"not all wraith" you're right todd would never

Hey-ho! I'm back again with some Apex Polarity art, but this time it's some designs for the humans' snow gear!

It started out with me just trying to figure out a design for y/n in my little comic, but then I thought it would be fun to also try and visualize the other humans, so here's my take of y/n, Vanessa and Michael! I really like how they turned out, although I don't think I got Vanessa's "patchwork" look quite right, but I still like where I landed. I added a blue scarf and I was really tempted to give her those red goggles, since it would've made her resemble Vanny even more, but in the end I desided against it.

So yeah- nothing too big this time, just something fun and easy!

But to round this off, I will of course credit the wonderful author @naffeclipse who is writing Apex Polarity, which you can go read if you click right here (can 100% recommend, especially if you like stories with a bunch of fluff, mystery and drama~!) and today I give credit to myself for the designs of the humans! ;P

Presented without comment: David calling himself Liberace in one of Georgia's "BAFTA blog" Insta stories yesterday...

Am I late to the trend? Hell yah! Do I care? No!!

Adam’s freckles are in the drawing, open/tap the drawing for higher res

Arclight shenanigans!

I started watching 911 recently (and I’m not gonna lie, it’s mostly because of Buck’s coming out because I wasn’t gonna start watching yet a show with a very potential queerbait in the middle of an otherwise very diverse and interesting looking cast) and I’ve been loving it, and even though I’m only on season 3 now, I really want to contribute with an idea on how the show could start up Eddie’s own coming out journey (which is hopefully in the cards)

Now, I don’t know how much closer Michael Grant gets to everyone else on the show (since I’m on season 3, I haven’t really seen him interact much with anyone but Bobby and Hen from the 118, and idk if that changes or if his relationship with other characters deepens over the years), but I would really like him to be present at Chimney and Maddie’s wedding. And maybe Tommy and Buck are being cute on the dancefloor, and then the camera pans to Eddie, who is seated to the side with Marisol, looking at the pair a little wistfully (just enough for us to know that maybe sitting there with Marisol isn’t exactly what he wants to do). And then, the camera would go to Michael, noticing Eddie’s look, and Marisol’s sort of dejected and bored expression. And he sees a couple that not only appears unhappy with each other, but also sees a whole lot of himself in Eddie.

So, as the wedding reception is coming to a close, Michael is at the bar as Eddie comes by, looking for one more round as the bartender announces the last call. And as he waits for the drink, Michael strikes up a conversation with a bit of small talk (again, idk if they’re close enough to have a deep conversation right off the bat), and then goes, “hey, did Bobby or Athena ever tell you why we got divorced?”

And Eddie stumbles over the answer a bit awkwardly, like yeah, it was because, well, um, you know, because you’re …

And Michael chuckles, putting him out of his misery with a “a flaming homosexual? Yeah. No sense in beating around the bush about it. At least not anymore. You know, I was so deep in denial I never even kissed a man until I was in my fifties?”

“Really? So you’ve … only been with women until you came out?” Eddie asks and Michael nods. “And you’re sure you’re not bisexual?”

To which Michael laughs and reassures him that no, not bisexual, just a very very repressed gay man. Then, he drives his not-so-subtle point home by saying:

“And even still, I don’t have many regrets about my life. I got two incredible kids out of it, and I can’t imagine my life without them. My only regret, though, is that I spent fifteen years with a woman I couldn’t love the way she loved me, and I wasn’t even man enough to give her a chance to look for someone better. Fifteen years. That’s a hell of a lot of time to take away from someone.”

And while he speaks, we see Eddie glance across the room, to Marisol fussing over Chris. And, inevitably, to Buck laughing along with something Chimney said on the other side of the room. And when he looks back at Michael, he sees a very knowing expression on his face.

“What are you trying to say?” Eddies asks, still guarded as hell, to which Michael chuckles.

“Nothing, man. I guess I just officially entered my lonely gay drunk at the bar days. But if I can pass a little wisdom. If can already you feel it in your gut that you’re not with the right person, maybe don’t be like me and spend the next fifteen years trying to figure out what you already know.”

And then he leaves, and BOOM, Eddie is forced to realize things he would much rather keep repressed.

Love the idea of trickster Lucifer/The Devil who tries to manipulate and psychologically torture everyone into leaving god and taking away all their chance to be redeemed.

But I'm hungry to see Michael never falling for it.

And I don't mean the Archangel who goes down to his level to make people still have faith, who also hurts others and even his own to go against the devil. Neither do I also mean the Archangel who is blinded by faith and does whatever he wants because he can't fall, or even the Archangel who acts just as pompous and prideful as any other prince.

I clave for the Archangel who fails and learns his lessons, who always gets hurt in the end but never gives up on humanity, the one that became so human it breaks him entirely, the Archangel chief prince that rules through heaven and the pressure of it holds him forever. The Archangel whose faith doesn't waver, whose scars are visible like those of a warrior, whose mind is sharp from the ages and wise from its confrontarions with the devil. The one who is patient enough to hold a conversation with the worst of kind, the one who has learned resilience from the humble and recieved strength from the loveless. The one that has been through the war and never forget it, but neither does it forget to love the enemy through it.

Fnaf au where William figures out how to actually resurrect cc and then the aftons just have to live with that— not only is cc undead now but dad is freaking victor Frankenstein !! (like, literally, I imagine William discovered how to harvest remnant from recently deceased corpses rather then killing anyone himself, thus the mci doesn’t happen and Charlie doesn’t die either)

They just have to pretend this is normal and fine

I was looking for some of Neil’s books when I came across the first Swedish edition of good omens

Why in god’s name did they draw Aziraphale to look like David Beckham or something?? What part of the way he is described made them come to this conclusion?? I have so many questions.

Idk why but Uriel,Michael,Gabriel and Raphael give 4 horsemen of the Apocalypse vibes

i do think about this....and think it's pretty interesting when you consider it in the context of revelation - the horsemen are called by the living creatures, often contextualized as the four evangelists but, like i mentioned previously, connected back to the cherubim of ezekiel that are often thought of as representative of the archangels. if they're considered in this way, michael calls conquest/pestilence, uriel calls war, raphael calls famine, and gabriel calls death (if they are listed in the same order as they are introduced in an earlier chapter) i think it's interesting to see how to make these motifs fit and how the angels may fill the role of avatar with their horsemen (possibly as their destructive counterpart/natures). michael's, as conquest, is quite clear, that he destroys for god's army and sows fear by wielding such massive power over the weak (ALSO fascinated by the idea of him as pestilence because of well. his current state in the au lol esp as his rot can spread) uriel as war presents an interesting angle, but i think as the keeper of knowledge and the one who controls all the flow of information, he's absolutely a propaganda machine, and it would be incredibly easy for uriel, above anyone else, to start pointless dissent. raphael as famine is fairly direct, if not as much as michael, as he oversees health and growth, and so his is a role of absence - i like the idea that raphael commits his atrocities through pure dereliction of responsibility as he struggles much more than the other three being direct (esp as harm is contrary to his nature). gabriel, finally, comes as death, connected to his role in revealing apocalyptic visions, and pretty apt imo in the context of ultrakill/this au - he ended the rule of the council, he accepted the death of god himself, and as a fallen angel he has died and been reborn. it gives me a lot of ideas on how they may direct their righteous anger, and just what each is capable of

Gonna be honest, I don't think any Sam ship will ever hit as hard as Sam/Ruby.

the many versions of ed that lucius drawn look a bit like michael sheen’s collection of cursed profile pics on twitter

irvinis replied to your post "The fact that they made everyone leave the set..."

@ingravinoveritas correct me if I'm wrong. As far as I remember, M and D, as representatives of the old school, talked about “coordinators of intimate scenes” and so on. respecting boundaries as a surprising new trend? That is, they (as actors) didn’t really need to push everyone out the door.

martinsharmony replied to your post "The fact that they made everyone leave the set..."

do we know if there was in fact an intimacy coordinator used on this scene? I keep intending to check the credits. Also I love that it was a closed set because OF COURSE it was. It's an incredibly heavy scene - the heaviest in the entire series. So much emotion required from the actors. As actors, they deserve a closed set to get to the place they need to be in and exist there. I would say it was closed more for that then the kissing.

@irvinis @martinsharmony I'm not sure if it was ever confirmed whether an intimacy coordinator was used for this scene (either on the day of shooting, or in rehearsals beforehand). Intimacy coordinators are fairly standard on film sets these days as far as I know, but it sounds like it was only Rob (producer), Gavin (cinematographer), and Michael and David on the actual day. Which brings up so many questions about everything, like did Michael and David say they didn't need an intimacy coordinator, or was the kiss choreographed a certain way but then once the were kissing, just took off running with it ("it kept on going" was the exact phrase, I believe).

But I also wonder if the "This is happening!" moment almost went a bit like this...

That realization of that third thing that comes into being when Michael and David are together--and that would no doubt be even more powerful and noticeable in a deeply intimate situation like this. And if that is the case, then I would agree with your assertion @martinsharmony that perhaps the set was closed for more than just the kissing. Michael and David are professionals and superbly talented actors, without question. But it does make you wonder if they went to an intimate place emotionally--not just as the characters, but with each other--that was ultimately what necessitated that closed set.

We can't know exactly what Rob or Gavin saw in those takes that seemingly no longer exist (God, how I wish we could see them...). But even just this little insight that Rob has given is enough to make you wonder. So longing for the day when the SAG strike is resolved and Michael can finally tell us (mostly) everything we've been dying to know...

I feel like the best thing Rick Riordan could do for the Percy Jackson show is establish Will Solace as a character from the beginning.

Evil thought: what if Michael had thought about how dangerous the prank could be, and decided to ask William about it, just to make sure, because he just wants to scare Evan not actively hurt him (even if scaring does hurt him emotionally, but Mike doesn't really understand that fully yet)

But William is the one who tells him that it's completely safe, knowing it isn't, because he wants to get rid of Evan or he wants Mike to be like him or something. Or even worse, he purposefully weakens the springlocks after the talk so that they fail during the prank.

I don't think that would help Mike feel any less guilty about the whole thing, but it would probably make him distrust his father even more after the bite.