everyone say thank you twt oomf for giving me this art idea
Monterey Bay Aquarium

ellievsbear

roma★
occasionally subtle
he wasn't even looking at me and he found me
"I'm Dorothy Gale from Kansas"
🪼

tannertan36
tumblr dot com
we're not kids anymore.
Claire Keane
ojovivo
Jules of Nature
No title available
PUT YOUR BEARD IN MY MOUTH
taylor price
I'd rather be in outer space 🛸

Origami Around
hello vonnie
Misplaced Lens Cap
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@blackstarregulus79
everyone say thank you twt oomf for giving me this art idea
I don't think you understand how important this kiss is.
Doing this in front of God too.
They sacrificed their love so that we, humans, could love each other and make decisions. They spent 6000 years teaching each other that humanity is not a toy. They died for us, they love us as much, if not more than they love each other. They are our deities, our creators. They are Love. We are children of Love.
intergalactic bffs
nothing left to do but wait
do you see the vision
An Archive of Our Own, a project of the Organization for Transformative Works
Chapters: ½ Fandom: The Falcon and the Winter Soldier (TV), Marvel Cinematic Universe Rating: Mature Warnings: Graphic Depictions Of Violence Relationships: James “Bucky” Barnes/Sam Wilson Characters: James “Bucky” Barnes, Sam Wilson (Marvel), Sarah Wilson (Marvel) Additional Tags: Bucky Barnes’s Trigger Words, POV Bucky Barnes, Deaf, Self-Harm, Past Torture, Isolation, Sensory Deprivation, Post-Episode: s01e06 One World One People, Healing, Getting Together, Whump, Whumptober 2021, Hurt/Comfort, Bucky Barnes Needs a Hug, Sam Wilson Needs a Hug Summary:
Bucky goes to drastic measures to avoid being triggered by a newly-rediscovered set of words. Afterwards, he and Sam heal together—physically and emotionally.
(for the @winterfalconevents WinterFalcon Bingo prompt “Trigger Words” and the @whumptober2021 Day 24 prompt “Self-Induced Injuries to Escape”)
obsessed
I love queerplatonic boblena.
like, it just fits them so well. Not just because Yelena is canonically aroace in the comics and likely is in the MCU, but also because… that’s just how they are.
The whole movie, they just have this… connection. Of understanding, of acceptance, of hope and concern and quiet belief.
They’re constantly doing things that say I got you and I understand you and don’t give up, you can’t give up, we have to keep going. At the end of the movie Yelena literally says, out loud, “you’re not alone.”
The whole premise of the movie is that they’re all outcasts, weirdos, people who are shunned by society, but somehow they find each other in their grief and fear. They just get each other. And because of that, they band together to say I get it, I really do, but you have to keep trying, you have to stay, please, we need you, and look, you’re not alone anymore, okay? So please, don’t go. You’re not alone.
Isn’t that just the epitome of the queer experience? To feel completely, utterly alone, hopeless and terrified, only to learn you’re not alone? To learn that, yeah, the world’s pretty damn scary, but it’s not as daunting when you have people on your side who just get you. When you have someone that loves you, despite all your broken pieces? That they look at you and don’t see your mistakes: they see your light and life and you, they see you… suddenly, the worlds not quite as scary anymore.
And that’s definitely been my experience in any relationship, queerplatonic or not, that goes outside the “normal” binary of friendship and romance. We’re weird, and the world is against us, but it doesn’t matter because we’re not alone.
And thats what Bob and Yelena are to each other: someone who gets it, someone who sees all of them, someone who truly cares. Someone who makes them believe, who makes them hope, makes them look at the world and think we can do better, so they do.
Bob and Yelena make each other better, they really do, and the best part is? They don’t need to be strictly platonic or romantic or anything else: they can just be them, and that’s enough.
Alpine and the Winter Solider (1437 words) by RegulusStars79 Chapters: 1/? Fandom: Thunderbolts (Movie 2025), Marvel Cinematic Universe, Captain America (Anthony Mackie Movies), The Falcon and the Winter Soldier (TV) Rating: General Audiences Warnings: No Archive Warnings Apply Relationships: Alpine | Bucky Barnes's Cat & James "Bucky" Barnes, James "Bucky" Barnes & Sam Wilson, James "Bucky" Barnes & Yelena Belova & Robert "Bob" Reynolds & Alexei Shostakov & Ava Starr & John Walker, Alpine | Bucky Barnes's Cat & Sam Wilson, Can be read as James "Bucky" Barnes/Sam Wilson Characters: Alpine | Bucky Barnes's Cat, James "Bucky" Barnes, Sam Wilson (Marvel), Yelena Belova, Yelena Belova's Guinea Pig (Thunderbolts 2025), Fanny | Yelena Belova's Dog, Robert "Bob" Reynolds (Marvel), John Walker (Marvel), Ava Starr, Alexei Shostakov, Minor Characters Series: Part 3 of Thunderbolts Mini Fics and One Shots Summary: Bucky wasn’t exactly sure when he decided he was keeping the cat, but the more he thought about it the more he realized it was hardly a question at all. Despite the white fur littering his apartment and the stench of wet car fur filling the air, he felt nothing but affection for the animal.
New Thunderbolts Fic
What’s in Your Heart? In Your Head? (3923 words) by RegulusStars79 Chapters: 1/3 Fandom: Thunderbolts (Movie 2025), Marvel Cinematic Universe Rating: Teen And Up Audiences Warnings: Graphic Depictions Of Violence Relationships: James "Bucky" Barnes & Yelena Belova, James "Bucky" Barnes/Sam Wilson, James "Bucky" Barnes/Steve Rogers, James "Bucky" Barnes & Yelena Belova & Robert "Bob" Reynolds & Alexei Shostakov & Ava Starr & John Walker Characters: James "Bucky" Barnes, Yelena Belova, Fanny | Yelena Belova's Dog, Alpine | Bucky Barnes's Cat Summary: The night before their first official mission as a New Avenger, Yelena wants to run. Luckily, Fanny, her supposedly loyal dog, dragged Bucky and his cat, Alpine, out of bed to stop her. This leads to the two of them sitting out on the balcony in the middle of the night, watching the rainy New York City sky line pass them by. --- Or Yelena and Bucky have deep conversations about trauma, grief, sexuality, and what it means to be a hero.
https://archiveofourown.org/works/76728291/chapters/200832036
Anemoia is now complete!
Anemoia (40236 words) by RegulusStars79 Chapters: 13/13 Fandom: Supernatural (TV 2005) Rating: Teen And Up Audiences Warnings: Graphic Depictions Of Violence, No Archive Warnings Apply Relationships: Castiel/Dean Winchester, Jack Kline & Dean Winchester, Castiel & Jack Kline & Dean Winchester & Sam Winchester, Castiel & Sam Winchester, Balthazar & Castiel (Supernatural), Castiel & Anna Milton, Castiel & Gabriel (Supernatural) Summary: "My name is Castiel, Angel of the Lord, Junior Member of the Garrison Forces, and Soldier of Heaven! I do not know why you keep calling me ‘Cas,’ but stop it at once.” “Alright, Castiel, Angel of the Lord, junior—” Cas pressed the blade into his throat, hard enough to put pressure on his Adam's apple but not enough to draw blood, “ah! Alright. Fine.” “Why are you here?” “I made a mistake,” Jack called out before she could cut. She turned her head to face him, yet refused to take the blade off Dean. “I was trying out my powers and I wanted to try time travel, but I lost control and went too far back. I don’t have the strength to make the full jump forward, so we’ve been inching our way back to 2017.” - or when Dean and Jack have a time travel adventure through Cas's past (post 13x1)
https://archiveofourown.org/works/71930966/chapters/187237021
It's Doctor Who Day!!
Summary:
"My name is Castiel, Angel of the Lord, Junior Member of the Garrison Forces, and Soldier of Heaven! I do not know why you keep calling me ‘Cas,’ but stop it at once.” “Alright, Castiel, Angel of the Lord, junior—” Cas pressed the blade into his throat, hard enough to put pressure on his Adam's apple but not enough to draw blood, “ah! Alright. Fine.” “Why are you here?” “I made a mistake,” Jack called out before she could cut. She turned her head to face him, yet refused to take the blade off Dean. “I was trying out my powers and I wanted to try time travel, but I lost control and went too far back. I don’t have the strength to make the full jump forward, so we’ve been inching our way back to 2017.” - or when Dean and Jack have a time travel adventure through Cas's past (post 13x1)
An Archive of Our Own, a project of the Organization for Transformative Works
Misha is really doing the most to keep the tumblrinas fed
In Every Other Universe, We're Still Dancing (858 words) by RegulusStars79 Chapters: 1/8 Fandom: Doctor Who Rating: Teen And Up Audiences Warnings: Major Character Death Relationships: The Doctor/Rogue (Doctor Who: Rogue), Art/Rogue (Doctor Who: Rogue), Belinda Chandra & Fifteenth Doctor, Belinda Chandra & Fifteenth Doctor & Ruby Sunday, Fifteenth Doctor & Ruby Sunday, Belinda Chandra & Poppy (Doctor Who: Space Babies), The Doctor & Sutekh (Doctor Who) Characters: Rogue (Doctor Who: Rogue), Art (Doctor Who: Rogue), Fifteenth Doctor (Doctor Who), Sutekh (Doctor Who), Belinda Chandra, Ruby Sunday, Poppy (Doctor Who: Space Babies) Additional Tags: Afterlife, Alternate Universe, Alternate Universe - High School, Alternate Universe - Soulmates, Alternate Universe - Fantasy, Alternate Universe - Zombie Apocalypse, Alternate Universe - Angels & Demons, Multiverse, Angst, Angst with a Happy Ending, Fluff and Angst, Random & Short Summary: After Rogue dies in the baron dimension something unexpected happens: Sutekh shows Rogue every universe where he and the Doctor make it. Rogue runs through door after door, universe after universe, trying to escape the God of Deaths grasp and stumbles into another version of the Doctor and his love story over and over again. In every other universe the Doctor and himself dance, and this is the only one where they loose each other. Or maybe it isn't.
i rewatched season 10 yesterday :’)
I’ve seen some posts floating around saying things like, “Belinda was always a mom, the Doctor just corrected the timeline,” and I genuinely cannot stress enough how little that addresses the core issues people have with how her story was handled.
First of all, if that was the intention—if the idea was that Belinda was always meant to be a mother and the timeline just needed to be “set right”—they did a poor job of executing it. A twist that major, one that fundamentally alters a character’s identity or arc, requires setup. Foreshadowing. Emotional groundwork. You can’t just spring something that massive on the audience in the last five minutes and expect it to feel meaningful instead of disorienting.
And here’s the thing: Doctor Who has done that kind of plot before—successfully. A great comparison is Amy and Rory. The show literally did the “someone you love was erased from time and the universe needs to be corrected to bring them back” storyline already. And while I’ve got my own qualms with how Amy’s arc was handled overall, that particular beat actually worked.
Why? Because there were signs. The cracks in time. The missing memories. A sense of loss Amy couldn’t place. Little inconsistencies that made the audience lean forward and feel that something was wrong. Not to mention: Rory was introduced before he disappeared. We knew him. We saw his dynamic with Amy. We cared about him. We barely see Poppy in these two episodes, other than "child missing bad" we really have no attachment to her.
Now imagine if we never met Rory. If Amy had been introduced as a fierce, independent woman with no attachments, someone whose refusal to be tied down was a defining trait—and then the show suddenly revealed, in the finale, that actually she was about to get married the whole time to a man we’d never seen, and now she’s a devoted wife. No buildup. No context. Just surprise! emotional transformation. That would feel bizarre, right?
That’s exactly what happened with Belinda.
The final minutes of the finale reframe her not just as someone who once had a child, but as someone whose true self is supposedly defined by that role—and we’re meant to believe that this identity has now been “restored” to her, and we’re told it’s been restored to her as a reward. But it doesn’t feel like a revelation. It feels like a contradiction.
It’s like they wanted to write her as fierce and independent, but didn’t also want to imply that she wanted kids or thought about kids—because society still tends to associate maternal longing or caretaking instincts with weakness, or with not being a “strong” woman. So instead of exploring that complexity, they just didn’t. They wrote her as a fully autonomous character, with no visible yearning or absence, and then stapled a child onto her arc at the end.
And just to be absolutely clear: the problem is not that Belinda is a mother. You can write a fierce, independent, female-presenting character who’s also a parent. Those things are not mutually exclusive. The problem is that the story didn’t earn it.
Writers often avoid giving powerful women maternal traits because they assume femininity and strength can’t coexist—but that’s a separate conversation. The real issue here is that the show never showed us that this part of Belinda was missing. It never laid the groundwork for that emotional restoration to resonate. It didn’t feel like they revealed who she truly was—it felt like they replaced her with someone else.
It’s not that you can’t tell a story where a forgotten child or a missing family is recovered from a broken timeline. That kind of emotional twist can be powerful. But if that’s the story you want to tell, you have to earn it. You have to make the absence felt before you try to fill it. You have to let us sense the missing piece and ache for its return. Without that, it doesn’t feel like a twist—it feels like a contradiction.
And no, Poppy showing up once in The Story & the Engine is not proper setup. If this was truly the intended arc from the beginning, then it needed clues. Give us subtle signs. Let Belinda hesitate when asked simple questions. Let her glance at a photo and seem unsettled. Let her correct someone’s memory and then immediately second-guess herself. Plant a sense of wrongness in her own life that even she can’t quite name.
There’s even a interview with RTD about reshooting the beginning of The Robot Revolution to give Belinda roommates, because he thought no one would buy her owning an entire house by herself.
But if this twist with Poppy was truly planned from the start? Then leave her in that big, echoing house. Let it be part of the unease. Let there be a child’s toy tucked into the back of a drawer she doesn’t remember buying. A room she avoids, too pristine and untouched. A lullaby she hums under her breath without knowing where she learned it. Give us texture. Give us silence that feels too quiet.
Let us feel the shape of what’s missing before you tell us what it was.
That’s how you write a twist that resonates—by trusting your audience to notice the gaps, to feel the ache, and to recognize the truth when it finally appears. Not by pulling a rabbit out of a hat and calling it destiny.