well re$pected


I have been blessed by a whole new level of cuteness overload


Can you believe I actually sat down and lined this personally I can’t

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Pidge ft this really cute outfit I saw on my dash (plus the model was cute too)

okay, you know what i wanna talk about next? drunk jack zimmermann

3k, M, fluff!, alcohol use, basically happy fun sexy times with zimbits, fits in the dan erikson universe (but you don’t have to have read it to get it)

So, Drunk Jack Zimmermann:

I’m thinking that after Jack and Bitty come out, Jack is finally, finally able to take Bitty to a team fundraising event and they both dress up in nice suits and are more nervous than they are willing to admit because… it’s a hockey event for very wealthy people and, well, Bitty listens to his pre-game playlist and Jack goes in with a bit of a game face (and personally vows that he will cause a fucking scene if anyone says one wrong word to Bitty because he is done with being quiet. Bitty should not have to deal with anymore silence in his life.)

Of course, no one is more aware of Jack’s ‘ready to fucking throw down’ face then Eric R. Bittle because they’ve been dating for four years at this point and the last time he’s seen that face, Jack had gently but firmly taken the phone from Bitty’s hands and informed Mrs. Bittle that she was not to call again unless she planned on doing something other than crying.

So Bitty puts on his (slightly more mild) version of a ‘here to fight’ face and they head out.

And then it is very, very awkward because here they are, two gays boys ready to take on the establishment, and it seems no one even wants to fight them. Jack gets swarmed when he arrives (obviously, he is the Captain who led the Falconers to a Stanley Cup Victory in his third year in the league) but no one tries to separate them and no one rudely ignores Bitty in favor of talking to Jack and, really, many people seemed absolutely thrilled that Bitty is there.

So, when a server comes around and offers the group drinks, Jack feels confident enough to release his hold on Bitty and actually take one.

And it just keeps getting better and better. After the first hour or so, Jack has put in enough face time to keep the high-ups happy and they are free to hang out with his team and their wives and more servers come around and Bitty has switched to his left side so he can drink and let his arm dangle off his boyfriend and then when he sees one of his teammates sneak a quick kiss from his girlfriend, Jack realizes that he can do that too and does and–

This is fun.

They are out and no one is being a jerk and Bitty looks fantastic and Jack is allowed to put his hand on Bitty’s shoulders and his lower back and–

“Jack!” Bitty hisses, laughing and pushing at him. “We are at a formal event!”

Okay. Not there. He can’t quite put his hand there.

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just two guys….bonding… i can’t believe this is my first contribution to this amazing show…

[Kaneki and Furuta as Oreste and Hamlet?]

I won’t say that Ishida put references to Pirandello’s works in his manga because that would be a stretch even for him, but certain panels of this chapter reminded of “The late Mattia Pascal”, so I thought I’d share for those who might be interested. The scene that made me think of the parallel is this one: 

Mattia, the unfortunate protagonist of the work, is declared dead thrice.
First, by the newspaper: 

(His family, who had lost contact with him, has declared an unknown corpse to be his,

and Mattia takes this as an opportunity to start a new life.)

Soon enough, though, he finds out that he’s not happy even though he started afresh with the fake identity of Adriano Meis, because he has no legal rights, and to the world he still doesn’t exist: 

This later brings him to fake his own death and reclaim his identity as Mattia Pascal. 

I’m not saying that this is a legit 100% parallel to Pirandello’s work because it doesn’t match up to TG as nicely as other literary classics like, say, Kafka’s works, but if we pretend that it did, then it would be interesting to note the bit in chapter 12 about the hole in the paper sky: 

This part is meant to stress the difference between the figure of the tragic hero as it is perceived in a traditional way (Oreste) and the modern hero (Hamlet), who is perfectly aware of his own condition as a marionette on a stage. As someone explained in better words than mine: 

We could say that Kaneki/Oreste never actually became Hamlet, because despite realizing his condition as a tragic hero: 

He’s very passive for a main character. I know that other people in this brilliant fandom explained it in detail before me so I won’t expand on it, but the gist of it is that Kaneki was, and essentially still is, a marionette. The story of TG has always progressed through an external intervention, not because of a conscious decision of Kaneki. 

If you allow me the stretch, this chapter only further emphasizes this point by suggesting a comparison between Takizawa (who was portrayed in the calendar as a marionette) and Kaneki. Both are empty, both have no real reason to live, only to stay alive, and both are basically just pawns (after all Kaneki is still following Eto and Arima’s plan, as long as he identifies as the OeK). 

On the other hand, Furuta is perfectly aware of the hole in the paper sky. One could argue, this is why he’s very active, as opposed to Kaneki’s passive attitude (it’s always Furuta who starts the offence. Kaneki always sidesteps around Furuta’s strategies). One could also say that this very awareness of his role as an actor is what makes him wear literal masks: 

And treating this reality for what it is: a stage, a set, something fake and artificial; that’s where he takes his anger from, and that’s why he condemns this world and laughs at it, wanting to destroy it.