). This is a great combo, because it has a broad conflict (the external journey), a deeply personal conflict (the internal journey), and something that fits between those (the relationship journey)--giving the story clear dimension.

However, with that said, you can create other combos as well. For example, sometimes there is a world/society plotline, and no internal journey. So while a relationship plotline is key to most stories, I'm not gonna say it's key for every single story (despite what some say in the community).

If you are reading this article, you obviously want to learn more about writing relationship plotlines. At this point, it's a good idea for us to take our usual pit stop and talk a little bit about terminology in the writing industry.

Some in the industry actually lump together the protagonist's internal and external journey and call the weave the "A Story," or the primary plot.

With this in mind, often the relationship plotline is considered the "B Story, " meaning it's the secondary plot that unfolds, more or less, alongside the A Story.

Some people in the community use the term "B Story" synonymously with "relationship plotline." In truth, not all B Stories are relationship plotlines, and not all relationship plotlines are B Stories. That's just what is most common.

In some narratives, the relationship journey is the A Story--the main plotline. This happens when the story is primarily about a relationship. The most obvious examples of this would come from the romance genre. Pride and Prejudice is primarily about Elizabeth and Mr. Darcy's relationship journey.

But this doesn't mean you have to write a romance novel to write a relationship A Story. In The Prestige, the whole story is driven by Angier and Borden trying to undo or outdo each other. The A Story is a relationship plotline about a negative relationship.

So there are a lot of options in regard to plotlines.

But whether the relationship journey is the A Story, B Story, C Story, or what have you, it still needs to have an arc and plot to be a Story. It's just that the less prominent the plotline, the less you need to develop it and show it on the page.

In contrast to a romance, The X-Files is more about the external journey and the internal journeys of each of the leads, than it is about Mulder and Scully's relationship. That doesn't mean their relationship journey isn't impactful (far from it). But less of that plotline makes up screen time . . . with the relationship arc stretched out over nearly a decade. If it had been the A Story, it wouldn't have been The X-Files, and it wouldn't have survived as perhaps the slowest burn in television.

Whether your characters' relationship journey is the A Story, B Story, C Story, or what have you, that's ultimately what we want: something impactful.

So let's dig into plot. . . .

Some of the problems that can come up with relationship plotlines stem from the writer not understanding that even though this journey appears quite different than the external or internal journeys, it still follows basic principles.

But if you don't write romance, this may be difficult to wrap your head around . . . because there are almost no resources to teach you how to do it!

People will mention relationship plotlines, but they'll be vague or general about it--or say it has to be a romance or that it must be a positive change relationship arc. It doesn't. But for this reason, this plotline has often felt vague to me, personally. If I'm not writing romance--what am I supposed to be doing here? And how?

Let's start with the basics and feed the relationship journey into them.

I already did a long and lengthy series on the principles of plot, so I won't be repeating the details of each element (nor will I be going through every element for this). This means if you are confused or need more information, you should look through the series, starting here.

Keep your relationship arc in mind as we go through the pieces, and soon it will become clearer and clearer how to write a relationship plot.

The Goal in Relationship Plots

Plot starts with a goal. This is because a goal provides context for plot. Until there is a goal, what happens doesn't really matter, since no one is trying to get anywhere. And the audience can't measure whether what happens is progress or a setback.

We know characters should have external, measurable goals. And even if they have abstract wants, they should manifest in concrete goals.

Not all characters keep the same goals for the whole story. In fact, some characters will have a different goal for each act (I'm looking at you, Star Wars IV: A New Hope). And some will have both an overarching goal and act-level goals inside it.

This can be applied to relationship plotlines. In fact, it's highly likely the relationship goal will change through the story (and often on the act level).

At the most basic, abstract level, there are only three goals your characters can have in a relationship, and they may not be the same as the other person's.

The 3 Basic Relationship Goals:

1. Draw closer and/or get along with this person 2. Push away and/or cause dysfunction with this person 3. Maintain the relationship as is

Worth noting is that the last one will likely turn into one of the other two, because something will disrupt "normal," and the character will either be trying to draw closer or push away in order to get "normal" back.

At this point, some of you may already be confused. My characters want to get along to get the plot goal, but they also hate each other and want to push each other away! you may be thinking.

Don't panic.

The relationship plotline is usually intimately woven with the external and internal plotlines.

Remember what I said earlier? It fits below the external plotline and above the internal plotline.

This means what happens externally will trickle down and complicate the relationship, while what happens internally will bubble up and complicate the relationship.

This is one of the reasons the relationship plotline can feel tricky and vague, especially if it's not the A Story.

Just focus on the relationship itself. Does the character want to draw closer to this person? Or does she want to be distant from this person? Or does she want to keep things the way they already are?

Relationship Goal Examples (Basic):

Elizabeth judges Mr. Darcy unfavorably--she wants to be distant from him through more than half the book. Scully wants to get to know Mulder, despite his poor reputation in the FBI. Sulley is afraid of Boo. He wants to send her away from him and Monstropolis. Sam wants to follow, be near, and support Frodo. Peter wants to be in a relationship with Mary Jane. Will hopes to maintain a close bond with Mike . . . and maybe draw even closer. While attracted to Julia, Winston thinks she's a spy and hates her (this one is a little more complicated, and that's okay). Estella wants to work for and be like the Baroness.

Notice that the other person in the relationship may not have the same want. . . .

Mr. Darcy falls for and wants to marry Elizabeth. Frodo doesn't want Sam to bear his burdens, so tries to create distance. Mike isn't interested in maintaining a relationship with Will and is blind to Will's efforts (also a little more complicated) Julia wants to be involved with Winston (which changes his relationship goal).

And sometimes the participants do have the same wants. . . .

Mary Jane wants to be close to Peter. Despite being suspicious Scully is there to spy on him, Mulder is ultimately fine with opening up to her--after all, his purpose in life is to reveal the truth. Angier and Borden are trying to push the other further away by outdoing each other and creating more dysfunction. Gale and Katniss would prefer to be close (though at some parts, Katniss is only interested in maintenance)

As you can already see at the basic level, things aren't always simple, and again, wants can change, but we are just getting some basics down to build from.

You'll also notice that while the goals will play into how the relationship arcs on the page, they aren't determined by the relationship arc. Strangers can want to get close. Enemies may want to mend their ways. Friends may want to draw close or part ways. And each person may want something different.

The basic goals are the characters' desires. And the arc is what happens in reality.

Just as with external plotline goals, it's helpful if we get more concrete and specific. This will make the plotline stronger and allow the audience to better measure progress. So, consider, what does "success" in this relationship look like to the character? Darcy wedding Elizabeth? Boo being thrown back to where she came from? Mike accepting Will's gift and playing D&D with him? Winston and Julia having a secret rendezvous? Keeping Sam away from the Ring? Angier besting Borden in magic? Scully making sure Mulder makes it back in one piece to D.C. (and vice versa)?

It's important to realize that what success looks like may be influenced by the external and/or internal journeys. The external journey informs Scully what success in her relationship with Mulder looks like. It determines what Sulley's goal is for Boo. The internal journey informs Will what success looks like with Mike. It determines why Frodo wants to keep Sam away from the Ring.

So, look at each participant in the relationship--do they want to grow closer or apart? (Or maintain?) What does "success" look like in this relationship, to each participant?

The Antagonistic Force in Relationship Plots

The antagonistic force is a form of opposition. I emphasize "opposition" because the antagonistic force is something in the way of the goal.

We know what the characters want. And we know what success looks like.

What is keeping the characters from simply getting that? (Or, in some cases, maintaining that?)

That's the antagonistic force. And just like the goal, it doesn't need to be one thing, and it doesn't need to be the same thing throughout the whole relationship plotline. If you think of the antagonistic force as the obstacle in the way of or resistance to getting the goal, you'll have both a broader and more accurate understanding of what an antagonistic force really is. Or likely, forces.

For relationships, the antagonistic forces can come from several places.

The 3 Sources for Relationship Antagonists:

1. External: What's happening externally may trickle down and get in the way of the relationship goal. For example, two characters may wish to live their lives separately (or may even be enemies), but external circumstances force them together. This is common in the enemies to friends/lovers arc. In these situations, often there is a shared external plotline goal that the characters have to work together to achieve.

In contrast, you may have two characters who want to be close, but external forces are pulling them apart. In 1984, Winston and Julia want to be together in Acts II and III, but the Party wants them separated. You can see a similar thing in Romeo & Juliet.

And just as a note, even if the characters have different relationship goals, you can still have external antagonistic forces--it just gets a little more complex.

2. Within the Relationship: Antagonistic forces may come from the relationship itself. The characters may have opposing goals or methodologies or worldviews or mannerisms that clash.

Sam wants to be near Frodo. But Frodo tries to lose Sam. (Opposing goals.) Sam wants to ditch Smeagol, but Frodo wants to use him as a guide. (Opposing methods.) Untempted by and unexperienced with the Ring, Sam doesn't share compassion for Smeagol. Frodo, who suffers from both, pities him. (Opposing worldviews.)

Neither character is necessarily "good" or "bad" (though you can do that if you want). They're just different, and this creates obstacles.

It's usually very common for the protagonist and Influence Character to have opposing methodologies.

3. Internal: One or both participants may have internal struggles, flaws, or misbeliefs that bubble up into the relationship plotline.

In Sherlock, Sherlock's inability to be socially sensitive causes problems in all of his relationships. In Pride and Prejudice, it's pride and prejudice that often cause problems. Frodo's personal struggle with the Ring creates friction with Sam.

One familiar trope is that one character feels undeserving or unworthy of the other character, because of how he views himself--Edward does this sort of thing in Twilight.

Weaving All Three

Remember, just as the external and internal journeys influence each other, so do they influence the relationship plotline. When we weave three different plotlines, it can get complicated. Or perhaps more accurately said, complex.

For example, in The Hunger Games, one may argue that the antagonistic forces that ultimately drive Katniss and Gale apart come from all three places. The external plotline pulls them apart by not only creating literal distance, but emotional distance, as Katniss has to leave District 12 and pretend to be in love with Peeta.

Their relationship pulls them apart because they have different worldviews and methodologies. Gale wants to incite a revolution and overthrow the Capitol, whatever the cost. Katniss wants to survive and keep her loved ones safe.

In the internal sense, Katniss has so much going on inside her, that she doesn't have the time or wherewithal to focus on her relationship with Gale. And Gale is moving closer and closer to the anti-theme.

With that said, please don't give yourself "paralysis by analysis." You don't need to overthink the relationship plotline. The point is that you need antagonistic forces to create a relationship plotline. Those forces can come from any of those three places, or a combination of them. So if you need more (or don't have any), those are the areas to go looking. This can be especially helpful when both participants want the same "success" for the relationship--you'll need to look at external or internal obstacles.

It's Complicated

Certain setups are more complex, or at least more uncommon, than others. And I just want to acknowledge and illustrate that, so we don't get stuck thinking everything in writing needs to fit a specific mold.

In The Prestige, the A Story is a negative arc relationship between Angier and Borden. They don't want to be pals. Angier's goal is to undo Borden and best him in magic. This is informed by Angier's internal journey of obsessive revenge (also a negative arc). But Borden is also the antagonist--because he doesn't want to be undone and have his life ruined, and so fights back. They are the main obstacles for each other.

This is an atypical situation, but you'll see it has the same parts: a relationship goal and an antagonist, and of course, a relationship arc.

As Brandon Sanderson likes to say, as writers, we want to be chefs, not cooks. We want to understand the parts, and be able to arrange them in different ways to create the story we want--not follow the same recipe every time. The Prestige is a great example of that, in regard to relationship plotlines.

The Relationship Antagonist Simplified

For most stories, the antagonist will work like this:

If the character wants to draw closer, the antagonistic force is what's keeping them apart. If the character wants to grow apart, the antagonistic force is what's pushing them closer. If the character wants to maintain, then the antagonistic force is what's disrupting normal. * Sometimes the antagonistic force is the other person in the relationship.

IMPORTANT: Beware of Weak Antagonistic Forces!

We've all seen relationship plotlines that made us roll our eyes, or worse, want to scratch out the writer's eyes. This is most obvious in sequels. It usually happens like this:

In the first installment, the writers create a positive change relationship arc, where the participants become best friends, found family, or significant others--and we all let out a satisfying sigh.

In the second installment, the writers don't know how else to arc a relationship, so they try to undo and redo what they already did.

It usually fails.

Other times the writers understand on some level they need to create a positive steadfast relationship arc, but don't know how to really do that, so they put together one that has about as much depth and emotion as a cardboard cut-out.

And finally, there is the relationship "plotline" that could be easily resolved by something that the characters seem too stupid to do, such as make a simple phone call.

These situations stem from the same problem: weak or unbelievable(derogatory) antagonistic forces.

If Sulley and Boo overcame all the adversity of Monsters Inc. and then we did a follow-up where they had an argument about bedtime, and we used that as a driving force to pull them apart (so we can push them back together again), it'd be stupid. The audience already watched them survive way worse. They know their bond is stronger than that.

Now, if the argument about bedtime was really subtext for deeper issues and those are going to be the driving force, and the issues are going to manifest in a lot of different ways, then maybe something like that would work.

Otherwise? The audience doesn't buy it.

The antagonist needs to be a real, powerful threat. If the characters already have a strong relationship that has been through the wringer, what could believably fray that? (And the answer can't be a simple misunderstanding.) It needs to be greater than what they've already overcome. Or, it needs to be different and just as difficult. Or, it needs to be long-lasting but still as significant. Look at the different places antagonistic forces can come from--that might help you find something you hadn't considered before. Or maybe, you need a combination of antagonistic forces to create a worthy threat.

Often(like I touched on above), rather than think of one thing or one moment that is causing problems in the relationship, it's better to find something abstract that manifests in different concrete ways. For example, in Pride and Prejudice, both pride and prejudice are abstract concepts, but they manifest concretely in different ways throughout the story to create problems. The issue isn't so much that the ladies have no one to dance with, and that Mr. Darcy should be dancing with one. The real underlying issue is the pride Mr. Darcy seems to have.

Whatever the story, it's helpful to remember that the antagonistic force should be big enough to test the characters' commitments to the relationship goal (which will lead them to either change the goal or hold steadfast to it). This can be particularly important for positive steadfast relationships. Sulley and Boo arguing about bedtime isn't a "test." It's a disagreement.

The Conflict in Relationship Plots

The relationship goal and the antagonistic force lead to conflict. These characters hate each other and want to be apart, but the external antagonist locks them together. . . . and when they finally decide they want to be together, the external antagonist yanks them apart. Or maybe one person wants to draw close and the other wants to push away. Or maybe they both want to be together, but one is crippled by a sense of unworthiness.

There are a lot of directions you can go with this, but I think you get the idea.

There shouldn't be an easy, foreseeable way to fix these situations--because the antagonist should be a real threat (see above). So we get conflict.

The more the characters want the relationship goal and the stronger the antagonist, the bigger the struggle. And struggle is often what creates a powerful arc. As the characters face worthy opposition in conflict, we illustrate how bad they want the relationship goal. We confront them with difficult situations--choices--that require sacrifice of one kind or another. How devoted are they to their relationship goal? What costs are they willing to pay? Is he willing to risk drowning to follow Frodo? Is she willing to sacrifice her career reputation and give up personal dreams to get her FBI partner back safely? Is he willing to risk torture and brainwashing at the hands of the Party to be with Julia?

How the characters choose to address the conflict will usually create the arc in the plotline. Ultimately, nothing stops Sam from helping Frodo--this leads to their positive relationship arc. We know, Sam is in it 100%. On the other hand, Katniss won't agree that sacrificing innocent people like Prim is worth a victory for the self, so she ends her relationship with Gale. This leads to their negative relationship arc. Notice, however, this doesn't mean Katniss is a "bad" person by any means. It simply illustrates that upholding the thematic argument means more to her than this relationship.

And never forget that other plotlines weave in. An external plotline victory may mean sacrificing a relationship goal. Or it may mean succeeding in the relationship enables success in the external goal. And internal victory may mean success or failure in a relationship goal. There are so many different combinations, I fear listing them may create more confusion rather than clarity.

But just to show how this can be done in an atypical way, in The Prestige, the relationship goal is to undo, best, and push away the other magician, who is resisting and fighting back (as the antagonist). This leads to powerful conflict. What is the character willing to do to succeed? Angier is ultimately willing to frame his enemy, get him hanged, steal away his daughter, and kill "himself" a hundred times to possibly succeed in this negative relationship arc. But he fails in an internal way: He's so obsessed with revenge, so unwilling to change internally, that he failed as a human being and missed out on developing new meaningful relationships. (. . . and this all starts to bleed into the want vs. need concept . . . . and I think I'll save that for another day, in regards to relationships (I promised not to get confusing)).

The point is the conflict creates struggles that show what the characters are willing or unwilling to do for the relationship goal, and their choices will ultimately arc the relationship in the plotline.

The Consequences in Relationship Plots

In order for there to be a strong plotline, there need to be consequences to the conflicts' outcomes. Otherwise, it's just conflict for the sake of conflict.

Now, with that said, conflict for the sake of conflict can sometimes work in relationships for things like banter and disagreements. Those can be effective and fun, but remember, they aren't what make up a strong relationship plotline. Don't confuse banter or disagreements as the sum of a relationship plotline. It may be part of a plotline--the banter may stem from antagonistic forces within the relationship that the characters need to overcome--but it's not the plotline itself. In order to be part of the plotline, it needs to have significant consequences, like any good conflict should have.

Plot isn't just random stuff strung together. It has a sense of cause and effect.

So, what do the characters have to gain (and/or lose) in overcoming the conflict? What do they have to lose (and/or gain) in being overcome by the conflict?

If we are strictly focused on the relationship plotline, this may seem rather simple, as it is often the relationship or relationship goal itself. If Elizabeth overcomes the obstacles between her and Mr. Darcy, they can get married. If she doesn't, she won't be with the person she loves. If Sherlock and John can work through their differences and struggles, they can be best friends. If Katniss and Gale can't, they will become strangers. If Angier succeeds, he successfully punishes Borden.

But ideally, the consequences will bleed into other plotlines. If Harry's relationship with Dumbledore is ruined, Harry won't continue to hunt for Horcruxes. In Death Note, if Light succeeds in besting L, he can continue his plans of exacting justice and creating a new world, where he is the leader.

Commonly, the relationship characters need to work together to reach the external goal. In Moana, Moana and Maui ultimately need each other to right the world--neither can do it alone. Frodo and Sam's relationship needs to work to bring the Ring to Mount Doom. Mulder can't succeed in uncovering the truth of government conspiracy and experimentation without Scully by his side.

And of course, it can bleed into the internal plotline. Once Winston betrays Julia, it means that the Party has successfully brainwashed him--he is no longer a free-thinker but part of mass psychosis.

Not only will the relationship likely affect the consequences of other plotlines, but the other plotlines will likely bring consequences into the relationship.

Just make sure the consequences are there, and that they are significant. They need to be important enough to shift the direction of the story. This will help the audience know why this relationship matters. And as a reminder . . .

Stakes = potential consequences (projecting cause and effect into the future)

Ramifications = actual consequences

Conflict in relationships without any outcomes isn't really a story.

A relationship plotline is meant to be a Story.

We'll delve more into relationship plots next time.

The 4 Basic Types of Relationship Arcs

The Primary Principles of Plot: Goal, Antagonist, Conflict, Consequences

Writing the Influence Character

What is a B Story? 6 Key Qualities of B Stories

Writing Relationships Readers can't Resist

How Plotlines Add Dimension

#Writing Tips #Writing tips and tricks #writeblr #nanowrimo #fanfic #writing reference #writing help

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phefics · 6 months

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𝐚𝐛𝐨𝐮𝐭 𝐦𝐞. ophelia. early twenties. she/they. multi-fandom. horror enthusiast, cozy gamer, swiftie & daughter of cain. here to indulge in my slutty fictional fantasies.

𝐫𝐮𝐥𝐞𝐬. do not copy or repost my fics, or feed them to ai. do not follow me if you are under 18. only send requests when i am accepting them & respect my boundaries. read my rules before sending. most importantly: be nice!!

𝐦𝐚𝐬𝐭𝐞𝐫𝐩𝐨𝐬𝐭 | 𝐨𝐭𝐡𝐞𝐫 𝐥𝐢𝐧𝐤𝐬 | 𝐫𝐞𝐪𝐮𝐞𝐬𝐭𝐬: 𝐨𝐩𝐞𝐧 (𝐠𝐮𝐢𝐝𝐞𝐥𝐢𝐧𝐞𝐬 𝐛𝐞𝐥𝐨𝐰)

𝐟𝐚𝐧𝐝𝐨𝐦𝐬. (𝐢𝐭𝐚𝐥𝐢𝐜𝐬 𝐚𝐫𝐞 𝐦𝐲 𝐜𝐮𝐫𝐫𝐞𝐧𝐭 𝐟𝐚𝐯𝐬)

baldur's gate 3. astarion; karlach; shadowheart

criminal minds. aaron hotchner; derek morgan; emily prentiss; jennifer jareau; penelope garcia; spencer reid

death note. l lawliet; light yagami; misa amane

fear street trilogy. cindy berman; deena johnson; kate schmidt; samantha fraser; simon kalivoda; ziggy berman.

five nights at freddy's. mike schmidt; steve raglan/william afton.

grey's anatomy. addison montgomery; cristina yang; george o'malley; meredith grey.

grishaverse. alina starkov. inej ghafa. jesper fahey. kaz brekker. nina zenik.

harry potter. blaise zabini; cedric diggory; draco malfoy; fred weasley; george weasley; harry potter; hermione granger; ginny weasley; luna lovegood; nymphadora tonks; theodore nott.

miscellaneous. dean winchester (supernatural); kurt kunkle (spree); luke castellan (percy jackson); riff (west side story). roman roy (succession). ryan (thanksgiving 2023). stiles stilinski (teen wolf). sweeney todd (sweeney todd).

saltburn. felix catton; oliver quick

scream. billy loomis; sidney prescott; stu macher

spider-verse. hobie brown; miguel o'hara; peter parker (tasm)

stardew valley. abigail; alex; haley; harvey; leah; maru; penny; sam; sebastian.

stranger things. chrissy cunningham; eddie munson; jim hopper; nancy wheeler; robin buckley; steve harrington.

the hunger games. coriolanus snow; finnick odair; gale hawthorne; haymitch abernathy; johanna mason; katniss everdeen; lucy gray baird; peeta mellark; sejanus plinth; tigris snow.

𝐛𝐨𝐮𝐧𝐝𝐚𝐫𝐢𝐞𝐬.

yes. afab!reader. aus. biting. bondage. choking. degradation. edging. fem!reader. fluff. foot fetish. gender-neutral!reader. hickies. overstimulation. praise. scratching. sex toys. smut. spanking. threesomes. tickling.

maybe. amab!reader. angst. blood-play. “daddy” as a title. dub-con. knife-play. male!reader. parenthood. pregnancy. specific aesthetic for reader. watersports.

no. age-play (sexual or non-sexual). cheating. eating disorders. f!receiving anal. gun-play. incest/step-cest. pedophilia. rape/non-con. scat. vomit.

#ophelia's pinned #blog nav #slasher fic #x reader fic #reader inserts #fic writer

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henrysglock · 2 months

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🔥

I talked about this a bit last night, but I realized I still have more to say.

ST tumblr in general, but specifically bylerblr, tends to be so ship-focused that they lose sight of many plot lines and themes of the show.

"We want Will with superpowers so he can defend his established useless pathetic wet cat boyfriend Mike!" "We want..." [checks notes and grimaces] "...a byler sex scene..." "We want El to have very little screen time...So all the screen time can go to Will and byIer!!" "We don't want any more depth into HNL. We want to have time for Will and Mike to have fifteen different coming out scenes!" "We want Henry to die painfully! No we don't care about his story...unless it has byler/Will crumbs!! We only care if it has byler proof or proof of Will with powers!!"

Like...do any of them actually like the show? Do they like the central plot? The core themes? The sci fi horror?

The central plot has always been HNL. How can anyone say they want to trade the core plot for ship content about two guys who are just kinda...on par with straight ships? (That's right. I said it. ByIer is just on-par with straight ships. They'll never be Peter and Olivia from Fringe, though. Unfortunately.)

And when byler becomes canon, because it will become canon, the fandom is going to scream about it so loudly that they drown out all the other important aspects of the show. Aspects like:

"Love can pull people back from the brink, even people some might consider too far gone."

"Children need love. When they don't get it, when they're rejected and isolated, they become highly susceptible to harm." (And we DON'T blame the child, we blame the ADULTS who FAILED the child)

"Don't blame the victim, especially when the victim is a child."

"Children don't need to be strong, they need to be protected."

"Sometimes, adults need to be protected too."

"Children are not evil. They are just learning how to survive. Treat them with grace and leniency."

"It's more likely that a troubled child is the result of a good child in a troubled home than it is that the troubled child is simply pure evil."

"You don't need superpowers to be a hero. You just need to be kind and brave."

"You should be kind to and respectful of people, even if they're odd, annoying, or cringe."

"Just because you think you're right doesn't mean you are right."

"Draw conclusions from evidence rather than pursuing evidence for a conclusion."

"Often times, doing more research will uncover crucial information you didn't catch on your first try. Don't assume you know everything."

"Don't make accusations without doing your research. Malicious entities will use this ignorance to their advantage every time."

"Unchecked bias, willful ignorance, and bigotry are killers."

"DON'T TAKE THE CHILD ABDUCTING DOCTOR AT FACE VALUE ABOUT THE MORALITY OF HIS FIRST VICTIM, SOMEONE HE HAS VESTED VALUE IN SMEARING AND SCAPEGOATING."

"THE GOVERNMENT IS PROBABLY LYING TO YOU. IF THEY HAVE A VESTED INTEREST IN LYING TO YOU, ASSUME THEY ARE LYING TO YOU."

"The support of friends, family, and the community can be just as powerful as, if not more powerful than, romance."

Just...to name a few.

But yes, tell me again about how the two gay boys kissed. That was clearly the sole takeaway from the entire Stranger Things anthology.

Send me a 🔥 for an unpopular opinion (you can request topics!)

#asks #unpopular opinion ask game

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petrichor-idyllic · 1 year

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MASTERLIST

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REQUESTS ARE CLOSED

THIS BLOG CONTAINS 18+ CONTENT. MINORS DO NOT INTERACT. YOU ARE RESPONSIBLE FOR THE CONTENT YOU CONSUME.

All of my writing and works can be found here. I write for several fandoms and mainly write 'x reader' but I also have my own characters.

Please refer to my rules before requesting.

Requests can be as detailed as you want, but give me the preferred pronouns for the one-shot, or I will default use they/them.

The characters and universes I write for are listed below - character names in bold already have fics written about them, but I write for all on this list.

○ FLUFF | □ SPICE | ● ANGST | ■ SMUT |• HEADCANONS

◇ FEM! READER | ☆ GN! READER | 《》 MASC! READER

OUTERBANKS

THE MAZE RUNNER

MULTI-CHARACTER

(NOTE: Newt is canonically gay, confirmed by the author of TMR: James Dashner. Therefore, I will only write Masc and Gender-neutral reader out of respect for the character.)

THE 100

(NOTE: I have only seen the first two seasons pls don't shout at me.)

THE MARVEL CINEMATIC UNIVERSE

(Please request characters for this, there are far too many to list.)

PETER PARKER

RORY CULKIN CHARACTERS

CHARLIE WALKER (Scream 4) | EURONYMOUS (Lords of Chaos) | GABRIEL (Gabriel 2014) | CLYDE (Electrik Children) | MIKE (5lbs of Pressure)

INDIVIDUAL CHARACTERS

(These are one-off characters I will write for and what they are from.)

SIMON "GHOST" RILEY | Call of Duty

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MY ORIGINAL CHARACTERS

CICADA: OUTER BANKS FANFIC IDEA

Mazz Introduction

THE MAZE RUNNER FANFIC IDEA

Vol and friends introduction

#🌿 petri's masterlist #obx netflix #outer banks #obx oc #obx #tmr minho #tmr thomas #tmr imagines #tmr fanfiction #the 100 #writers on tumblr #writing #fanfiction #r #wednesday #marvel mcu #mcu imagine #marvel #doawk rodrick

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theuselessblueberry · 2 years

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𝐒𝐭𝐫𝐚𝐧𝐠𝐞𝐫 𝐓𝐡𝐢𝐧𝐠𝐬 𝐦𝐚𝐥𝐞𝐬 𝐨𝐧 𝐭𝐡𝐞𝐢𝐫 𝐒/𝐎'𝐬 𝐩𝐞𝐫𝐢𝐨𝐝

𝘽𝙞𝙡𝙡𝙮

Okay, hear me out! I can see this man cuddling you 24/7. He won't go to parties, or won't leave for anything (Unless it's food for your cravings) He'll stay with you until your period is over, no cap.

Billy would definitely ask Max for advice, she'll give him a hard time though. Movies!!!

You'll yell at him from time to time, and he'd surprisingly not argue back. He will always try and stay on your good side, he's scared of you when your mad.

Period sex?

Finally when its all over, you would apologize for yelling at him, but he doesn't care, he loves you!

𝙊𝙣𝙚/𝙃𝙚𝙣𝙧𝙮/𝙋𝙚𝙩𝙚𝙧/𝙑𝙚𝙘𝙣𝙖

This man..this fucking god of a man, he is the literally definition of a gentleman.

Will👏do👏anything👏you👏say! And I mean it! Ask him to get, or make you waffles, done! Cuddles, done! Kisses done! Anything y'all, anything. He will, like Billy, not leave your side, unless you want him to..

He'll just have his signature smile as you yell at him, he literally doesn't care.

Most definitely would have period sex...

Peters just a happy man guys, a very happy man!

𝙀𝙙𝙙𝙞𝙚

To be honest, even though he respects girls. I don't think Eddie has heard of periods, so he wouldn't know what to do.

He'll probably ask Mike, or someone what it is, and when he understands.

He's becomes a fucking cuddle god...

Buys all your favorite foods, snacks, or drinks. Even gives you some stuff animals!

He would want sex, period or not, he needs you.

Thats all I think Eddie would do. I kinda ran out of ideas for this sexy man...

𝙎𝙩𝙚𝙫𝙚

Y'all, I don't even need to say a fucking thing for this man..

Steve is a 𝗞𝗜𝗡𝗚 when it comes to periods. Like, I don't know if Nance and Steve were still together when she'd got her period, but I know this man would do things no other man could Ever do..

Cuddles, Check!

Attention, Check!

Food, Check!

Affection, Check!!

That it is all, my fellow simps! Good day.

𝙅𝙤𝙣𝙖𝙩𝙝𝙖𝙣

Get this guy a medal!

When it comes to your period, he knows when it'll happen. Jon puts a date so he can prepare for whats to come.

He of course gets Joyce involved, and being the best mom she is, she helps him and gives some advice when he needs it.

Boy he gives the best cuddles, he be so warm.

He is absolutely horrified when your angry, Jon just backs away really slowly..

Jon knows how to make all your favorite foods.

He's so damn cute! I just can't!!

#billy hargove imagine #001 x reader #henry creel x reader #peter ballard x reader #vecna x reader #billy hargove x reader #eddie x reader #jonathan byers x reader

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caniaska-question · 1 year

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Following up on my ‘the Entities fuckin love This Guy(tm)’ TMA au, Jon regularly makes it obvious who he assigns himself with at all times. He has a million tiny eyeball earrings, a dozen pairs of long, black fingerless gloves, camo steel toed boots, and regularly colour-coordinates with certain entities depending on if he’s talked to them recently, or on his mood. He has a specific hoodie, sewn together by spiders, with different patches he designed of all the Fears. For a long time, he had coloured contacts, and whenever he was strongly feeling one entity in particular, he would put the colour he associated with that entity in his left.

His right eye, however, was always green. While the entities did show up early for him, he has specific memories of the Eye always being there. They’re his patron, and he is loyal to them, regardless of how well he gets on with the others. He does find it funny, however, that whenever another entity tries to impress him, the Eye immediately lets him Know something that either a) is to do with eyes (some bugs have two types of eyes, simple and compound, which detect motion/light and images respectively) or b) makes it look much less impressive (this image of the night sky is beautiful, however the third star on the right is actually about 3,700 miles too far left, and the angle of the constellation is wrong.)

Some of the avatars absolutely love him. Anna takes him shopping for these clothes and critiques his stitch work on any home projects. Michael, once Jon shows he can be trusted, takes great fun in moving his stuff around just so he can come out of nowhere and have a reason to talk with him. He and Agnus have a standing date where they go out into the middle of nowhere and start the biggest campfire and yell about their weird childhoods. Even Jane seems to tolerate him, and sometime he hears her humming to his butterflies, who like to sing back (that song is not for him, will never call to him like hers does, but it seems to make her happy). Oliver has no strong emotions, but gets a text message (Jon did not ask for his number) ever so often of something vaguely spooky and a ‘thinking of you.’ Mike Crew has on no less than three occasions flirted with him, to varying but never complete degrees of success.Elias is the only one to outright hate him, but he can’t really do anything about it, and Jon knows this.

(Jon and Peter Lukas only ever saw eye to eye once, the day of a very public dispute and threatened divorce in the institutes reception. The next day Jon walked in wearing soft jeans, a jumper that smelled like fog, and a sailors neckerchief as a hair band. Peter can admit he was proud, if only because he’d never seen Elias that shade of red before.)

#jon tma #jon sims tma #jon sims #tma #the Magnus archives #michael shelley #Michael #jane prentiss #Mike crew #peter lukas #oliver banks #can you tell I like stories where nothing really bad happens to the characters #communal parenting for the eldritch aligned #elias bouchard

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frozen-snowflakesandsunflowers · 4 months

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Disney 100 ✨🏰🤍

Wishing you all a happy new year and to Disney, a belated 100th anniversary! 🎉

To celebrate Disney’s century milestone, I created an illustration based on 100 of Disney’s most known and loved characters from their respective movies/ series. I’ve included all the ones I’ve known and feel are generally popular but I’m sorry if your personal favourites aren’t here.

This has been in the works for almost four months now but due to many delays I couldn’t finish it on time. So here it finally is!

Out of all these range characters, the hardest to draw was the Cars. I’m not used to drawing cars so I’m not generally good at them (yet). Some of these may look simple and easy to draw but trust me, they’re not 😂.

With drawing the characters and the background, I like to be accurate with the respective style it’s drawn/ animated in and the colours too. But also I wanted to also simplify the 3D ones and add a little depth using shadow to the 2D ones. For example some of these films would have a desaturated grainy effect to it and I wanted to keep that. But finally after months of working on it, it’s completed and I’m happy with it! ✨.

Please, please do check it out on Instagram too:

View this post on Instagram

A post shared by Zahra Sarfraz (@artofzahrasarfraz)

instagram

If this link doesn't work, my username is @/artofzafrasarfraz - it's where I put all my drawings up on. Please do Shar on stories and comment. Much appreciated 🥹🫶🏼

All the 100 characters featured in this piece are listed below:

1927: Trolley Troubles / Oswald The Lucky Rabbit (2022): Oswald

1937: Snow White: Snow White and the Evil Queen

1941: Dumbo: Dumbo and Timothy Q. Mouse

1942: Bambi: Thumper and Bambi

1943: Private Pluto: Chip and Dale

1944: The Lion King: (Child) Simba

1949: Pinocchio: Pinocchio

1950: Cinderella: Cinderella

1951: Alice In Wonderland: Alice, Cheshire cat and Mad Hatter

1953: Peter Pan: Peter Pan and Tinker Bell

1959: Sleeping Beauty: Aurora and Maleficent

1963: The Sword in the Stone: Arthur Pendragon

1964: Mary Poppins: Mary Poppins

1967: 101 Dalmatians: Cruella De Vil and Patch | Jungle Book: Mowgli and Baloo

1970: Aristocats: Toulouse, Marie and Berlioz

1973: Robin Hood: Robin Hood

1977: The Many Adventures of Winnie The Pooh: Winnie-the-Pooh and Christopher Robin

1989: The Little Mermaid: Ariel, Flounder, Sebastian and Ursula

1991: Beauty And The Beast: Belle

1992: Aladdin: Aladdin, Jasmine and the Genie

1993: Steamboat Willie/ Mickey Mouse Series: Mickey & Minnie Mouse | Tim Burton's Nightmare Before Christmas: Jack Skellingtion

1995: Lady and the Tramp: Lady & Tramp | Toy Story: Woody and Buzz Light-year | Pocahontas: Pocahontas

1997: Hercules: Hercules & Megara

1998: Mulan: Mulan | A Bug's Life: Flik

2000: The Emperor's New Groove: Kuzco

2001: Monsters Inc: Sulley, Mike and Mary Gibbs aka Boo

2002: Lilo & Stitch: Lilo and Stitch

2003: Finding Nemo: Nemo and Dory

2004: The Incredibles - Helen Parr aka Elastic girl, Robert (Rob) Parr aka Mr. Incredible, Jack-Jack Parr and Edna Mode

2006: Cars: Lighting McQueen and Tow Mater

2007: Enchanted: Giselle Phillip

2008: WALL - E: Wall-E & Eve | Phineas and Ferb: Phineas Flynn and Ferb Fletcher

2009: The Princess and the Frog: Tiana | UP: Carl Fredricksen and Dug

2010: Tangled: Rapunzel & Flynn Ryder aka Eugene Fitzherbert and Pascal

2012: BRAVE: Merida | Wreck-It Ralph: Wreck-It Ralph and Vanellope Von Schweetz

2013: Frozen: Elsa, Anna and Olaf

2014: Big Hero Six: Baymax

2015: Inside Out: Joy and Sadness

2016: Moana: Moana | Zootopia (2016): Nick Wilde & Judith (Judy) Laverne Hopps

2017: COCO: Miguel Rivera

2020: Soul: Joe and 22

2021: Luca: Luca | Encanto: Mirabel and Isabella Mardigal | Raya And The Last Dragon: Raya

2022: Red Panda: Mei Lee aka the Red Panda

2023: Elemental: Ember Lumen & Wade Ripple | Wish: Asha and Star

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