hannah is on a romance kick

I feel like there’s not enough Spacer Shep & Mom Shep love (even tho my fav is Earthborn Shep but w/e) so here’s some cute headcanons

  • Hannah holding smol Shep above her head and running around the room while Shep makes noises pretending to be a space ship
  • smol Shep wearing Hanna’s uniform, but they’re literally drowning in it and Hannah can’t help but laugh at her child
  • Shep running around Hannah’s office and making gun noises
  • Shep running around when Hannah’s having an important meeting with her superiors and everyone is pretending little Shep isn’t present,though some of the marines can’t help but crack a smile
  • Hannah talking about some of her missions as goodnight stories(though she makes them way less bloody and more heroic)
  • teen Shep being a moody little shit so Hannah has to pull the soldier on them but they’re not impressed and they’re like “Mooooom”
  • Hannah being both proud and scared for their child when they enlist
  • “Well hello there, Captain Shepard”
    “Nice to see you, Commander Shepard”
  • Hannah giving a small kiss on Shep’s cheek before a mission and saying “Kick their asses, baby”
  • “My small angry baby that likes to shoot everyone in the face, I’m so proud of you”
  • if Shep romanced Ashley/Kaidan, Hannah just rolls her eyes and smiles “Commander, you know you’re breaking the rules, but I can let it slide this time”
    “Thanks, Mom”
  • “Behave, soldier!”
    “Mom, please”

anonymous asked:

Hello, I love reading books that have a female character(s) who can kick ass and the book doesn't revolve around romance and love but instead, revolves around the growth of the character(s) such as Throne of Glass. Have you got any recommendations for me?


Anyone else have any recs?

dean/cas fic: The Great Outdoors (2,6k, nsfw)

The Great Outdoors; 2.6k, nsfw, first time.

Written for the Destiel Smut Brigade Summer Challenge Fic Dump. My prompt was camping.


“Are you sure that goes there?” Dean asks.

“Yes,” Cas replies, but he pauses for a few seconds, splitting a frown between Dean and the tent pole in his hand. “Reasonably sure, anyway.”

“That doesn’t look right.”

“Well, it is.”

“How do you know? The instructions are in French.”

“I can read French,” Cas points out. He’s wearing Dean’s brown and yellow flannel, and the collar is crooked, sticking up at the back of his neck. “Besides, the diagrams are very clear.”

Dean snorts; the diagrams look like stick-figures drawn by a drunk person. He snaps together the pole in his hand and drops it on the ground with the rest of them, then glances around the campsite, watching out for the other campers. There are only two groups nearby: a family of four set up about a hundred yards deeper into the valley, and two chicks in a tiny tent tucked right up against the mountain. The family left for a hike shortly after Dean and Cas arrived, and the chicks disappeared into their tent about the same time and haven’t come out. Dean thinks they’re on a date. He doesn’t see the romance in a weekend of bad food and no showers, but they look like they’re college-aged. They probably can’t swing any alone time without sexiling their roommates.

“No one’s looking,” he tells Cas. “Why don’t you just –” he flaps his hand around “– you know.”

Cas shrugs, his mouth thinning, and Dean immediately wants to kick himself. Cas’ grace has been a touchy subject since Hannah sealed off heaven. He still has it, and he can still use it, but sometimes it acts a little wonky. Dean doesn’t really understand it, except that some days Cas is just more plugged into the matrix than others.

“We’re supposed to be… roughing it,” Cas says. “Isn’t constructing your shelter part of the experience?”

Dean snorts again. He fucking hates camping; he’s not interested in any part of the experience. He still doesn’t understand how he landed the Daniel Boone portion of this hunt. Sam’s the one who goes on early-morning runs so he can commune with nature or whatever, but right now he’s playing federal agent, either at the ranger’s station or the frat house. Somewhere with a roof and walls and electricity and running water.

“That still doesn’t look right.”

“You’re more than welcome to help me,” Cas says, offering him a pole.

“Come on, dude. I don’t know where that goes.”

“You should. Sam said you two have been camping before.”

“Not really,” Dean says, shaking his head. They went on a few camping trips as kids, but they’d all been thinly-disguised hunts. They’d stayed in creepy, tumbledown cabins for all but one; that time, his dad had handled the tent and the fire. “Not like this.”

“Here,” Cas says, shoving a limp handful of tent material at him. “Just hold this. I can’t see what I’m doing when it’s on the ground.”

Keep reading

I think you’re the third person to ask me that today, haha. Here are some of my scattered thoughts, borrowed and expounded upon from different instances I’ve discussed this today.

The Book 3 finale? It was OK. It was very FUN, and I loved a lot of the scenery and the music. The fight scenes were neat, and I enjoyed the melancholic ending with Korra really being out of sorts. It sets up what could be a potentially intriguing Book 4, but given how Books 2 and 3 dismissed the intriguing set-up they had almost immediately…I’m not getting my hopes up. Book 3 was entertaining, but I feel emotionally empty, apathetic – like even the last few minutes were there specifically to force an emotional reaction out of me, like so many other aspects of LoK. It’s like an old friend trying to guilt trip you or emotionally manipulate you into paying attention to them. A good friend of mine made that metaphor about her feelings with LoK and it really opened my eyes to why it rubs me the wrong way a lot of the time – it feels like the themes, messages, and character development get tossed aside in favor of the writing trying to manipulate the emotions of the audience. That can be entertaining, sure, but it can leave you feeling empty and uncaring after all is said and done, and I guess that’s where I’m at.

We got a ton of NOTHING as far as explanations are concerned. The Red Lotus is now just a typical “Illuminati” villain group that could spring at any moment, given them a cheap way of suddenly introducing shock-twisty villains. The rise of random-ass people becoming airbenders is also essentially dismissed. There’s no reasonable explanation at all, not even an ATTEMPT at explanation. Tenzin literally uses the word “somehow.” We might as well have added “because of reasons.” I’m not a fan of seeing Aang and Katara and Tenzin’s legacy to grow Air Nation culture (which was complex and interesting with the Air Acolyte dynamic) reduced to “Super Squad Airbending Heroes” without even an explanation for why they EXIST (and Harmonic Convergence/Portals isn’t an explanation, because neither of those have actually been explained, either). It could’ve been something as simple as “The world is trying to self-correct its own elemental imbalance” or something, but…nope. Nothing. Because in LoK the reasons or the consequences don’t matter – all that matters is “Are we making the audience feel X or Y at a specific moment?”

Book 3 concluded with many of the same unfortunate plot devices that plagued Book 2 and even 1 in the thematic sense: Korra was captured/defeated, and someone else bailed her out (again). I’m so damned sick of the MAIN CHARACTER of this show not ever getting the chance to shine, to save herself in a way that’s rewarding and not reliant on punching shit.

Keep reading


Reblog if you post any of the below:
Doctor Who
Harry Potter
Dan Howell
Phil Lester
Zoe Sugg
Allie Deyes
Kick the pj
Crab sticks
Tyler Oakley
Troye Sivan
Hannah Hart
Grace Helbig
Mamrie Hart
Cute things
Scary things
LGBTQ+ things
Funny things
Arctic Monkeys
Fall Out Boy
Panic At The Disco
All time low
Sleeping with sirens
Pierce the veil
Black veil brides
Twenty one Pilots
My chemical Romance
Art (in general)

Thnx lovelies :) (mwah<3)