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Multi-Fandom blog...sorry not sorry. Absolutely obsessed with everything Teen Wolf...but also a lot of American Horror Story, Vampire Diaries, The Originals, Carrie Diaries, Supernatural, White Collar, Shameless, Glee, Pretty Little Liars, Reign, Arrow, aaandd i think that is it....for now...
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- Professionals

- Frat buds

- Children


Sometimes the shape you take reflects the person that you are.

make me choose: lindsey-fantasy-world asked me stelena or scallison?

He fell apart with his broken heart

Posey: Sexlin w/ Hoechlin
Ian: Hoechlebear
Daniel: Heckles
Colton: Hoechy & Hoechlepoo
Adelaide: Hoechlbear
Dylan: Sexy

I seriously don’t understand how you survive without me sometimes.

"Some say the world will end in fire, some say in ice."




did u guys see me at the oscars

You looked great, pizza. Congrats on everything. I love you.

Thanks, John. I love you too.

Books 1-3: Fuck yeah, I'm Harry Potter.
Books 4-7: Fuck, I'm Harry Potter.
                                  everyone has it
                                                  ʇı ǝsoן uɐɔ ǝuo ou ʇnq
the cruel clutches of grief
               never truly f a  d   e    s

Mickey Milkovich (rivetingly played by Noel Fisher) first made his mark in an unexpected Season 1 sexual encounter with teenage Gallagher son Ian (Cameron Monaghan). Ian, established as gay early in the series, receives tacit support from the handful of family members and friends to whom he comes out. Mickey, by contrast, is a profoundly closeted neighborhood thug: a belligerent, grubby kid with the words “FUCK U-UP” tattooed on his knuckles … who also happens to be an exuberant bottom. However, instead of writing off this hook-up as another one-time moment of comedic outrageousness, Shameless has made Mickey’s arc a surprisingly sensitive one, examining the impact of poverty and family violence on the character’s life.

Mickey has been raised in a household ruled by terror. The Milkovich brood is overseen by tyrannical father Terry, who is often out of sight (thanks to frequent incarceration), but never far out of mind. Mickey’s appearance is disheveled: at times visibly dirty. His speech is littered with wisecracks and put-downs. He’s cagey and mean and picks fights. All of these at-once repugnant qualities are undercut by viewers’ slow, sobering realization: This is how an abused child survives. Because, as we discover in both subtle clues and scenes of explicit brutality, Terry’s hairpin trigger rage is calibrated to fire at any mention of homosexuality.

… In tiny increments since his first encounter with Ian, and at clear risk to his own safety, Mickey has pushed himself further and further past his fear. We are reminded of the time Mickey, returning from a stint in juvenile detention, greeted Ian with a deceptively terse, “Missed ya.” Of Mickey and Ian’s first kiss, hurried and nervous, long after they began meeting for sex. Of the futile, single-word plea – “Don’t” – when Ian told him he was enlisting in the Army. Of Mickey’s hesitant response to a stranger who asked, of his relationship with Ian, “Did you guys just meet last night, or are you together?”

Finally, after a pause: “Together.”

This, all of this, is what coming out looks like. And this is what Mickey Milkovich’s relevance truly hinges on: not only an acknowledgment of the suffering and self-denial that is still a reality in the lives of many LGBTQ people; but the validation that coming out is not irrelevant or passé or an all-or-nothing game. No matter how small and unwhole these acts of disclosure may seem, they are still brave.