i will never forgive popular UT fanon for using chara as a scapegoat in the genocide run and making "sans recognizes them and attacks them on sight regardless of what run they're in" headcanons so pervasive.
mostly because "restless spirit of a long dead child who's obsessed with the concept of cosmic retribution and facing consequences for your actions" + "guy whose job is just that but he treats it on par with his hot dog sidegig" is potentially one of the most hysterical dynamics you could come up with
UPDATE: you should REALLY check out the notes on this one
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extremely useful little tool for comparison. please check out r/Defeat_Project_2025 on reddit for more info & resources. share as much as you can.
STOP PROJECT 2025/AGENDA 47. VOTE, VOTE, VOTE!! CHECK YOUR VOTER REGISTRATION STATUS OFTEN, MORE THAN ONCE, BEFORE THE ELECTION.
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I don't like the hobbit films for many reasons but the "what is this horrid creature, goblin mutant?" "that's my wee lad, gimli!" scene was such a precious addition, like legolas had no place in the films but if they gave him that one cameo it would have been brilliant
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Watching Spirit: Stallion of the Cimarron again as an adult is so great because not only do you appreciate the nostalgia and joy of it, the stunning 2D animation mixed with early 3D techonology and well written tight story with a main character that never speaks.
But also you appreciate that the plot relies on horses, despite not being typical talking horses in cartoons, being extremely intelligent to the point that they are aware of their captivity and exploitation. And it involves a hyper intelligent horse dismantling (or, at the very least significantly delaying) American colonialism's expansion into the west.
This horse also very likely killed many colonialists when they were either launched at high speeds from his back, kicked in the head or blown up in a train explosion.
Good for him.
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Sometimes a comfort character is a character that barely had a moment of comfort their entire life
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Long before the Negro child perceives this difference, and even longer before he understands it, he has begun to react to it, he has begun to be controlled by it. Every effort made by the child's elders to prepare him for a fate from which they cannot protect him causes him secretly, in terror, to begin to await, without knowing that he is doing so, his mysterious and inexorable punishment. He must be "good", not only to please his parents and not only to avoid being punished by them; behind their authority stands another, nameless and impersonal, infinitely harder to please, and bottomlessly cruel.
from Down at the Cross by James Baldwin
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