#An entire plot line for this

[clownboybebop]

if you’re ever in the position to choose between giving up and accepting defeat, and actually trying to fight the ancient unkillable god that is about to peel apart reality like a string cheese, remember this: scientifically speaking, you might as well give it a shot!

1.there were trees at the beginning of the world! there were trees so long ago that they predate bacteria that causes wood to decay. when a tree fell, it would lie there in stasis and there wasn’t any way of breaking down wood xylem on a molecular level in that way.

2. it seems obvious to say, but wood eating bacteria are literally incapable of comprehending what they’re breaking down. It’s just not information conciously available to a microorganism. they don’t know what they’re deconstructing, where it came from, bacteria have no way to even fathom the existence of a tree as a concept.

3. Regardless of the facts above, the world we live in today is a world where wood inevitably decomposes

it is worth fighting the unkillable god no matter how pointless it seems. it is worth taking the risk even though youre trying to accomplish something impossible. the reality in which you live was also once reality in which trees didn’t rot. You live in a reality that allows for existence before the possibility of destruction. you live in a reality where uncomprehending microbes break down matter that is so far beyond the scope of their comprehension that it feels comical to specify something so obvious. you live in a reality that occasionally allows unshakeable physical truths to be altered with no warning.

It is worth fighting the unkillable god because trees are so old they predate the source of their destruction, and it still did not spare them. It is worth fighting the unkillable god because bacteria rots unthinkingly, because there is room in our cosmos for destruction without comprehension on the part of the destroyer. It is worth fighting the unkillable god because now and then reality retracts the promise of immortality without fanfare, and when that happens there is no mercy for the ancient. the unmaking is not softer for the desecrators ignorance. for all things, existence is endless until the exact point where it ends.

so you might as well try to kill the unkillable god. it doesn’t seem likely, but at the beginning of the world, trees didn’t rot. so you never know! you never know

[mafuyuakgae]

even if I came to love humanity in the end, there’s no proof I was ever here, right?

[zombie-bait]

not sure if this has been done yet but it's all I could think while watching season 2. Brimby really going through it (insert that shot of him covering his face with his shaky hands)

[flying-fangirls]

As a music, religion, and literature nerd, the Dies Irae has been one of my favorite go-to pieces of trivia for a long time, which means that this line:

Has been driving me batshit BONKERS since part 42! And also as a semi-professional media analysis yapper, I figured I might as well dive into the exact reasons I jumped up and audibly gasped upon first hearing this line and have subsequently lost my mind since then. So!

Here is why I think that the Dies Irae is the perfect analogy for John and Arthur:

Religion

Let's start with the most straightforward meaning: "Dies Irae" is a Latin term, and it translates to the "Day of Wrath." Or otherwise known as the Judgement Day, the foretold second coming in Catholic canon, when Christ will "come again in glory to judge the living and the dead." It's at this Last Judgement where God will wield perfect justice to send the worthy to everlasting peace and the unworthy to everlasting punishment. (everyone say "thank you" to excessive childhood Catholic lessons for burning this into my brain)

There's a kind of irony to the fact that Arthur so vehemently rejects Christianity and religion as a whole, and that John spends much of his arc trying to distance himself from the role/identity of a god, yet both are given this incredibly religious title, effectively restricting them from ever forgetting the presence/influence of religion in their lives.

This title has a couple layers though, because we have to consider why it's the Day of Wrath specifically that represents Arthur and John. Now, I don't think I have to tell you that those two are bursting with anger 80% of the time. But I am going to tell you that those two are not just angry, but moreso "divine fury" incarnate.

The Day of Wrath, the Final Judgment, is the final and eternal judgment of God on all: "For now before the Judge severe / all hidden things must plain appear; / no crime can pass unpunished here." (Dies Irae, Dies Illa). The final Judge, the all-powerful God, can see the objective morality of every single person, and is thus the sole, rightful determiner of fate.

This assumption of their right to perfectly and single-handedly decide others' worthiness shows up over and over, not just John and Arthur's actions, but also in how they describe these judgments.

When Arthur kills the widow on the island, it's not because she was dangerous, but because she was a cultist who "deserved" to be punished.

When John and Arthur need to get rid of Mr. Scratch's stone, John says they should give it to "criminals" who are "deserving of this curse." Even though, just moments before, Arthur refused to give the stone to Oscar because to do so would be to cursing him to a fate of eternal suffering.

And I can't go into every single detail about the entire Larson plotline because this post would double in size, but it obviously needs to be included here. Possibly the strongest tie between this arc and the idea of the Dies Irae is Arthur's conviction through it all. Arthur vows that he is going to kill Larson in divine retribution not because he wants to, but because he has to. He even goes so far as to admit that killing Larson will be a mistake, a cruel and overly-bloodthirsty action that goes against his compassion. But killing Larson isn't a choice to Arthur, it is the unavoidable punishment for Larson's sins and Arthur is simply the enactor of justice. Just like the Final Judgment, there is no sympathy, no hesitancy— the judgment is absolute, divinely ordained, and cannot be stopped no matter how undeniably horrific it is.

If we look at the Catholic Catechism, principle 2302 states that it is sinful to kill out of desire, but that it is "praiseworthy to impose restitution" and use violence to "maintain justic." So even if Arthur has intent to kill, his actions count as divinely sanctioned. He is acting as the hand of God's punishment.

Over the course of Season 3 and 4, Arthur's fiery rage dies down to a more gentle simmer, but his conviction only seems to grow, and John follows suit. Despite previously reprimanding Arthur for his unquestioning wrath, John eventually becomes just as convinced that Larson "deserves" to face a wrathful reckoning. The "fact" that Larson is wholly unforgivable and is fated to receive eternal punishment becomes more indisputable in their minds, and they both stop questioning the morality of their intentions, entirely convinced of their judgment.

Throughout the story, Arthur and John insist upon the importance of kindness, compassion, and forgiveness, and say that these are the values that guide their every action. Yet, time and time again, they approach certain people with nothing but wrath and resentment. It's a sharp contrast to the benevolent figures they make themselves out to be, and Arthur and John are often blind to the contradiction because, in their eyes, they are still following those values in every action. And in the moments when they do recognize their horrific words or actions, they still cannot let their judgment go, convinced that it is their "duty" either way.

In Part 35, Arthur says "Just because you can't make the hard decision, doesn't mean it's wrong." This is exactly how John and Arthur view themselves. They know that some of their actions are harsh and violent and painful, but they are don't view that violence as wrong, because they are enacting that violence in justice. They move through life with carefully-selected destruction, culling the world of those they view as unforgivable sinners, and punishing them with divine righteousness. Arthur and John carry righteous fury in their every step, bringing the Day of Wrath down upon the world around them.

Now, there's already a ton of meaning just in this religious allusion alone. However, there's another application of the Dies Irae in modern culture, which brings us to the second side of this title:

Music

Back in the 13th century (sounds like a familiar setting...), friar Thomas of Celano wrote a poem for and about the Dies Irae. The poem was recited at Requiem Mass (church services to honor the dead), and it ended up being set to a Gregorian chant tune.

Over time, this melody has been used by a variety of composers, but the one we're focused on is Hector Berlioz. In 1837, Berlioz used the Dies Irae melody as part of his narrative symphony, Grand Messe de morts, in order to communicate that the main character had died. Then a lot of other composers saw that and said "Hey that's a cool idea!", and started also using this melody to represent death in their music. Nowadays, it's a fairly staple part of modern film and musical storytelling. If you've listened to literally any major soundtrack, then there's a good chance you've heard this motif (or a variation of it) used before. It's often subtle, sometimes loud and obvious, but no matter what, it reveals the inevitable presence of death. (essentially, the Dies Irae=death)

Now, obviously there's something tragically ironic about Arthur being likened to a musical motif when he tries so hard to distance himself from it, and there's something tragically ironic about John being associated with such a dark piece of music when he shows so much fascination and joy toward the art. Again, though, we've got some layers here. Yorick doesn't just compare Arthur and John to the Dies Irae, he literally defines them as the Dies Irae, a full embodiment of it.

Even before the story started, Arthur lost both of his parents, his friend and wife, his daughter, and his best friend.

John, when he was part of the King in Yellow, knew only how to harm and attack. In the Dark World, he falls back on this fearful lashing out with violence, harming even more people.

And throughout the story, John and Arthur seem to bring devastation to everyone else around them: Lilly the buopoth, Oscar, Noel, Collins, Daniel, Larson and Yellow.

The arrival of Dies Irae musical motif in a film always indicates that death is approaching or that is has already struck— a host carrying its blight to spread onto others. Just like the musical motif, the arrival of Arthur and John foretells the near-arrival of death. They play a duet together— John and Arthur, and death— always singing and dancing around and with each other.

These two never succumb to death, always finding a way to slip through its fingers and survive every situation. But they cannot escape death's presence because they are death's partner— singing the melody to death's subtle harmony. They cannot escape death because they are its host— destined to carry and spread devastation to death's victims. From the moment you meet John and Arthur, you know that death is inevitably approaching just a step behind, waiting to strike you down.

Whether it's the religious or musical side, we can see that John and Arthur are the literal embodiment of these allusions. They carry these powers and ideas in their every action and word, in their every step, in their very breath and blood.

Arthur and John. The hands of God's justice. The enactors of divine fury.

Arthur and John. The hosts of blight and destruction. The partner of death's song.

The man himself. The voice inside his head.

The Day of Wrath. The Dies Irae.

[idontcaboose]

Haunted Car Au part 13

Previous. Masterpost

“You done figuring out the sound files yet?” Duke asked while tapping on the hood of the Batmobile.

He was excited to hear a campy “Yes, Sir!” Come out of the open windows of the car.

“Neat, first off, any files that have your name in it?” He was a little disappointed, but still snorted to hear the tragic ‘Noooooo’ from Darth Vader.

“I think Red Robin has some pronoun type files in there, what are yours?” A mix of sir’s, dude's, and bro's were played until Duke had to stop the guy.

“Ok, what about age?” He wasn't expecting to get a straight answer, but when the car played a Scooby-Doo cut of ‘those meddling kids’, he was confused.

“So a kid?” Duke questioned. He got a weird mix of 'Ehhh', 'Kinda', and 'close enough' type files.

“We can worry about that later, any ideas how you got stuck?” A short ‘Nope’ with a pop on the P played.

Talking to the car guy was strange. Getting answers could be easy or turn into 20 questions trying to clarify an answer. So far, Duke knew the person:

is male or male presenting

a meta

has no clue how he possessed the car

has a good understanding of current memes

was possibly in their teens (probably a bit younger than Duke, but older than Daimian)

was a street kid? (When asked where he lived the car played “Why should I worry” from an older Disney movie about homeless animals in New York or something. He had to look it up.)

has a good sense of humor

and is taking their situation in stride.

Duke really had to wonder what their life has been where this is not a vast problem to fix…. And whether or not he should argue his ‘notification tone’ being a choir singing.

He really does not get paid enough for this, but it is better than the other stuff Gotham throws at the Bats.

“Mind if I get you up on the lift and check the engine? Might give us some clues.” After an affirmative from the car guy, Duke got to work.

Next

@kizzer55555 @sebas-nights @candeartist422 @trappednyourheart @fandom-life-corrupted-me @tkiesai @2lbballpeenhammer @admiralwidow @rewrittenwrongs @whotfevenknowsanymore @symmetricalastigmatism @thespacedragons @atinygracie @okami-love @lesbian-spider-drone @1n0sss @forgetmenot-bluepurple

[ozzo-the-wozzo]

Miraculous London Edge of Time or Neon Genesis End of Evangelion?

Not to mention some bonuses that aren’t from the special but are still relevant:

[crow-caller]

Im done with my lightlark 3 text! I've been very unwell but hope to film soon, bc the goal is to be out by xmas!

In the meantime I've been thinking about how much Lightlark does not like women (who aren't isla). There are three kinds of women in lightlark:

Higher or equal status to Isla, AKA "evil bitches who betray": Cleo, Aurora/Celeste, Lark, Poppy and Terra. That snake who eats babies goes here.

Lesser status to Isla, AKA "worships her as a literal savior": Maren, Ella, Sairsha. Maren and Sairsha also betray her somewhat while still worshipping her, they are also the only Normal People with vague social reform goals (who look to Isla to lead them)

Slightly lower but near status to Isla AKA "Non threatening and efficient support": Enya (lesbian), Astria (Cousin), Wren (old). The oracles go here (trapped in ice to disperse plot mcguffins).

There aren't any other women in lightlark beyond isla's dead mom (willimgly died, to benefit isla) and violet (nothing known beyond hooking up with Aurora’s BF and prompting her evil turn)

[wangquan-fugui]

"Let me ask you, where is your birthplace? How many people are there in your family? What are your hobbies?" "Truth be told, I have an older brother called Li Lianpeng. I'm from Lotus Village of Lotus Town of Lotus Mount. My fiancée ran away with someone else. I have no ambition. My only hobbies are drinking tea, fishing, and gardening."

[cardbored-box]

The lack of filler in arc-v made me realize that yugioh’s filler is necessary for its ecosystem

[braincake666]

Batman Beyond does not get the credit it deserves for how respectfully and realistically they portrayed a lot of the issues they touched on, especially for a show that came out in 2000.

Babel portrayed someone going deaf and resenting their reliance on hearing aids to fully perceive the world. Spellbound showed a high school counselor exploiting students by getting them hooked on drugs. The Winning Edge has a coach pushing his athletes into doing steroids because he only sees them as pawns for victory. In Disappearing Inque and Eggbaby the main antagonist was explicitly abusive toward their henchmen.

And don’t even get me started on THAT scene in Black Out that was a pretty obvious assault allegory. A depiction of an attractive woman restraining, kissing, and then physically forcing her body down the throat of a teenage boy, leaving him dry heaving and coughing up the liquid she left behind? Being shown as a horrific and disgusting and traumatic experience?! In THE YEAR TWO THOUSAND?!

[kismetconstellations]

@sockdooe, This is the full original image:

According to the Tumblr post I originally snagged it from, it's an early piece of promotional artwork, meant to depict Keith as the series's central character. Shiro is shoved into the background, presumably to illustrate that he was intended to fulfill a Doomed Mentor role.

[watcherintheweyr]

desperately need people to understand that alicent is a victim but she’s also an abuser and a perpetrator

that she actively makes choices to harm other women because of jealousy and envy and the greed deep in her bones because submitting to suffering didn’t get her what those women fight to grasp for themselves.

she is absolutely a victim, in show.

that doesn’t change that she abused rhaenyra and her children, her own son, most likely helaena given how she flinches every time her mother touches her, and is actively weaponizing the patriarchy of westeros against other women- rhaenyra primarily, but also mysaria and dyana.

she isn’t the moral, righteous force of good that even she thinks she is, she’s a wounded woman directing all of the rot, pain, and fury inside her at the wrong people and forces.

[jaycewithawhy]

I don't want to call it a plot hole, since I suspect it might actually be a plot hook for something the writing team has planned down the line, but I do find it incredibly interesting that neither Charles nor Edwin seem to so much as consider just... reaching out to Emma... about Crystal's identity. Based on things Crystal says, they don't seem to have even told her about Emma, or being originally hired by her. Nor does she appear in any of the memories we see Crystal regain. Not to mention the fact that the picture she paints of Crystal is not particularly in line with Crystal's memories of her own personality.

I really hope we see more of her in season 2, because nothing about her adds up and I'm very curious to learn more.

[hamborgerz]

In the midst of a wip where Amity Park goes kablooey because the GIW once again tried to blow up the Ghost Zone, but that backfired (literally) so very badly that the explosion took out half of Illinois.

Danny survives but was stuck in his core for a fat minute, and when he gets out he immediately goes on the hunt for Dani in the hopes that at least she survived too. Without any gear, he just follows his gut (core) instinct and winds up in Gotham, only to find out that Dani was caught by Ghost Hunters and destabilized entirely.

Danny, who was avoiding going ghost just knowing how dangerous he is, does not react well to this.

Enter Batman, who's trying to find out why over half of Gotham suddenly experienced a mass blackout.

But this isn't your Bruce Wayne Batman,

It's Thomas Wayne.

[givemewallywestorgivemedeath]

I love how Brennan as a DM was all "Riz, you need more than good grades. You need to stand out. You need showstopping extracurriculars." and to Kristen he was all, "I'm going to throw the weight of an entire religion at you, make you relive your family trauma through your brother and give you relationship issues."

Yet, SOMEHOW, when Brennan introduced little miss four dogs, the driven type A rogue, and had her run for president, setting up the perfect foil for Riz's character and an amazing extracurricular for Riz to aim for in one fell swoop, THE ENTIRE PARTY WENT "KRISTEN 4 PREZ!!!! SHRIMP PARTY 2.0!!!"

Don't get me wrong, I love that Ally went for the fucking throat on vibes alone. Like, that was truly loathing at first sight and I love that for them, I really do.

BUT ALSO THAT WAS RIZ'S PLOTLINE KRISTEN. YOU HAVE LIKE THREE PLOTLINES KRISTEN. WHY ARE YOU ADDING MORE TO YOUR PLATE KRISTEN.

[qkmlh]

My hot take is that we didn’t even need hater Ben and there was no real emotional impact with him and the siblings cause he was pretty much a flat character with only some blimps of likability and even then