#<- debatably. it is horror not this

[pocketsniper]

Emesis Blue but I am actively lying to you about the tone of the film drawing completely accurate versions of events

[strategypillar]

Some randoms from procreate.

[magicicephoenix]

what do sun and moon think of rabbits

…not much.

[greyshadow63]

Isn’t “transgender illegal alien sex surgery” what they did to the guy in Rocky Horror

[mlobsters]

jared padalecki and jensen ackles spn dc con 2024 - main panel (youtube)

Q: In season 5 episode Dark Side of the Moon, Sam and Dean found out that they were soulmates and it was never really addressed after that, so what did they think when they found that out? Jared: I think they knew.

[fuckmeyer]

the choice between Edward & Jacob is not a question of which relationship is healthier or which partner is best suitable for Bella. neither is correct. neither is best. neither produces a happy ending for Bella. at the end of the day this is still a vampire novel. any choice Bella could make would yield, at best, a bittersweet happily ever after.

if she chooses Edward, she gets the terrifying Breaking Dawn ending: a girl who rejected her call to grow up has hung her love & her eternity on an emotionally stunted partner who hates himself marginally less than he loves her. she's a teen mom with a kid she never wanted who perpetuates the generational trauma passed down from her parents. by keeping this child, the Cullens have set the stage for an uprising/cold war against the Volturi who are likely to take revenge in order to maintain power. Bella is living in a tenuous "dream come true" wrapped in a nightmare & doesn't realize it.

choosing Jacob is the true coming-of-age ending that rips the stitches out of a wound that never fully healed. even if we ignore the fact that she ends up with a man who sexually assaulted her (we must bear in mind Jacob's character is influenced by smeyer's racism, but it did happen), they can't have a secure romantic relationship. based on the high imprinting rate of the pack, Jacob will likely find his imprint in his lifetime & will lose himself to the imprintee. he will no longer be her Jacob. he will inevitably abandon her (whether he wants to or not), & she must reconcile with the reality that she will always be inadequate to Jacob's imprint. & say he never manages to escape the vampires? he will presumably not age for a long time, meaning the relationship Bella always feared with Edward (her being an old grandmother while he stays forever young) remains a possibility. this is the story of a girl who slaps a Band Aid on an open wound & calls herself healed while flinching every time she sees the shadow of the knife that cut her.

if she chooses neither (team therapy), her healing requires her to lose or be at least partially disconnected from everyone she cares about. Bella must spend the rest of her life shut out from one world while never fully existing in her human world ever again. she must always keep secrets. she can never go back home. even in the unlikely event that she manages to escape the Volturi, the threat of being hunted by vampires will never leave her. in addition, she must face her worst fears (aging, losing Edward) while always keeping in mind the immortal life that could have been hers, if only.

even the "healthiest" option produces scars that will never quite heal.

Twilight is a horror. Twilight is a vampire novel. Twilight is gothic. Twilight is fiction. neither Edward nor Jacob is a "bad" choice because neither will give Bella her happily ever after. the choice between Edward & Jacob is simply a matter of which horror story you prefer to read.

[bunnieswithknives]

How much can you fit under your skin?

For @warning-heckboop's AU :3

[vampirecorleone]

"I know. I've been really naughty, haven't I? Maybe a good spanking's in order?" | "Is that all you ever think about? Do you think everything is about sex?" | "No, of course not! I mean, there's greed, gluttony, sloth, anger, vanity, envy..." Elizabeth Hurley as The Devil in Bedazzled (2000) dir. Harold Ramis

[tsukinoshinjiu]

XII - The hanged man

"The hanged man understands that his position is a sacrifice that he needed to make in order to progress forward - whether as repentance for past wrongdoings, or a calculated step backward to recalculate his path onward."

[madamemiz]

hi hello i like kerfur

listen i know the player character in votv is an actual character with a name and everything but consider: what if it was you tho

[bacchuschucklefuck]

this has been a roller coaster of a design journey but finally I can present you: class swap artificer!adaine and rogue!fabian

[containment23]

where are all the stranger things x south park or IT x south park

guys it's right there: 4 elementary kids discover the horrors

[mee1414]

A pirate!

Day 20 - Geminitay

[thebad-lydrawn-sanses]

[stupditysholy]

I have to get this off my chest because the amount of Curly love on tik tok actually stresses me out and I’ll tell you why:

So to my understanding having experienced the game multiple times, Curly absolutely fails to advocate for/help Anya. She hides the gun to keep it away from Jim because Curly will not allow her to protect herself. He straight up calls her crazy to her face, too: “You never had to get psych evals like the rest of us. I should’ve known” or something along those lines. When Curly confronts Jim before Jim crashes the ship, he doesn’t say ANYTHING in defense of Anya, instead consoling Jim that they would figure it out, and he’d been in rough spots before.

For all intents and purposes, Curly does not see that Jim has done something inexcusable, and rather he has made a series of mistakes. He does not for one single moment consider how Anya’s life has been permanently altered, how her autonomy has been entirely stolen from her.

Until he experiences it himself.

Curly being reduced to a mostly immobile spring sausage is his way of experiencing the pain he allowed to be inflicted upon Anya, full stop. Even more ironic? Anya can’t bare to give him his pain killers, so he is left completely at Jim’s mercy, a fun-house mirror of how Curly could not bare to hold his friend accountable, and therefore left Anya at Jim’s mercy pre-crash.

Curly only becomes Jim’s victim because he allows Anya’s victimization to go on unchecked. He thought he was exempt from Jim’s abuse, and that is his biggest mistake.

Also, I have to say the idea that Curly get’s rescued and lives happily ever after does the narrative no justice. In fact, it completely undermines Jim’s entire character arc. Curly living happily ever after would, in some sense, redeem a little of Jim’s character—redemption he did not remotely earn because he did NOT take responsibility. At all.

Jim putting Curly in the pod at the end is no act of mercy. It’s actually the worst and most selfish thing he could have done. It’s the exact freaking opposite of taking responsibility. When he has his big talk with Polle before the very end, he is spouting complete and utter bullshit. Why?

The crash and Curly are NOT the things he is supposed to be taking responsibility for. The thing he is supposed to be taking responsibility for is ANYA’S TORMENT. That is the thing which started all of this, which lead to the crash, which fried Curly. That is the inciting incident.

That’s the freaking irony!

Anya get’s completely and utterly forgotten in this moment. In my opinion, this is why Polle says:

If all of that is true… why are you still so concerned with him?

Because right before that, Jim is about to say “Our worst moments don’t make us monsters.”

And Polle knows, then, in that moment, that when Jim thinks of his worst moments, he thinks of the accident, what happened to Curly, rather than the immeasurable pain he inflicted on Anya PURPOSEFULLY. Jim completely fucking ignores his worst moment, and that DOES make him a monster.

So when Jim puts Curly in that pod, not only is he righting the WRONG wrong, but he is actively choosing to believe this is what it means to take responsibility. He is making his amends to a man he accidentally hurt rather than the person who suffered the most at his hand.

It’s also pretty evil of Jim to put him in there because he knows: a good captain goes down with his ship. He makes Curly out to be a selfish and pitiful. He may even be setting him up for failure depending on how the authorities reason out what happened.

I just think at the end of the day Jim is the villian of the story, and Curly is a freaking bystander. Obviously post-crash this is inevitable, but that’s almost funny—not gonna do anything to stop him, Curly? Guess what, now you don’t even have a freaking choice.

Anyway please stop glazing the spaghetti man you can love his complexity but he is not a good guy or uwu cutie pie. He sucks. Straight up.

Feel free to start discourse in the comments I’m okay with being wrong about him I guess I just don’t think I am.

[lovesickeros]

☆ you sow; & thus you shall reap what you are owed

{☆} characters tsaritsa {☆} notes cult au, imposter au, drabble, gender neutral reader {☆} warnings blood, violence {☆} word count 0.8k

You are dying.

Gold melts into the dirt, bleeds into the very earth that you'd molded by your own hands – a familiarity you do not understand the source of – you know it to be true, yet you do not remember it as Teyvat does. It weeps, in turn, for the way you bleed upon it, the way your lungs strain for breath.

It is fury and sorrow and fear and hatred so raw that your mind buckles.

You will die.

"A dying godling and its judge, it's jury – it's executioners," The voice is hollow and cold, sweeps across your broken body like the first chill of winter, "Archons who saw themselves Gods, now brought to heel by their own hubris."

A cold hand upon your cheek, the brush of a thumb across your lip, the gentle caress of cold across your skin. You know her – you don't remember, you shouldn't recognize her but you do – and she knows you. The cold beckons and you follow, let her kindness settle in the hollow space of your chest. You want to speak, to cry and scream and rage, let the world burn around you in a fit of flames so hot even she cannot contain it – but she silences you, quiets the anger seeping into your blood, quiets Teyvat itself.

"Do not speak, little godling. Guide my hand," She is cold; her hands are not gentle, yet it is bliss compared to the callous, cruel hands that have shattered you. She is cruel and cold and brutal but she is love in the way she kisses the crown of your head. She is love in the way she is the bulwark between you and the world that has scorned you – she is fury in the way she brings them to their knees. "And I shall enact judgement most divine."

They will pray for forgiveness, and they shall find themselves wanting.

"It wasn't our fault!" They cry, but you cannot recognize the voice – it breaks and cracks like glass. "They were too human. How were we meant to know? We– we thought they were.."

Silence.

You watch your judge – the executioner, the blade that shall carve their sins into the very marrow of Teyvat, stand above you like death. As cold as winter and just as brutal. Your temple has been painted in the gold of your divine blood, and she shall complete the masterpiece with their own. The Archons shall become the grandest art in the world – this temple the canvas, their blood the paint and their bodies the palette. The cold that cuts sinew cradles you – it sings to you, whispers sweetly in your ear and carves bone from body in the same breath. The cold presses it's lips to your wrist and it cradles a heart within it's palm – judges them and finds them guilty.

It is her spear that rests between their ribs, her sword that dissects and her dagger that carves – the cold devours.

In the breadth of this divine sanctuary, the Archons dwindle. They become the pieces of a divine work of art, they bleed and bend and break upon her hands. She shakes the heavens and carves mortality into the bones of the divine – your word is Law, and you weave their deaths into the roots of Teyvat itself.

They shall know of their grand folly in every moment henceforth and longer still and they shall weep.

And as the curtain falls, as the world crumbles beneath fist and blade, she cradles your face between hands too cold – as gentle as a shard of ice between your ribs, as brutal as the kiss of gentle snowfall. The world buckles at the loss of six, but she alone does not allow it to break – you will have to mend the wounds of the world when you are well, but today you weep and Teyvat weeps with you.

And alone, the cold remains.

Stone has eroded, the wind has ceased, the flames have been extinguished, the storm has been silenced, the forests have gone quiet and the seas go still.

But the cold remains, bathed in gold.

It wraps you in thick furs, cradles you against the winter storm that brews beneath a veneer of composure. It brings you home – lets the world settle into a stillness and silence that inspires only dread and still she presses a kiss to your brow.

It is cold, but there has never been something so warm.

Where hands have broken you, she drapes you in furs, wipes away the thick gold that clings to your skin. She pieces you back together where you have been shattered, reshapes you where you have been bent – makes of you something new. Not a god and not a mortal but something wedged between them.

But you are yourself.

And you are where you belong.

They shall put you back together and you shall know only the worship worthy of the divine. They shall carve this world into your image, tear out and burn away the rot that festers.

All you need to do is say the word and they shall be your tools to make this world your own.

One word and those who wronged you shall burn, too.

Just one word. That's all it takes, and they shall take away your pain.