#“That could have been better”

[frivolousfootstep]

Song : Izzamuzzic - Shootout

[stevenrogered]

You should call him. Really? Heck yeah!

[jambamthepaperman]

[stemmmm]

he likes to play gatsby

[poorly-drawn-mdzs]

Soup solves everything.

[usercelestial]

to be honest, the ending wasn't my problem. it's not a horrible way to end a show that has primarily been about a dysfunctional but loving family trying and failing to stop the apocalypse. having that family die to save the world but die together and willingly and in the end be reincarnated (ish?) as flowers under the same tree, i think that's really beautiful in a way. it's the details that fuck with me. five and lila are an insane choice, no resolution for sloane, everyone kind of just fucking off and having stories with no payoff that don't actually build to anything, ray just walking out, etc. like the last few minutes weren't the worst, it's really just everything leading up to those moments that were at best highly questionable

[strawlessandbraless]

Jensen Ackles saw this early script draft and made the choice that Dean would NOT make Cas feel bad for hugging him after the angel thought him dead

In fact, he let Dean be fully embraced by Cas, let him melt into the hug with a soft smile. Dean got to proudly Introduce his angel to Mary without shame or embarrassment, and that’s beautiful

[inkskinned]

"don't make it political!" .... what proportion of death and suffering must occur before politics are involved. if this isn't political, what is even the point of any politics, ever. of democracy. the words are "by the people for the people." if i am going to be left alone by my elected representatives to "figure it out" - to undergo damage, hardship, fear. what the fuck did i elect them for. what was their job. the entire point is that they handle this shit. this is why we were supposed to be electing leaders.

poverty is political. misogyny is political. gun control is political. climate change is political. how much aid a community gets is political. what the fuck are you talking about. it's been political this whole fucking time.

[morganmnemonic]

I can't stop thinking about the relationship between Jon and Helen as perhaps one of the most important ones in the entire show. They are narrative parallels for each other, and they both know it. They've both known it from the very start!

Helen walks into the Archives, paranoid, unsure of who to trust, and Jon sees himself in her. And he thinks "If i can help her, maybe there's hope for me too." Then he can't save her. The next time they meet, she's a monster. They're both monsters. There was never any other way their stories could have gone, their fates entwined from the very start.

And Helen answers his original thought with one of her own: "Maybe if we can help each other, there's hope for us both." But Jon looks at her and sees everything that he fears becoming, and so he turns her away, and refuses to accept that their stories are still one and the same.

Helen went to the last person who was ever kind to her, the only person who both knew her as a human and had the context to understand what she'd become, and he hated her. He hated her because he liked Helen, and told her that she couldn't be Helen.

So she stopped trying to be Helen, and embraced being a monster. Reveled in it even. Then Jon wakes up from a six month coma, more monster than person, and tries so hard to cling to the things that mattered to him when he was human. Even with no support, even with the entire archives staff against him, he chooses humanity and compassion over and over again.

And this is a direct threat to Helen's world view. Their stories are entwined. If Jon can continue to be a person even after everything he's been through, then she could have clung to her humanity too, if only she'd tried a little harder. And that terrifies her! She wants to conceptualize herself as someone who was completely overwhelmed by forces beyond her control, who never had a choice but to become a monster. She want's to be an innocent victim. But Jon argues with his actions that they'd both had choices.

And, Jon, in turn, holds out hope that she might make better choices until the very end.

This is the conflict between them for all of season 4 and 5. Jon wants to prove that they can both be decent people, and Helen wants to prove that they were never going to be anything but monsters. This is why she's so devoted to trying to goad Jon into enjoying his newfound godhood. She knows that they are the same, and wants that to mean that he has a spark of evil inside of him, and not that she was always capable of doing good.

When Jon kills her, she loses her life, but wins the argument. Helen is nothing but a dangerous monster who needs to be killed for the good of everyone, and in the moment he decides that, Jon dooms himself to the same fate. Their stories are one and the same. "If i can help her, maybe there's hope for me too." he thought. But he couldn't help her, refused to, even, in the one moment when it actually mattered. And thus, there was never hope for him.

[valtsv]

the thing about "callout/cancel culture" that convinced me it's rotten to the core is the dehumanisation you face once you become the subject of a campaign like that. a lot of criticisms of callout/cancellation attempts appeal to the humanity of the subject, pointing out that it's unfair and unproductive to treat a person, a fellow human being, regardless of how much harm they've caused and how genuinely unlikable they are, like that. but unfortunately the reality of being the target of a mob mentality often means facing the very isolating and traumatising experience of realising that you've ceased to exist as a person in their eyes. you're a representation of your transgressions, an embodiment of harm that needs to be erased like a blemish, a spectacle for entertainment, a means of earning social approval by publicly condemning and humiliating you in what quickly becomes a competition to see who can strike the blow that knocks you down so you never get up again. nobody cares about who you are outside of what you did. people make mistakes and hurt one another, but there is always the capacity for change, for regret and reparations. you are an irredeemable monster. you can't change. the only way to make sure you can't cause harm ever again is to neutralise you entirely. to drive you off and hurt you so badly that you never consider coming back. and it often succeeds. but it doesn't make the world a better or safer place. it just tells everyone that certain behaviours will be punished, so you should conceal them, and harshly condemn them in others so that everyone knows where you stand; nobody will stand up for you if you're accused and brought out for judgement, so you shouldn't trust anyone, and always be on the lookout to take them down before they can do the same to you. you're not creating a safe, welcoming community. you're creating a panopticon built on fear and punishment.

[cozylittleartblog]

Columbo and the Knight (1984)

put me in the universe where Columbo ran through the 1980s and had a crossover episode with Knight Rider. I think they deserved it, and I am not just saying that because they're my two favorite Old Shows. @telebeast wrote a little fanfic blurb about it and I HAD to visualize it into a comic (which is also the longest comic I have finished thus far at five pages...), so writing credit goes to them.

Autism W!

[stevenrogered]

Wait, Tommy's gay?

[hawberries]

emilie cultivars

[letsplaythermalnuclearwar]

Homer!Odysseus and Epic!Odysseus would try to kill each other if they ever met

[poorly-drawn-mdzs]

Thanks for listening to my sad backstory. Anyway, here's Wonderwall.

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[hinamie]

*catboys ur shounen protag*