#I don't have a lot of interests

[shanicetjn]

In what order is ur fav Willy wonky?

Omg Kit- You can't just put me on the spot like that!! /light-hearted

If I really HAVE to choose from the films, it'll have to be Timothée Wonka - Johnny Wonka - Gene Wonka.

Info-dump below:

I grew up watching and getting obsessed with Willy Wonka through Johnny Depp from Charlie and the Chocolate Factory (2005). I literally have watched that movie at LEAST 60 times and it's one of my favourite favourite films ever!

(I might be the ONLY one having this opinion but-) That film is the most magical thing I have ever seen as a kid and Mr. Wonka is just the most relatable person to me. Also, how can you not love THIS face:

That later introduced me to the book by Roald Dahl that the movie is based off of which I read religiously. I never knew about Gene Wilder's Willy Wonka from Willy Wonka and the Chocolate Factory (1971) until I started seeing the memes!

Fast forward to recent times- To the Wonka (2023) trailer that dropped last June..I initially thought it was a joke because I just could NOT believe they would still make Wonka stuff let alone a film. But no, it was real (and I watched the trailer a good 20 times).

Went to the cinema TWICE because I was so absolutely blown-away by Timothée Chalamet...It felt like I was transported back to my childhood and all that whimsy came back to me at full blast.

He's so beautifully interpreted...EXACTLY how I imagined younger Willy to be like. Literally reignited my love for Mr. Wonka of 20 years! And the most important thing to me? It's so absolutely surreal to see a Willy Wonka that is the same age as me.

After that, I finally got to watch Gene Wonka twice in the last 2 months after knowing about it for idk-how-many years. AND I love him so so much too..??

He's totally different to Johnny Wonka yeah but once again- What's not to love about and relate to an unhinged chocolate man that has murderous tendencies? >:3c

It was so fun to catch all the little details / references they put in the Wonka (2023) film from that movie! Also, it makes the transition from Timothée Wonka to Gene Wonka all the more tragic.

Sorry for such a long post and info-dumping but I just really wanna talk about him and the amount of joy Mr. Wonka has given to me over the years!

Willy Wonka never steals but he has certainly stolen my heart. ♥

[poorly-drawn-mdzs]

Ghouls night out

[First] Prev <–-> Next

[forgettable-au]

FORGETTABLE-AU (Page 36-39)

* To note. Her hands are scaly. * And...unexpectedly wet?

[BEGINNING] [PREVIOUS] [CONTINUE]

[wardingshout]

Zelda goes mushroom girl

[imclou]

can't believe fnaf brought me out of art hibernation man what a turn of events

[biggest-gaudiest-patronuses]

christ sometimes I just wanna. steal a time machine & go back & sit down next to my 9-year-old self and just like. let them pull out their pokemon card binder & gush about their holographic gyarados or whatever. I'd just smile & ask questions about motherfukcing bulbasaur & tell my kid self that I thought they were a neat person, & someday they'd find other people who thought so too.

like i'm a grown adult who honestly finds most kids stuff boring, but. damn if i could go back & hang out with my baby self & listen to them ramble...just so they knew someone was listening. i would in a heartbeat. thinking about u kid

[gejnialnie]

hi I don't think this duo gets enough love, so here are my fave screenshots of Raph and Leo mirroring each other! :D

+bonus:

look at this frame! don't their poses look similar, even though they're in totally different places?? well, there's a simple reason for it! we can see raph in the driver seat, his left hand on the wheel, while the other one's searching for someting, it's symbolising his active role as leader, while leo stands alongside him, his left hand on a handhold while he gestures with the other, showing him being less active and more of a passive presence, but he's ready on his feet, it's symbolising his potential as raph's co-leader but also him not yet being ready, still gripping the safety rails instead of the driving wheel-

(nah i'm kidding- like, was it just artists drawing similar poses in one scene? oh yeah most definitively! will that stop me from over-analysing? nope! :D this basically wrote itself!)

[lets-try-some-writing]

"The Titans were gentle beings, knowing neither fear nor pain. For all their power, it was the Primes who cared for them, guarding their innocent sparks." - Thundercracker, Speaker of Trypticon.

A lil bit of lore below the cut.

In my little continuity, the Primes were indeed Primus's firstborn, but they were made from the suffering of their maker as he fought to survive. The Titans though? They were born to give life, made to spread Primus's gifts to all creation. As such, they are naturally gentle and inherently incapable of violence.

They will not fight back if attacked, nor will they rise to the defense of their citizens (although they will provide weaponry and protection in the form of walls and the like). They cannot even comprehend why one would hurt another outside of the natural order of things. It is to the point where those who care for the remaining Titans have labeled them as having the cognitive capabilities of newbuilds. For all their age and wisdom, Titans are, at their core, the only entities in the universe to maintain a sense of innocence all throughout their lives. They hold no anger, no bitterness, and no grudges. Everything, in their optics, will play out as it should.

As such, the Titans have always had guardians to protect them from a reality that would seek to crush them into dust. During the first age, the Primes filled this role. In the modern era, seekers of Vos have taken on the mantle, guarding and speaking on the behalf of the three remaining Titans on Cybertron.

[mohntilyet]

my initial knee jerk reaction to lucanis/spite saying "family, enemies, contracts" was bad because it felt like an oversimplification but actually thinking on it i really love that lucanis forces himself into this box to make things make sense in his life. family is unconditional, enemies are to be killed, but contracts is so. interesting... man who promises mila that he will find her father because he does not fail contracts. the same man who tells effe that he will kill her slaver because he needs to turn her from a poor young woman that he sympathises with, into someone he can make a deal with. it's not kindness, it's not weakness, he's just fulfilling a contract, and crows don't break contracts. if he kills a bunch of racist blood mages during that process, then he's not breaking the rules, just bending them. a very convenient excuse to be a good man while still being a crow and assassin. and of course when spite is forced into him, he gets out of it with something familiar! by making another deal! something he could work with, something he HAS to work with, because being just an abomination is unthinkable. if he can work himself out of this problem like he's done with every other contract in his life, in his mind maybe there's some tiny chance that this becomes another job that he can claw his life back from.

[wandringaesthetic]

And now a post that is actually about Watchmen.

Like I'm not going to try to tell anyone that Watchmen isn't brilliant but I find it funny that some people recommend it to people. Who are not into comics. Saying that it's so much better. Than other comic books. Because it is extremely about comic books. I mean it is about America but it is about America through the lens of comic books using the language of comic books. You are not going to understand half of what it's fucking doing if you aren't pretty familiar not just with comics generally but western cape comics specifically. The thing that you are deriding as you recommend it. Which really makes one wonder whether half the people who love it so much understand it even a little bit.

[steddiehyperfixation]

don't you forget about me (steddie fic)

saw this post and was inspired to write something angsty <3

The first thing Eddie is aware of when he wakes up, before he even opens his eyes, is the dull, aching pain throbbing through pretty much his entire body. The second thing he’s aware of is that someone is holding his hand. 

“Eddie?” The hand in his tightens its grip as Eddie begins to stir; the voice it presumably belongs to sounds immeasurably relieved, yet only vaguely familiar. 

Eddie groans. His eyelids flutter, blinking awake, and he groggily rolls his head to the side to get a look at whoever had spoken. 

The voice sighs again, “Oh thank god-” 

“Harrington?” Eddie’s eyes fly open wide now as they land on the mystery man sitting beside him on the edge of the bed - a man he most definitely is not close enough with to be holding his hand, and a bed that is most definitely not his own. He snatches his hand away. ��What the hell are you doing? Where am I?”

“Ed-” Another man’s voice, this one just as relieved and infinitely more familiar. It fills Eddie with relief too as he looks to his other side to find his uncle Wayne rising from a nearby chair to come up next to him. 

“Wayne, what-?” His surroundings are becoming more clear. “What happened? Why am I in a hospital? And why the fuck is King Steve at my bedside?” Eddie tries to sit up only to gasp and wince in pain as the dull ache in his sides sharpens to near agony at the movement. 

“Take it easy, son.” Wayne’s hand lands on his shoulder, gently but firmly pushing him back down onto the pillows. “You were hurt real bad.” 

“Yeah, I got that,” Eddie grumbles out. He sucks in a deep, intentional breath and exhales slowly, the pain beginning to dull again now that he’s settled. His questions are still largely unanswered, though. Blank mind reaching desperately for any logical piece to this bizarre puzzle, he turns an accusing glare to Harrington. “Did you land me in here? Is that why you’re here, some sort of weird guilt thing?” 

Harrington’s looking at him like a kicked puppy. “What? No, I-” he falters, takes a shaky breath and swallows painfully like he’s trying not to cry. “You don’t remember?” 

“I don’t remember what? Will someone just tell me what happened?” Eddie’s confusion is rising more and more into agitation with every second he remains without an explanation. 

“What’s the last thing you remember?” Harrington asks quietly.

“I was driving home from school, just found out I wasn’t gonna graduate again.” Eddie frowns as he thinks back, still trying to put pieces together. “Did I crash my car? Is that it? I was emotional and not paying attention and got into an accident?” 

Yet again, he receives no answers. 

“Eddie, what month is it?” Wayne asks instead, his tone dangerously measured and serious. “What year?” 

“May…” Eddie says warily, “1985.”

His words hold a weight he doesn’t understand, landing heavy on the others in the room and thickening the air. It sends a chill of dread down his spine, the way his answer etches concern deep into the lines of Wayne’s face, the way Steve Harrington seems to take it like a blow to the chest. 

Harrington exhales sharply as if he’s been punched, standing abruptly and taking a few stumbling steps back. Wayne says, “It’s April of ‘86, Ed.”

Eddie’s blood runs cold. “No. No, it can’t be.” 

“I’m gonna go tell the nurse you’re awake,” Harrington mumbles, his voice strained and his eyes glassy with barely held-back tears. 

“I’ll go,” Wayne offers, pushing himself away from Eddie’s bed. He gives Harrington a meaningful look, though what that meaning is, Eddie can’t decipher. 

Harrington turns his devastated gaze to the older man. “But, Wayne, he doesn’t-” 

“I know, kid.” Wayne gives a sad smile and places a sympathetic hand on Harrington’s shoulder as he passes by. “Just talk to him.” 

Eddie is thrown off by this familiarity between them. Since when were those two close? He feels like he’s entered some sort of parallel universe where everything is just ever so slightly wrong. It leaves an itch beneath his skin, uncomfortable and out of place, like he no longer quite fits in his own body, in his own life. He’s lost 11 months, apparently, and this world is no longer his; he doesn’t know where he fits into it anymore. 

Wayne leaves the room, and Eddie wants to protest: Don’t leave me here with this guy I don’t know in this time I don’t know, please, you’re the only thing that feels safe and familiar! Anxiety is crawling through him like a thousand tiny bugs in his veins. He wants to scream, he wants to cry, he wants to run. Anything to shake this feeling loose. But he’s confined to this bed, trapped both by his pain and by all these machines he’s hooked up to, and he sure as shit isn’t going to have a breakdown in front of Steve goddamn Harrington. 

Instead, Eddie resigns himself to this situation and casts a sideways glance at Harrington who very much looks like he’s also trying not to have a breakdown. “I’m freaking out, man,” Eddie says finally, hating how shaky and pathetic his voice sounds. “I swear to god, Harrington, if you don’t tell me what the hell is going on…” 

Harrington worries his lip between his teeth as he hesitates. “It’s a lot to explain.” 

“Yeah, I bet,” Eddie scoffs out a humorless laugh. “I’m missing nearly an entire year, of course it’s a lot to fill in. Unless I’ve been here this whole time?” 

“No.” Harrington shakes his head. “No, you’ve only been here about a week. I- I don’t know why you’re missing so much time, the whole Vecna thing only started like a week before that-” 

“Vecna?” Eddie interrupts to question. “What does any of this have to do with the D&D campaign I was planning? And, also, how the fuck do you know about that?” 

Harrington closes his eyes for a second and takes a breath, like having this conversation is the most painful thing he’s ever had to do. “I’m not talking about D&D, Ed. Vecna was a real-life monster from a real-life alternate dimension we called the Upside-Down. The kids only called him Vecna because we didn’t know who he was at the time and he, like, cursed people before he killed them, but he was actually Henry Creel, which is a whole other fucked up story.”

“Okay…” Eddie doesn’t know who ‘the kids’ are and he’s skeptical of the way Harrington talks so factually about monsters and dimensions and curses existing in the real world, but he does remember his uncle telling him stories about the demonic tragedy of the Creel family, which is the only thing that makes any of this even halfway believable. It still doesn’t explain how Eddie wound up in the hospital with his entire body feeling like it’d been run through a blender, though, or why the former king of Hawkin’s High was hovering over his sickbed. He gestures for Harrington to continue. 

“I never wanted you to get involved in all this Upside-Down shit,” Harrington’s voice breaks. He steps closer to Eddie’s bed again, and he looks so so sad as he stares down at him that it makes Eddie’s own heart ache, just a little bit. Harrington’s hand twitches at his side as if he means to reach out for Eddie but then thinks better of it, running the hand through his hair instead as he continues, “I tried to keep you from it for so long, I really did, but then Vecna killed Chrissy in your trailer and the whole town blamed you and you were just a part of things then, there was no getting around it. You helped us fight him - Vecna. You kept his army of bats off our ass while we weakened his body and El weakened his mind. If it weren’t for you we never would’ve defeated him and we certainly wouldn’t have all made it out alive.” Harrington’s gaze softens, as does his voice, his next words almost a whisper, “You were a hero, Eddie.” 

“That doesn’t sound like me,” Eddie says, like that’s the least plausible part of Harrington’s story. And, really, it is. He can wrap his mind around a lot of things: a murder in his trailer - sure, Forest Hills always was a shady place; the whole town accusing him of being a killer - yeah, of course, that tracks; even an evil wizard from another dimension with an army of bats - fine, okay, why the hell not. But Eddie Munson is no hero, and he’s definitely not any sort of fighter either.

“No, you never did think so, did you?” Harrington mutters with a sad sort of fondness and the barest trace of a wistful smile. “But it’s true. Dustin was in danger and you didn’t even think twice. You ran right into the fray without a second thought, sacrificed yourself so that the rest of us might survive. Those bats nearly killed you, b-” he breaks, choking on whatever word he was going to say. His eyes swim with yet more unshed tears. “I almost thought they had killed you, you know. I thought you were dead when I carried you out of the Upside-Down,” he admits shakily, choked up and barely managed, “and even when I brought you here and you were stable, I was still so scared you wouldn’t wake up…” 

Eddie doesn’t know how to react to any of that information or to such a display of emotion. His own hands twitch now with the urge to reach out and comfort him, but he too denies that instinct. He tries for humor instead, something lighter, cracking a grin and teasing, “Aw, Stevie, I didn’t know you cared.” 

Harrington makes a sound halfway between a sob and a laugh. “Oh, Ed, you have no idea.” 

“We were friends then, weren’t we?” Eddie guesses now, carefully. It’s rapidly becoming the only possible explanation for the guy’s behavior around him. “Before all the Vecna stuff?”

“Yeah,” Harrington manages, forcing a small, sad smile as his eyes finally overflow and streak his cheeks with tears. “Yeah, we were good friends.” 

~

Wayne reenters the room then with a nurse in tow, and Steve quickly turns away and rubs his hands over his face. He needs to pull himself together; he can’t break down right now, not yet, not here. 

He listens, distantly, as the nurse asks Eddie a bunch of questions and then tells the rest of them that she needs to take him in for some tests to determine the cause and prognosis of Eddie’s amnesia. He watches, numbly, as she wheels Eddie’s entire bed out of the room. 

Steve can barely hear, barely see, his emotion clouding his eyes and roaring in his ears. He stares blankly through the open doorway and struggles to swallow down the ever-rising lump in his throat. 

Wayne’s voice rumbles from somewhere beside him, but he can’t quite make out the words. “What?” 

“I’ll take that as a no, then,” Wayne says, the sound reaching Steve’s ears a little clearer now. “I asked if you were alright.” 

Steve shakes his head. His voice comes out coarse and raw, “‘Course I’m not alright.” 

“Right, ‘course you’re not,” Wayne echoes. He follows Steve’s mournful gaze to the door Eddie had disappeared through. “What did you tell him?” 

“Told him he was a hero,” Steve croaks, “...and that we were good friends.”

“Ah…” Steve’s vision is so blurred behind a thick layer of tears he can’t see the sympathetic frown on the old man’s face, but he knows it’s there. “At least he’s alive, kid,” Wayne tries to be comforting. “You can always start over.” 

“Yeah, I know, but I don’t- I don’t want to start over, I just want-” Steve chokes back a sob. He just wants Eddie.

It’s a horrible thought, but Steve almost thinks that this just might be worse than if Eddie really had died… Because how is Steve supposed to handle the fact that his boyfriend of 9 months no longer knows him? How is he supposed to cope now that the love of his life looks right at him and no longer sees him?

He closes his eyes, presses the heels of his palms into his eyelids, inhaling a shaky breath and exhaling an even shakier sigh. Steve whispers, “It feels like I’m losing him all over again.” 

(part two is here!)

(also on ao3)

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[poorly-drawn-mdzs]

Lan Wangji goes to Lotus Pier (No relation to the AU of the same name)

[First] Prev <–-> Next

[thasorns]

THE HEART KILLERS (2024-2025) เขาจ้างให้ผมจีบนักฆ่า dir. Jojo Tichakorn Phukhaotong

[scribefindegil]

As much as I adore conlangs, I really like how the Imperial Radch books handle language. The book is entirely in English but you're constantly aware that you're reading a "translation," both of the Radchaai language Breq speaks as default, and also the various other languages she encounters. We don't hear the words but we hear her fretting about terms of address (the beloathed gendering on Nilt) and concepts that do or don't translate (Awn switching out of Radchaai when she needs a language where "citizen," "civilized," and "Radchaai person" aren't all the same word) and noting people's registers and accents. The snatches of lyrics we hear don't scan or rhyme--even, and this is what sells it to me, the real-world songs with English lyrics, which get the same "literal translation" style as everything else--because we aren't hearing the actual words, we're hearing Breq's understanding of what they mean. I think it's a cool way to acknowledge linguistic complexity and some of the difficulties of multilingual/multicultural communication, which of course becomes a larger theme when we get to the plot with the Presgar Translators.

[pierogish]

I grew a spine