#I will ramble don’t try me

[otakuwithapen]

We’d leave,

And we’d laugh at the ghosts of our fears,

We were gods.

We were kids.

Lyrics from Battle Cries by The Amazing Devil

[sutorus]

this is best friend’s dad!toji and reader

[solarpunkani]

Hot 4am take but I feel like if we want to get people more interested in making their yards a more habitable space for wildlife like insects, we have to acknowledge that ‘Don’t want bugs in your house’ is still a 100% fair and valid point of view. ‘Loves nature’ and ‘doesn’t want roaches spiders and mosquitoes in the house’ aren’t opposites.

And with that in mind, when we propose to people that spraying pesticides around houses is Not A Good Idea, Actually, I feel like we need to give an alternative asides from ‘deal with it.’

[gojoest]

wearing matching friendship rings with your childhood best friend gojo satoru….you always saw them as a symbol of your bond, but for him, they meant something more — a silent promise, a vow of sorts. it’s okay, i will wait for you to be mine. in the meantime — i’ll be yours.

[katsdynam1ght]

pov you just pissed off the most dangerous husbands in japan

[littlefankingdom]

Simple observation I made from reading these comics. DC, stop making their dad an asshole and make him hug them more.

Also, the hugs in these comics:

Tim's hug is not in Red Robin but it's during the run and when Bruce comes back in time.

Cass' hug is weird because they're suicidal freaks who think fighting is therapy. They fought while being drugged, and blew up a brigde. It makes sense for them only.

Jason's first hug (Outlaws) is after he tries to apologize for his crimes and Bruce refuses to let him to do it, because his boy is innocent for him 🥺 (and then, they fucked it up with Ethiopia because they cannot let them have nice things 🙄). The second one (Red Hood & Arsenal) is started by Jason, who is just very happy to see that Bruce is alive, even if he has lost his memory.

[nessiehime]

if you ever think that your f/os would get annoyed by you talking about your interests and fixations— you’re wrong! your f/os would happily engage in all of of your hobbies and fixations you have!

they love to hear you talk about them, love seeing how happy you get, and love to engage in all of your interests with you! they’re happy to get into things for you because they love understanding what you enjoy and love to participate in the things that’ll make you smile! you may have an f/o who won’t fully understand it, but they want to and wish to put in the effort just for you.

so tell them all about your theories for your favorite shows, the lore behind your favorite games, or about your latest project! they’ll always be happy to listen!

[katchleeifyoucan]

there’s just something about ticklish men that makes me so fucking feral and i genuinely do not know what it is

[foldingfittedsheets]

One of my earlier jobs in life was at a little pizza place. I worked there when it was first starting up. It’s the only job I’ve ever been fired from.

Anyway! For this story to make sense I’ve first got to set the stage. This pizza place started out as the Wild West of management but one of the original investors was super committed to work programs through the prison. We hired a ton of ex convicts and they were all, to a one, super hyped on Christianity. Like born again for the sole purpose of lauding Christ with their every breath.

I was raised without any religion which I liked very well. Throughout my life people have tried to inform me about their religion and I end up deeply resenting it. I’m good. I’m vibing. I’m staying in my lane. I’ve also had more than enough microaggressions for being queer that I get skittish around people who are especially devout.

I hadn’t been working there long but I’d definitely noticed the Jesus bug had gone around, I tried to steer clear of the topic for my own safety as much as possible.

The day our story takes place, I was folding boxes. Anyone whose ever worked pizza can attest, there’s so much box folding. It’s something that happens at every lull, the pizza machine demands box folding on a grand and epic scale.

On my right folding his stack of boxes was a guy wider than he was tall, made of pure muscle, Corey. He was newer on staff, and due to a stutter he didn’t talk much. All I knew about him was that he got hired through the rehabilitation program and had done time.

On my left folding was a tall middle-aged woman who loved to yell at me, Cindy. She and I rubbed each other the wrong way and had nothing in common, leading to a tense working relationship.

We folded boxes in silence. This was really my best case scenario as a quiet Cindy was a Cindy not riding my ass, and Corey intimidated me.

But the weight of the silence grew too much for Cindy, who finally said, “I really want to go to bible school.”

I folded a box. I had less than no idea what bible school even was and I didn’t want to get sucked into a religious topic.

On my right Corey said, “W-why, Cindy?”

“Well, cause I believe what’s in the Bible, but I just don’t know it all.”

He nodded sagely to this.

Cindy continued, “And every time I sit down to read the Bible I get real sleepy. And I know it’s the devil.”

It’s so hard to convey her tone in written format. It was delivered with the emphasis and exasperation of an inevitable inconvenience. Like, I just know it’s the squirrels eating the bird seed.

I froze in place at this pronouncement. My only exposure to Lucifer was Neil Gaiman’s Sandman comics and I was trying to mentally twist into a frame of mind where The Morningstar cared enough about this one middle aged lady expanding her knowledge of the Bible that he followed her around cursing her with sleepiness when she picked it up.

I think I expected Corey to say, “Well that’s silly,” or something to acknowledge what a bizarre thing Cindy had just said.

Instead he said, “Yeah!” In a tone of complete agreement.

I didn’t look up. I tried to keep my face neutral at this development.

But something must have shown. Corey said, “You don’t believe in God?”

I shrugged casually and said, “If I did I wouldn’t talk about it at work.”

“C-cause it’s t-true. If y-you t-ry to r-read the B-bible on unsanctif-fied gr-round the d-devil m-makes you s-sleepy!”

I made a noncommittal sound and fled into the back room.

Over the next week it drove me crazy though. The logic of it wouldn’t leave me alone so finally one day when it was just Corey and I in front, and the restaurant was empty, I said, “Hey man, I have a question.”

He shrugged and listened.

“I really don’t mean this with any disrespect, I just genuinely want to know about the logistics-“

“J-ust ask.”

“Okay, so if Cindy gets tired when she reads any book, is it only the devil making her tired when it’s the Bible?”

His face went purple with fury and he yelled, “F-fuck you!” at my retreating back as I fled once more into the back room.

It will forever remain a mystery.

[adriancatrin]

katara sees her brother and bff approaching something that can make them happy and says no interruptions

based on this photo from the live action cast

[madbard]

Thinking about how the Long Quiet outsources change. As the embodiment of stagnancy, it was never meant to exist on its own, never meant to exist as sentient being which, by necessity, must adapt and change to survive. And it handles this by creating the Voices, mental embodiments of trauma responses and attitude shifts and altered worldviews and everything else, externalized advisors embodying the changes it cannot personally undergo.

It accepts these Voices as guides because it needs them, but it refuses to be altered itself. Each princess and each story bring with it a physical change that horrifies it, and every time, it resets those changes, kills the new voices and returns to its original state. Theoretically, it stays the same as it always was.

But still. As it continues forth, it can’t help but remember. With each story, memory returns. Against its will, against its very nature, it changes, because it isn’t only stagnancy. There is a splinter of the Shifting Mound in there as well.

Thinking about how the Princesses exist as mere facets of the Shifting Mound, how the Shifting Mound is scattered among them because personhood requires a certain amount of stability and stagnancy that she cannot perform all at once. How the Shifting Mound cannot exist as a single, stable perspective because even the continuity of thought is contrary to the concept of change and destruction and evolution and death, expanding always and infinitely and away.

She pulls herself together from limited experiences and ideas, rejecting the possibility of being any single person.

But still. At the end of each story, she greets the Long Quiet, offers it comfort and company in the way she knows how. The progression of their relationship, though it is by necessity a story of change, is also a tale of repetition and familiarity. The Long Quiet asks the same questions. She gives different answers. But it is ultimately the same conversation, again and again. And she is capable of that because she is not just the Shifting Mound – there is a sliver of the Long Quiet in there as well.

And the Shifting Mound is only able to reform itself because the Long Quiet makes different decisions each time, bringing her fresh perspectives – because despite being the manifestation of stagnancy, there is a piece of the Shifting Mound to motivate it. And the Long Quiet is only able to try and remain stagnant because the Shifting Mound is able to wipe its memory and reset it – because despite being the manifestation of change, there is a whisper of the Long Quiet to stabilize her.

They weren’t meant to be separated. They weren’t meant to be sentient. As separate beings, they fail. As separate beings, they greet each other with violence and hunger and desperation – the fury of their essential conflict warring with their frantic desire to be reunited, to never have been torn apart. Two people who never wanted to be people. Two people who want to be the same thing and try again and again to join themselves together through bloodshed and love.

Movements synchronized, moving as one. As if they were still the same being because, in a sense, they are.

There is a reason they always appear to be dancing.

[deadpoetsandlivinglegends]

Feel like Neil couldn’t have been any other kind of actor than one in theatre. If he was a movie actor or on social media or whatnot, it would not be the same. Theatre by nature is fleeting. Recorded mediums can be rewatched over and over, creating a time loop of sorts. We the audience can keep going back to a time when Neil is still alive. Theatre however is live and once the play is over, there is no going back except in our memories. It is much like life. We are forced to live in the moment in a theater lest we miss it altogether. It’s not that the poets choose to live in a world where Neil is dead, it’s that they must because the only other option is to die themselves. I feel like Keatings teachings could only be reflected in stage theatre because that’s the only way there can be no time loop of grief. I think dead poets society itself isn’t about overcoming the authority in your life to do what you want but rather about grief, about allowing oneself to feel grief and all one’s emotions without letting it consume you and to keep living after, to live every day in the moment lest you fall into grief and regret that will destroy you or force you into a miserable life

[purplecatghostposts]

*Holds up Félix and Chloé* It’s not obvious because it’s all WIPs and very little has been posted but I care them so much. I love putting them in a room together and locking the door to see what happens. They’re two somewhat territorial cats who are fighting one minute, then totally chill the next. They’re judging each other. They like to hang out and judge other people. They’re mocking each other one minute and then planning each other’s parents’ (Andre and Audrey’s/Colt’s) murders. Amélie invites Chloé over and treats her like a daughter. Chloé is breaking down crying in Amélie’s arms because she feels loved one moment, then smirking at Félix because she’s stealing his mom five minutes later. Sabrina knows Félix by his full government name due to Chloé’s ranting but has never formally met him. They both love Adrien so much but they’re not the greatest at remembering to tell him. They both have so many issues. They complain about each other. They have blackmail material for days. They would kill for one another if it came down to it. Do you feel me. Do you get me. Did any of that make sense. I know I’m taking a five second interaction and allusions to what their relationship was before and blowing it up out of proportion but they interest me so MUCH and I WILL make headcanons about it.

[laurrelise]

alas, i’m nothing but a child

guys i’m dumbassing again

[hunniedmilk]

would u accept

[creative-robot]

I know The Founders Cut, generally, is the edited scrubbed over version of genloss from Showfall in-universe (as well as a not-8-hour-long-three-stream-binge-night whenever we want to watch it again) but something that struck me as odd and I haven’t seen anyone mention yet, is this warning

It shows up right at the junction where the third act starts, where it appears the Hero is breaking free of Showfall thanks to Hetch. But here’s the thing, while a LOT less than the previous acts the audience still played a significant role in this act, even when really only given two audience interaction choices. Which makes me wonder, how real is this warning, and who is it for? Obviously the audience involved knows what happens past this point, but the audience is also implied to be an integral part of the Social Experiments, which is part of why things start to tweak out when the Founder removes them in the Founder Cut as the Generation Loss generation loses.

My first thought, was that obviously this is another bait and switch, a way to draw the audiences attention, seeing something that’s secret, something that’s not “meant for them”, which is a tactic I could see Showfall using in universe to keep people’s attention and add an air of mystery to their shows.

But

Showfall is doing all their experiments and these shows with a LOT of help from their censors to show it off, displaying a fun silly show that is definitely not uber fucked up and that is 100% just slime don’t worry about it, it’s kid friendly if it’s green! And I don’t think they’d want to bet all their cards on this one experiment doing well enough to their audience to not question the sudden shift in tone that follows this warning. Which makes me wonder.

They did their test, they did their experiment, and the evidence of this last act? I think it was a one time run, they don’t want anyone seeing this, it isn’t for the audience. Act three is specifically to both test and play with their Hero, Hetch’s new lines add a level to this, never once does he call the Hero by their name, just refers to Ranboo as their Role, and he’s not exactly. Nice? About literally any of Ranboos concerns, which wouldn’t really seem conductive to making an audience trust him, especially with his monologue at the end. Ranboo has escaped before, possibly right before act 1 started, they tightened the security on his mask to be unremovably part of them, Hetch doesn’t like the Hero but they’re a fan favorite so he can’t just get rid of them.

Act three is the cumulation of Ranboo being punished for things they don’t remember, for daring to break free from Showfalls control, this is Hetch taking the Hero and essentially majorly fucking and manipulating them to take his frustration out on a fan favorite they can’t otherwise get rid of or give a smaller role like Slimecicle. which is exemplified by the fact that we now know Charlie most likely was never able to actually able to fully snap out of the control, that even in act three in panic and confusion there was at least still a part of him being influenced by Showfall.

So the first two acts are the usual show, they have their posters, they have Squiggles to introduce them, they have goofs and silliness and only a couple slip ups that’re quickly dealt with, the usual rose tinted curtains. Act three?

Do not watch the following material