private + selective LANA LANG, written by laurel (they) since 2018.
you do what you can if you can; whatever the secret, and the pain, there's a decision: to die, or to live, to go on caring about something. — MARY OLIVER
CARRD.
todays bird
Show & Tell

Origami Around

Product Placement
RMH
d e v o n

Love Begins
trying on a metaphor

No title available

shark vs the universe
let's talk about Bridgerton tea, my ask is open
Lint Roller? I Barely Know Her
macklin celebrini has autism

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I'd rather be in outer space 🛸
noise dept.

gracie abrams
Sweet Seals For You, Always

PR's Tumblrdome
PUT YOUR BEARD IN MY MOUTH

seen from Netherlands
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@lifeforms
private + selective LANA LANG, written by laurel (they) since 2018.
you do what you can if you can; whatever the secret, and the pain, there's a decision: to die, or to live, to go on caring about something. — MARY OLIVER
CARRD.
got here to three replies and two (2) of them call lana funny... you guys keep lying to her and she's going to start making more of an effort. you don't want this. nobody wants this
42 character development questions!
PHYSICAL PRESENCE AND GESTURE.
1. How do they move and carry themselves? Pace, rhythm, gestures, energy?
2. How much physical space do they use, active and at rest?
3. How do they position themselves in a group? Do they like to be the center of attention, or do they hang back at the edges of a crowd?
4. What is their size and build? How does it influence how they use their body, if it does?
5. How do they dress? What styles, colors, accessories, and other possessions do they favor? Why?
6. What are they like in motion–in different environments, and in different activities? What causes the differences between these?
7. How do they physically engage with other people, inanimate objects, and their environment? What causes the differences between these?
8. Where and when do they seem most and least at ease? Why? How can you tell?
9. How do they manifest energy, exhaustion, tension, or other strong emotions?
10. What energizes and drains them most?
11. How are they vocally expressive? What kind of voice, accent, tones, inflections, volume, phrases and slang, and manner of speaking do they use?
12. How are they bodily expressive? How do they use nonverbal cues such as their posture, stance, eyes, eyebrows, mouths, and hands?
DISPOSITION AND TEMPERAMENT.
13. How do they greet the world — what is their typical attitude towards life? How does it differ in different circumstances, or towards different subjects? Why do they take these attitudes, and why do they change? How do these tend to be expressed?
14. What do they care deeply about? What kind of loyalties, commitments, moral codes, life philosophies, passions, callings, or spirituality and faith do they have? How do these tend to be expressed?
15. What kind of inner life do they have — rich and imaginative? Calculating and practical? Full of doubts and fears? Does it find any sort of outlet in their lives?
16. Do they dream? What are those dreams like?
17. Are they more shaped by nature or nurture — who they are, or what has happened to them? How have these shaped who they’ve become as a person?
18. What kind of person could they become in the future? What are some developmental paths that they could take, (best, worst, most likely?) what would cause them to come to pass, and what consequences might they have? What paths would you especially like to see, and why?
CONNECTIONS WITH OTHERS.
19. How do they behave within a group? What role(s) do they take? Does this differ if they know and trust the group, versus finding themselves in a group of strangers? Why?
20. What kind of individual relationships do they have with others, and how do they behave in them? How are they different between intimate relationships like friends, family, and lovers versus more impersonal relationships?
21. What kind of relationships do they tend to intentionally seek out versus actually cultivate? What kind of social contact do they prefer, and why?
22. How do people respond to them, and why might these responses differ?
23. How do they respond to difficult social moments? What makes them consider a social situation difficult?
24. How do they present themselves socially? What distinguishes their “persona” from their “true self”, and what causes that difference?
25. What do they need and want out of relationships, and how do they go about getting it?
26. How do they view and feel about relationships, and how might this manifest in how they handle them, if it does?
ACTIVITIES AND PREFERENCES.
27. What do they strongly like and dislike, in any category? Why?
28. What are they likely to do if they have the opportunity, resources, and time to accomplish it? Why?
29. What kind of activities, interests, and hobbies do they have? What significance and impact do these have in their lives, both positive and negative?
30. What is their preferred level of activity and stimulation? How do they cope if they get either too little or too much?
31. Is there anything that counts as a “dealbreaker” for them, positively or negatively? What makes things go smoothly, and what spoils an activity or ruins their day? Why?
32. Do they have any “props” that are a significant part of their life, identity, activities, or self-presentation somehow? What are they, how are they used, and why are they so significant? How would these props’ absence impact them, how would they compensate, and why?
THINKING AND LEARNING.
33. How do they learn about the world–what is their preferred learning style? Hands-on learning with trial and error? Research, reading, and note-taking? Observation or rote memorization? Inductive or deductive reasoning? Seeking patterns and organization? Taking things apart and putting them back together? Creative processing via discussing, writing about, or dramatizing things?
34. How do they understand the world–what kind of worldview and thought processes do they have? Why?
35. How and why do they internalize knowledge? What effect has that had on them?
36. How much do they rely on their minds and intellect, versus other approaches like relying on instinct, intuition, faith and spirituality, or emotions? What is their opinion on this?
37. Have they had any special education or training that colors their means of learning about or understanding the world? Conversely, do they lack some kind of education considered essential in their world? What kind of impact has this addition or lack had on them?
38. Is there anything they wish they could change about their worldview or thought processes? What, and why?
39. What sort of questions or thoughts recur in their lives, either specifically or as a theme? Why are these never answered, or answered permanently to their satisfaction?
40. What do they wonder about? What sparks their curiosity and imagination, and why? How is this expressed, if it is?
FREE FOR ALL.
41. What associations do they bring to mind? Words or phrases, images, metaphors or motifs? Why?
42. I have a question of my own!
it really is just like that sometimes 😞
i did not sleep last night and i Hurt and i just want you to know, in this moment, that every time i run into this post i lose at least three minutes of my life laughing about it. all over again
alright, we have two options here. i slap you across the face and say "snap out of it!" or we just skip to the part where you say, "thanks, kid. that was tough to hear, but i needed it." mabel mora of hulu's only murders in the building, written by oz. highly private, highly selective, and mutuals only. minors and personals do not interact. ©
lana lang is a perpetual fixture on the miasma of his condition. clark kent would not only be loath to deny the fact, but it would be a blatant lie even if he did; there's a part of him that believes she'd know that, too. it's because of this that his hearing is always trained on her, even though she's hundreds of miles away and they haven't even laid eyes on each other since graduation day in smallville in a summer that he'd rather forget.
he thinks about how horribly young they both were, and how horribly broken the bulletproof boy was that day, walking across a stage to accept a diploma with a shattered heart and a father who he didn't know would also leave him shortly thereafter. clark doesn't recognize that boy he used to be in retrospect, but that doesn't mean he doesn't carry the burden of his mistakes. when jonathan joined his wife, clark did the unthinkable, something he never believed himself capable of doing, and he picked up and left everything behind that he ever knew with a profound grief that struck him to the very core. this was so unfair, something he should've reconsidered, and upon hearing lana speak so candidly against him he realizes it's about time that he answers for this transgression that she so never deserved.
ripping off the bandaid and flying over to her faster than he can blink, he's quick when he moves through the window and plants his feet onto the creaky wood of the floor below, gentle enough to avoid making the sound — but he can hear the uptick in her chest because he's still listening and he knows immediately that she has him made even without turning around. his stare is fixed onto the back of her head and he briefly wonders if she can sense it. clark doesn't know what to do with his hands, his fingers opening and closing repeatedly to occupy them with something.
❝ ... thing is, i know you wouldn't tell. ❞ despite the language he uses in answering her, his typical cheekiness isn't there; what underlines him instead is his guilt, because this is the first time he's seeing her in years, and he's abandoned her long enough. having known him better than he knew himself at some point, he doesn't doubt that she can hear it in his voice, too. he thinks about whether or not lana remembers that one confession he made to her the summer when they were fifteen years old, where he told her that he's constantly listening in on her: on the noises she makes when she shuffled through her house, on the words that left her mouth, on her heartbeat that thumped away against the cage of her ribs.
❝ it's been a long time. ❞ he continues with what is quite possibly the understatement of the century, pretty awkwardly, because he doesn't know what else to say. he knows what he wants to happen, but he doesn't know how to initiate it, and he doesn't know whether or not he'll be allowed to; after all, he showed up here completely uninvited and entirely out of his element. ❝ i've —- ❞ he starts, confidence deflating from him like he's a balloon. ❝ i've been listening. ❞
is that meant to make her feel better? does it? for years, she's told herself clark's been out of her orbit. that if he had known — if he'd had any idea — how bad things had gotten, he would have come home. that he would have at least made the minutes-long commute to visit. it's that belief that's allowed her solace, all this time. since she's been able to think about him at all. its being so casually dispelled hits lana like a physical blow, knocks the breath right out of her.
ergo: no. she is not comforted. and, no. she would never tell.
❝ i didn't realize you had a beetlejuice gimmick. ❞ it's unlike her to be quite so dry — rather, it would be, typically, but there's nothing typical about this scenario. if he'd extended a warning, she could have prepared. she would have been gracious. they would have cried, maybe even laughed, and there would have been much heartfelt discussion of bygones being bygones. she would have been in earnest, too: that is how she feels, at her core. more or less. she knows he had to leave, and she isn't sorry that he did. how could she be, after all he's accomplished? ❝ if i'd known, i might've shaved a few years off the wait. ❞
maybe it's that lana suspects he didn't call ahead because he'd wanted her unfiltered reaction. maybe it's that — even so — she can't seem to pull herself into a shape she recognizes, or one she especially wants to show him. she feels like an exposed nerve, at war with her own spite. her own loyalty. her own inextinguishable love.
she rises, all the same. there's no point in delaying the inevitable: certainly not with someone who can hear her heartbeat from across the room. across the world. she isn't sure who she hopes to find, turning around, but he's not the uncanny stranger from the news. neither is he unchanged — not by a long shot — yet he's still as familiar to lana as her own reflection. he still fidgets with his hands when he's anxious.
she shouldn't, perhaps, but lana smiles — and then falters as she promptly realizes she is completely lost. the notion of personal space had simply never occurred to them, as kids. it had had no place in the world they'd constructed together. the feet between them, though both predictable and few, seem somehow insurmountable.
❝ hello, clark, ❞ she manages, ❝ welcome home. ❞ she doesn't reiterate just how long it's been (although, inevitably, she will). it's looking as though some things never change: chief among them, how difficult it is to keep sight of her grievances when she has sight of clark, too. ❝ i won't bite, you know. ❞ maintaining her ground is all lana's pride can afford her; blasé was never on the table, in any viable sense. she can't fashion herself a new heart, and she should know: she's put the hours in.
patiently waiting for @loisl4ne and me to be retroactively credited for this writing decision tbqh
lana's anger typically is frightening because she represses it so well that it's got a sort of volcanic vibe: most people don't even realize it's there at all (herself included, in many cases) until she's already doing something extreme because the force of it's hit her All At Once.
but if she's hit with something so unexpected that she can't stay composed and has to react to it right then, she just gets mad passive aggressive / sarcastic and it's. so entertaining. to me. i'm not a "torture my character for no reason but fun" kind of guy, but i absolutely am all about "do everything you can to break lana's composure, it's good for her and she won't go to therapy."
Characters will make a very nuanced choice that makes sense for their story arc and internal conflict, and audience members will be like "is anyone else going to misconstrue this in the most black and white, bad faith manner possible?"
today's lana's "official" birthday, which i ardently reject, but i love her, and i am glad she exists. and i do at least appreciate that they made it a palindrome (like ✨ mine ✨)
i'm not really suggesting we do anything with this information. i'll be bugging you about it in october, when she will actually be 40 whole years old, in real time. despite someone trying to murder her every other week.
Collins is gone.
Namaygoosisagagun First Nation/Collins has burned to the ground. The entire community is nothing but ashes after being quickly consumed by wildfires. They did not have any support from emergency services, and no one offered aid. The community saved themselves by escaping into boats because no one came.
Mishkeegogamang and Cat Lake have lost power. Families are ending up in shelters with nothing. Armstrong, Lac La Croix, Whitesand, Gull Bay, Lac des Mille Lacs are currently in the fires path and all members are being evacuated.
All this loss, all this devastation, and it was entirely preventable.
After steadily underfunding wildland firefighting and purposefully excluding Indigenous wildland firefighters and Indigenous wildfire organizations from wildfire operations, firefighter training, decisionmaking, and resource exchanges, in 2025, Doug Ford slashed the forest firefighting budget.
It's hard to ignore his decision to cut funding and leave us out of adequate fire training (even though we've lived with forest fires for thousands of years—far longer than settlers have been in Canada—and made sure fires like the ones we're all seeing today were prevented through kinisitotēn) when, despite making up less than 5% of the population, we account for 42% percent of all wildfire evacuations in Canada.
And when we are successfully evacuated, we face discrimination and racism—like Kashechewan—because it's always been easier to blame us than it is to blame the true culprit: denialism, corportate greed, and colonization.
The people of Collins and every other impacted community deserve better.
Right now, the AFN is currently accepting donations to help Collins First Nation. If you're able to, please consider donating.
ONWA (Ontario Native Women's Association) is another great place to donate to. They have outreach vans going to motels and inns and offering food, water, resources, and cultural support to those impacted by the wildfires.
Other places to consider donating to are Mikinakoos Emergency Fund, Red Cross, True North Aid, Indigenous Climate Action. You can also send donations directly to Whitesand First Nation via e-transfer ([email protected]) and they request that you add your full name in the e-transfer comment section to receive a tax receipt.
*Before sending money, verify that the appeal appears on an official First Nation, Tribal Council or registered charity channel.
If you can't offer financial support, please consider donating items of need. Moontime Connections is currently accepting drop-off donations. If you live in the Thunder Bay area, Namaygoosisagagun Health Office is also taking in donations! They can also bemailed to Superior Inn Hotel & Conference Centre at 555 West Arthur Street, Thunder Bay, ON, P7E 5P8.
items needed are: food, diapers, medical masks, men’s and women’s joggers (all sizes), children’s clothing (newborn to size 14), children’s shoes, summer clothing, men’s clothing, toiletries (lotion, Vaseline, toothpaste, toothbrushes, shampoo, conditioner, soap, deodorant, etc.), strollers, adult depends-all sizes, dog & cat food
wīya ispīh iyiniw-kiskīyihtamowin pasikōpayiki kāwi askiy ta-iyihyīmakan
lately, i'm getting the feeling that i came in at the end. #variations, a canon multi - muse, written by oz. highly private, highly selective, mutuals only. minors & personals do not interact. low activity.
just my girl, her 500 kids, and her hype couple... i KNEWWWW that panel reminded me of something
okay but. you literally do have to comfort her like that
i know i'm past the point where i really Should do more to separate comics from tv, verse-wise, but i just. i don't especially want to re-make my blog, and i'm too lazy to re-do all my tags 🤷♀️ ✌️
and, really, reading comics is just like that
being obsessed with a minor character, generally, is a weird form of masochism. being obsessed with a minor character who is incredibly major to the Protagonist Ever is truly just like... being sentenced to relive the same oddly specific storylines no one has ever enjoyed ad infinitum 😔
granted, i knew that would get 10x worse for me when action pivoted back to superb/oy shenanigans, but ☹️
it is so funny that last month i was making this post about action, and now this morning, i opened my pull list to see Kryptonite Woman