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#truly a serve
fullsunsunoo · 1 year
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XG | LEFT RIGHT (Official Music Video)
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sonseulsoleil · 9 months
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Nick and Tao this season….it’s the way that they have mirrored trauma. Nick was abandoned by his father and Tao’s father died. Nick, in turn, has shut himself away for a long time. He’s been afraid to be vulnerable, to let people in to see his true self, because his own father has no interest in who he is. On the flip side, Tao has done the opposite. He clings to his friends, loves them loudly, as Nick says, and sometimes his fear gets the better of him, and he holds on too tightly. Tao has to learn to let go of some of that fear, to trust he won’t lose his friends if he allows for change. Nick has to learn to let people in, to be honest about himself without fear of rejection. They’re opposite arcs, but they come from such similar places of loss.
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softwaring · 7 months
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zippo lighters from US vets during the Vietnam war
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wyrmswears · 21 days
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more libber super hell au because i COULD be normal but no i wont be
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✨CHOOSE YOUR FIGHTER ✨
F1 Mechanics Edition ❤️💙🧡
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actual-changeling · 7 months
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Crowley stops with one hand pressed against the door, held back by a nauseating pull in his stomach.
"Do you-" he hesitates, refusing to turn around, and yet there is nothing he wants to do more than retrace his steps and keep trying.
"Do you want that angel back?"
Behind his shades, the world grows blurry with uncried tears he refuses to allow to fall, and his breaths tremble slightly, seeking a familiar smell, taste, the touch of lips against his. He doesn't know why he asks now, the question has been stuck in his head since Eden and turned into a cruel whisper after Job. Centuries of silence and swallowed words, but he opened the gates, and the unasked question is spilling out of his throat without much control.
"I- what?" 
Aziraphale sounds breathless, tears clogging his voice, and he hates that he knows he is crying, hates that he is the one who caused it, hates that he is almost crying too.
He still doesn't turn around.
"The angel I was. Is that who you—who you want?" Bitter and angry, and somehow softer than everything he has said so far. "Do you think you will get him back if I return to heaven?"
"Crowley-"
"Answer the question."
Wet heat traces a path down his cheek, and Crowley lifts his hand from the door to catch them before they drip from his jaw. The tears sting in his eyes and on his skin, and he wonders if they would taste like blood or him.
"No. I don't- Crowley, I want you to come with me. I want you to come with me and-- and be with me. Be happy."
There is no heat behind Aziraphale's words, no desperation, only weak resignation and the sound of sadness on his tongue; the fractures running through them are mirrors of each other, sharp beneath his fingertips. Crowley wants to hold onto his fizzling anger, but it's trickling through his fingers like sand, turning to dust before it even hits the ground.
"They don't want me there. I don't want me there. I want-"
you. 
It's always been you.
He can't turn around, not because he doesn't want to (God, does he want to), but he knew how this was going to end the second Aziraphale mentioned the offer. Crowley knows him, knows himself, and heaven would rip him apart in ways he knows he would never be able to fix.
It's them or it's himself, and for the very first time in six thousand years, Crowley chooses himself, and he hates himself for it more than ever before.
Behind him, Aziraphale takes a careful step towards him, then another. Crowley's hand returns to the door, a warning.
Let me leave, please. If you ask me to be with you again, I'll stay; you know I will.
"I'll be waiting, angel."
He savours the taste of it on his tongue, melts it until it mixes with the taste of him, their kiss, and for a second, the world stands still.
Before either of them can say another word, before he can turn around, before Aziraphale's hand can land on his shoulder, Crowley pushes the door open and allows the world to keep turning; he steps outside, and it swallows him whole.
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mctwinkdom · 4 months
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you can tell Oscar is an eldest child and Lando a middle child because they convey exactly those two different energies
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maomango-doodle · 11 months
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Dumping all my old Strike Hawk art here
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These 3 pages are titled "Lost and Found". It's not rly related to any particular event in the story (it's just the aftermath of a mission here) But i'd probably situate it after chapter 8 with the whole Camu ordeal. I wanted to show how Kamui has found people that accept him and care for him while Camu is left behind, living through Kamui
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nuro-does-art · 4 months
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Even the strongest of Angels are naught before the whims of the Gods...
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skitskatdacat63 · 5 months
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2010 Bahrain Grand Prix - Fernando Alonso(cont.)
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childhoodtheme · 1 year
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a tomgreg endgame that i'd actually be very happy with would be for them to accidentally begin to address the very weird yet very real homoerotic tension between them, both of them at first pointing fingers at the other but weakening their arguments when they realise their strange feelings could actually be reciprocated, and then for tom to go "should we um—i mean do you want to" and then for them to slowly inch into the stiffest, most tentative open-eyed kiss which in a flash devolves into the raciest, steamiest, most impassioned hands-fumbling hair-tousling heart-racing blazers-flying office-shaking gay make-out session on television. and then for them to pull back, breathless and dishevelled, stare wildly at each other for a beat, before simultaneously conceding "yeah that's not—yeah i don't think that's it" and leaving the room only to never speak on it again
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kindaorangey · 2 months
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once again screaming crying throwing up about the fact that infinity train was prematurely cancelled despite being contracted for 5 seasons.
#infinity train#like i really really want all 8 seasons. & i really really want present day!amelia and all that would come with that (e.g. hazel and grace)#but i feel like i would be so much more content with the show's cancellation if we had the bow on top of it all that was the amelia season#because she was the villain from s1#the fallout of her villanry births the antagonists from s2.#she appears again in s3 having moved on slightly and changed her outlook. thereby creating a somewhat optimistic outlook on the end point of#her story#and s4 shows (in parts) her descent into villany.#she's been the main reocurring presence in the whole show and her train motivation (unbearable grief) and villain arc are the most#complex the show would've handled#i truly believe that if they had been allowed to make it it would have served as a perfect ending to the show#because she's been built up for so long and because the writers would've had so much material to work with AND detail to pay attention to#it wouldve been spectacular.... and everything they wanted to explore in later seasons wouldve been so good too#(older tulip and revenge and acceptance of something as complicated as alzheimer's disease)#(and i also think it wouldve been neat for them to show us a glimpse of 40 y/o rymin cuz those boys have major issues still when they get#off the train#and so id like a snapshot of them in the future that shows they worked things out)#yeah. justice 4 infinity train justice 4 amelia hughes. i want to fuck that 60y/o deeply evil woman so badly and i need her back in my life
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I AM WEAK IN THE KNEES
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immediatebreakfast · 3 months
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I love how Renfield is the oldest (59) and Mina is very likely the living youngest, and yet they bond so well. (It reminds me how well Mina befriended the 99 year old Mr Swales that he sought her company and felt care for her.) It probably contributed that Jack may have experience with interacting with "madmen" and studying, Mina had lived with and loved a "madman".
It's truly incredible how a simple conversation between an old man in physical cell, and a young woman in a mental cell put such a dent in the Count's plans that he had to flee to Transylvania once it was clear that nothing would stop the crew.
Even if the repercutions were huge in the narrative, in between the horror and the action it was just a visit (probably the first visit that Renfield had in a long time) to talk.
Reading again the entry I noticed how hostile Renfield is towards Mina at first,
"You're not the girl the doctor wanted to marry, are you? You can't be, you know, for she's dead." - R.M. Renfield, september 30.
and even with everything one can say about sexism, and the building infantilization of Mina, let's remember that this is the first time Renfield meets someone that is specifically associated with Jack. Renfield's remarked abuser in both authority, and personhood in general. Also by probably being informed by Dracula himself that both Mina and Jonathan are the key players in this continuous attacks against his plans in England, on top of just almost correctly assuming that Mina must share the same opinion towards the mentally ill that society has.
Three strikes against Mina that she switfly defeats by treating Renfield like the person he is, and talking to him in a normal manner. After taking care of her beloved Jonathan, and being at Lucy's side most of her life Mina is aware of how the Other is viewed. Maybe as she saw Renfield, Mina thought of a worse reality where the man on the bed was her Jonathan in Budapest, maybe she saw how Seward reacted to Renfield's words, and realized what was actually layed out in the room. Or maybe Mina just saw an old man in need of an ear, and she just listened.
This is the first time that Renfield puts a face on a victim of the Count's games, he puts a voice on the young victim whose life is going to violently end in what he thought was supposed to be eternal bliss. Lucy is a distant dream for Renfield, the revenge against these people who dared to put up a fight against this old ancient evil that goes beyond all of their years combined.
Renfield never knew Lucy, but he knows Mina now.
Renfield sees the young Mina Harker, entering life with her equal young husband in hand, and trying to solve the murder of what he knows now was her best friend, and he reflects. He reflects on everything he has done, on what has passed, and what he can do tomorrow.
Mr. Renfield asked if he might see me. Poor man, he was very gentle, and when I came away he kissed my hand and bade God bless me. Some way it affected me much; I am crying when I think of him. This is a new weakness, of which I must be careful. Jonathan would be miserable if he knew I had been crying. - Mina Harker, october 2.
And the man is devastated to see how he is helping orchestrate the murder of another young lady to please the Count. He becomes desperate to leave (a request that is denied by both Seward, and Van Helsing), so the Count can't have access to the inside of the asylum. It doesn't matter if he looks like a coward by the time's literary standards because if the only way to at least save that young lady is by acting like one? Then Renfield might as well do it, he has nothing to lose sans his life.
I think that the key difference between Mina, and Jack when it comes to Renfield is empathy, and the ability to simply treat the other person with the same humanity you should be treated.
Jack may have studied, and climbed until he got to be the head of an asylum, but his own biases, mental problems, and ableism blurred the lines between patient and doctor so hard that he made Renfield's life a boring hell. From when their dynamic was introduced, to Renfield's death, the narrative dictated how Seward was putting both into a deep spiral in which, not even with Renfield's manipulations, none of them were going to come out in victory.
In contrast, Mina has cared for Jonathan without any restrain, and has lived in service of what the situation demands of her at all times. She knows, as a young victorian lady, how to balance herself without trying to compete, or win the other person in the room with her. Mina only needed to genuinely talk to Renfield to break his heart because she gave him the respect, and honestly she expects for herself when talking.
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