#AND I FOUND IT! AND I AM DELIGHTED!

[rosalie-starfall]

Bonnie Hunt on The Daily Show with John Stewart

June 7th 2006

To this day the funniest Interview I've ever watched. I still don't think my eyes have ever seen this whole interview because I always end up with my head thrown back crying from laughter. I Love Bonnie Hunt SOOO MUCH!

[carnivalcarriondiscarded]

YALL HOLY SHIT

LOOK WHAT SOMEBODY DROPPED OUTSIDE MY HOUSE

[markscherz]

I'm here to make a friends and some fun here 😄😁🥰

I'm here to spread the Good Newts

[landwriter]

dead boy detectives is a show whose shortcomings and strengths make total sense when you think of it as a comic on tv, ie terribly goofy expository dialogue that sounds way better when you picture it in comic book font with every other word bolded, panel-paced conversation as our heroes figure out something very obvious, fun enormous monster set pieces that used up all the cgi budget which is why all the rooftop shots look Like That, incredible snap zooms and smash cuts in montages that hit exactly like comic panels, and side characters with bland or brilliant characterization that seems to hinge on the metric of ‘how much cunt did the actor put into their line readings’

[gingermintpepper]

One of my biggest pet peeves is the assumption that something has to be sad for it to be tragic.

I've always been a big believer of the 'Apollo has an awful love life'/'Apollo is plain unlucky with love' line of thinking but it does bother me that the general reasoning for that statement is given to the concept of 'Apollo is somehow undesireable and thus rejected' (Cassandra/Daphne/Marpessa) or 'his lovers die young and thus their love is unfulfilled' (Cyparissus/Hyacinthus/Coronis). I personally think that's a very unfortunate way of looking at things - not only because it neglects the many perfectly cordial entanglements and affairs Apollo has had, both mortal and divine - but because it presents a very shallow interpretation of the concepts of love and loss and how loss affects people.

Apollo can still grieve lovers that have a long, healthy life. The inherent tragedy of an immortal who knows his lovers and children will die and cannot stop it does not stop being tragic simply because those lovers and children live long, fulfilled lives. The inherent tragedy of loss does not stop being tragic simply because someone knows better than to mourn something that was always going to end.

What is tragic is not that Apollo loves and loses but that loss itself follows him. Apollo does not love with the distance of an immortal, he does not have affairs and then leaves never to listen to their prayers again. He does not have offspring and then abandon them to their trials only to appear when it is time to lead them to their destinies. He raises his young, he protects the mothers of his children, he blesses the households that have his favour and multiplies their flocks that they may never go hungry. He educates his sons, he adorns his daughters and even in wrath he is quick to come to his senses and regret the punishments he doles out.

Apollo loves. And like mortals, there will always be some part of him that wishes to protect the objects of his affections. Apollo, however, is also an emissary of Fate. He knows that the fate of all mortal things is death. He knows that to love a mortal is to accept that eventually he will have to bury them. There is no illusion of forever, there is no fantasy where he fights against the nature of living things and shields his beloveds from death. Apollo loves and because of that love, he also accepts.

And that, while beautiful, is also tragic.

[janthonyfell]

Nihil: I found that cardinal sleeping with one of my sons today

Sibling of sin: really? which one of them?

Nihil:

[thebirdandhersong]

in my you're on your own kid era again (I never left)

[wouldntbehim]

@rwrbmovie & @rwrbsource’s rwrbweek: Day 1 | quote

the one on the outside of your chest.

[palebonedry]

fantasy has become reality

[rmbunnie]

Another little inconsequential red hood thing and I'll admit that I'm decently biased but it irks me to see the whole "Jason can't shut up about his death/he makes his death everyone else's problem" take really frequently because he simply does not do that enough for it to be a thing in like any actual Red Hood story.

It's a thing you see sometimes in modern annuals/comics with large casts, particularly if a writer doesn't seem super confident with writing all of the characters that they're working with or if he's just a background character in this one, because with comics it's quicker to reduce a character to recognizable landmarks than to try and work out a whole new complex voice if you don't really need to, so it's tire iron, Jane Austen, Joker, and death, and it's all written out in dialogue because every character in a group event can't have their own internal monologue, but like. That's pretty much it. UTRH is the establishing event for Jason Todd post death so of course a lot of it is about his death, although it's arguably about the lack of response to his death more than his death itself, and he certainly makes it Bruce's issue but one beef doesn't make a trend. Plus if his death is anyone's issue beyond his own Bruce and Joker are like the number one guys whose issue it is. He THINKS about his death a ton in Lost Days, but it doesn't really reflect externally on any of his interactions besides with Joker, which again, that's justified and relevant beef. Teen Titans 29 is more about his place in the hero community/feeling like he was an outsider even before the bomb/Tim being the new robin than about his death, and side note, that being counted as an attempt on Tim's life also bugs me. He beat him up and then left of his own volition. That's not an assassination attempt its called a fight, albeit a sneaky and unfair one. But anyways. I can't speak on Battle for the Cowl because i haven't read it, both that and Batman and Robin 2009 don't really compel me, but it's entirely possible that's an outlier to my point seeing as I kinda sorta haven't read it and don't care to lmao. Even New 52 (although HIGHLY unpopular) and Rebirth/Dawn of DC/Whatever we're doing now Red Hood content don't really have him talking to people about it besides the occasional little quips. He might make stances that were developed because of his death other people's problem, like in the Mia Dearden Green Arrow situation with the "getting involved in other people's business" issue, but acting like he makes specifically his death everyone else's problem is ignoring all of the perfectly valid actually canon things he makes other people's problem. Most of the unpleasant traits he brings to the table are a result of his death and the sense of abandonment and betrayal that came with it, but that doesn't mean he's bringing his death into it when he acts unpleasantly any more than he's bringing his birth into it when he shows up in the first place. The consequences do not equal the event. All this to say it's irritating when people say the character is grating because he doesn't stop whining about his death when that kinda just indicates to me that they're working off fanon based on fanon based on kinda mid batman annual.

[pyrosomatic-metamorphosis]

i've mentioned here and there that i made a relationships/dynamic spreadsheet. i have finally put it to use. look on my Works, ye mighty, and despair.

-extra note: i am not omniscient and i cannot watch every stream. i may have missed a sibling declaration or two.

-extra extra note: i currently speak only english and used google translate for the rest. if theres a translation error I'd love to know- i wont be able to go back and fix these, but im always so curious about how accurate google translate can be

extra extra note pt 2: do. do other languages use guardian as in "legal guardian" as in "not a family member but still Primary Caregiver of child" because i am suddenly aware those translations might not be correct. on the other hand tho if google translate decided that the parents are guarding warriors of the eggs im not going to argue

[chiropteracupola]

just a couple of creepy 18th-century innkeepers talking shop!

[featuring @borisyvain's lazarus mcclure and my own james webster]

[tarttwannabe]

i’ve been using duolingo (for the last 84 days) as a way to stay consistent with french while my schedule remained packed, but my recent jaunt with latin has reminded me how much i love textbook learning, grammar & translation. i’m thinking i’ll abandon duolingo, but then i’ll have to find both a good french textbook & enough time to be able to go through it daily on top of an already hectic schedule & latin lessons

[carlandhoe]

Im on my knees BEGGING f1 admins to do the trend where they ask drivers to sign pictures of themselves when they were younger

Inspo in case they need it :

[azira-fucking-phale]

I LOVE HUMAN CONNECTIONS I LOVE TALKING TO STRANGERS I LOVE FLEETING MOMENTS SHARED IN MUTUAL RECOGNITION I LOVE SHARING SMALL JOYS WITH PEOPLE I LOVE THE WHIMSY AND JOY OF BEING A HUMAN ON EARTH SURROUNDED BY OTHER HUMANS I LOVE YOU JOYS OF HUMANITY

[call-sign-shark]

Happy Fav's Friday Sharkey!!

Modern or Classic Arthur? Which is your fav?

AHHHH CL! This is such a difficult question 'cause both have pros and cons. Can it be considered torture to make me choose?

If I'm speaking in terms of fangirl/writer I would obviously choose classic Arthur. From the oldie style to the behavior, he just makes me swoon. But I always had a thing for unhinged and problematic characters. Now, if your question aims at knowing who would I choose as a boyfriend it would be modern Arthur. First: he has fewer mental problems and he goes to therapy. And second because...

HELLO SIR??? I STOPPED BREATHING.

PLEASE RAIL ME.

ALRIGHT I STOP HERE.

So erm, classic Arthur as a fan, modern Arthur as my man.