the last remaining die-hard block b stan (what's desktop?) || sail with me beyond the seas; the wind carries me to you
Don't wanna be here? Send us removal request.
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First thing you see after you zoom in is how you die

How you dying 👀
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your outie sells drop phones to criminals
your outie will say anything to get what he wants
your outie is a friend of the cartel
your outie grieves in a way some consider cruel
your outie steals trinkets and sells them for profit
your outie will never attend therapy
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I’ve done it, I did the Severance Fab Four
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@memetchiii
mark: hm how am i going to get a message to my innie
reghabi the reintegration suggester: i have a suggestion
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Matt: "Like we rehearsed. You ready? Kirsten? Kirsten, I need you...!" Daredevil vol. 3 #35 by Mark Waid, Chris Samnee, Javier Rodriguez, and Joe Caramagna
This is a climactic scene—arguably, the climactic scene—of Daredevil volume 3, and there is a lot to say about it. But I would like to talk about Kirsten in particular, who is as much in the spotlight here as Matt is. This is a trademark Matt Murdock Risky Gambit; a powerful white supremacist shadow organization called the Sons of the Serpent is attempting to use Matt's secret identity as leverage to manipulate him, and Matt has decided to remove that leverage by publicly outing himself as Daredevil once and for all. This courtroom is under the control of the Sons of the Serpent, and he and Kirsten know it. They also know that this is going to cause the situation to explode and put them both directly in the line of fire. And in order for the plan to work, Matt needs Kirsten's help. She has to be standing there next to him, wearing the same target that he is placing on himself with this stunt (or possibly an even bigger target; as a woman of color, this is a very dangerous bear for her to be poking).
Matt and Kirsten's relationship began with a dance surrounding his leaky secret identity. This dance started out purely professional and then morphed into a flirtation. They would joke around and tease each other about it. It was funny, as the reader, to watch, and it became a fun trademark of their relationship. But now, at the volume's climax, the dance has morphed into something deathly serious. This creative team makes powerful use of Matt's ability to hear heartbeats, beyond its most well-known application as a lie detector. In this run, heartbeats are used to show fear, powerfully, viscerally, without words. Kirsten is typically cool-headed, and from the outside, she is wearing a convincing professionally detached mask here in front of this courtroom full of observers and enemies. But through Matt, we can sense her fear. We can feel it. And the creative team takes the time to show it to us in order to emphasize her courage. This is a huge risk she is taking, for herself and for Matt, and she understands the weight of it. It is impactful to see Kirsten McDuffie unnerved, after so many issues of seeing her as a savvy, unflappable, indomitable force. She is under tremendous pressure (Matt's little "I need you" drives home how much his plan relies on her), and she is scared. And knowing this adds emotional power to the fact that she is able to push through the fear and do it anyway.
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I bet it feels good as fuuuuck to slightly draw your sword with all the other knights in anger when a treacherous knave shows their face in the court
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i just feel strongly that work shouldnt be the Main Activity of five days out of the week
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knew this woman who used to be a gay man and when he was a gay man he liked ‘ironically’ referring to himself as she/her and so when he came out as a woman he decided the next logical step was to also switch his pronouns to he/him.
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was so well-behaved the dentist let me put my fingers in his mouth too
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next year theyre replacing the "personality disorders" section of the dsm with "dere types"
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sun tzu once said "wwwwwwwwwwsswssswwwsssadasdsdasdsa" because he forgot he left the in-game chat box open and tried to move
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Lady of shallot. Lady of onion. Lady of garlic. Lady of chives.
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