#actually heartwrenching

[allisonjamaica]

that awkward moment when you lash out at your enemy-turned-ally-turned-anchor and he has the audacity to be patient and Soft™ instead of letting you pick a fight

[sparkles-rule-4eva]

It's the way you can literally see him panting in panic, with the chaos energy crackling over him — AAANDD it's cold outside. You can literally see his breath in the cold air. 😭😭😭❤️🖤

[randomness-is-my-order]

while reading the books, i remember wei wuxian’s relationship with jin ling hitting me especially hard. i was crying when the whole stabbing thing happened. but i truly adore what becomes of them and do you know why? because jin ling does something the others could never, something miraculous really––he actually unlearns the prejudice he’s been taught to hold against wei wuxian. he meets wwx, full of disdain, slowly learning about who wwx really is and it has nothing to do with wwx’s outward appearance. and when the truth is revealed, the internal warring for jin ling is plainly portrayed and even if he does give in to a hate intermingled with grief that he has internalised towards this one entity (wei wuxian was never a person in his mind, just the ‘killer’ of his parents, a phantom, before the events of the book happened), you can tell his heart has already turned, that it will keep turning and that’s what happens. you have jin ling, an orphaned child, who hated someone whom his mother loved dearly, because that man caused his parents’ death but it is such a commendable thing that wei wuxian was able to create a space in jin ling’s heart and jin ling was able to accept it. it’s the way both jin ling & jiang cheng blame the death of their parents on wwx but only the former was able to see wei wuxian clearly and actually forge a bond of love with him.

it’s the fact that if ANYONE in this story can actually rightfully hold a grudge against wei wuxian, it’s jin ling, but instead this teenager decides that wei wuxian is much too good and that having him as an uncle is lovely, after all.

[likeapomegranate]

1964 || 1987

[marstonsboy]

had another evil thought that spiralled out of control. indulge me for a moment:

over the years, people start arriving on a near empty plot of land west of blackwater. it’s uncertain who got there first: bessie matthews, beatrice and lyle morgan, eliza, isaac morgan, etc.— but more and more people show up until it’s something of a community. jenny kirk, mac and davey callander. then soon after, jake adler, sean macguire, kieran duffy, hosea matthews, lenny summers, molly o’shea, eagle flies, susan grimshaw. more and more in such a short amount of time. arthur morgan is the last, and suddenly the deaths stop.

after a sudden stretch of years with little newcomers, a house starts taking shape. soon enough the house is a home, and peculiar things can be found all over: a dog barking where no one can find it. echoes of campfire songs going late into the night. photos of john and abigail’s wedding, attended by what remained of their family. a taxidermy squirrel that appears back on the mantle no matter how many times you throw it out, wearing a very familiar hat. in just a few years a heartbreakingly young girl comes home, bearing a strong resemblance to one abigail marston.

then, gunshots. john marston and uncle are the next to arrive.

in the next few years, the house is eerily quiet. the residents see it falling into disrepair, but they can’t do anything about it. the dog stops barking, the campfire has gone cold and won’t relight. abigail marston is next, and though they’re happy to see her, the arrival brings up a question. what happens to jack now?

the livestock are gone, and the house is dusty, all but stripped of the knickknacks and personality that built up over the years, like someone found it all too painful to look at. john’s hat and guns, once tucked away inside a box beneath the bed, vanish the night after abigail arrives. newspapers come to the door, announcing the death of former government agent edgar ross.

soon after, a wanted poster, bearing the name “john marston jr.” and a sketch resembling the boy’s namesake so much that it has john himself stumbling back. jack was only a boy when he left, and now he’s wanted dead or alive, with a price over his head that could rival some of his uncles and aunts back in the day.

every year that passes without any sign of jack is a relief. the house doesn’t change much, still abandoned, but letters come in. mary-beth gaskill, tilly jackson, simon pearson, sadie adler, charles smith— old friends and family, checking in on him. none of them reach the recipient, as he is not home, but they’re filled to the brim with love, letting him know that he isn’t alone. that he always has a home with them, if he wants it.

one day, john spots a book he doesn’t recognize on the shelf by the piano, and he stops. “Red Dead” by a J. Marston. it doesn’t take much to figure out who that could be. he opens it, flips through, and reads it to abigail. the kinder parts get read to their daughter, ecstatic to learn about how her older brother is doing. their son did become a writer after all, even if everything he’s written speaks volumes of his grief, his anger. the loneliness he’s endured since losing his family, and killing edgar ross.

arthur morgan opens his old journal to find several entries and sketches from john, but also many new ones from jack. his handwriting is just as clumsy as his father’s, but his drawings are more refined. little portraits of the gang members that lived and scribbly sketches of what the world is becoming in their absence decorate the pages. war, cars outnumbering horses, and a very detailed drawing of a revolver none of them have ever seen before.

he’s all grown up, and good lord is he angry. he’s mourning, and hurt, and he’s lost so much, but he’s still undoubtedly jack marston. he draws dogs and writes about missing rufus, slipping strays some food from his bag whenever he sees them. sometimes he’ll write a dry, sarcastic joke that speaks of his father’s influence, or mention missing his momma’s cooking, “even though it was hardly edible,” which makes abigail roll her eyes. he hates fishing and prefers to lose hours of the day with his nose in a book. the best maintained part of beecher’s hope is the graves on that hill, which gain new flowers every week. sometimes, if they listen close, they can hear him talking, telling his ma and pa what he’s been up to, though he saves the grisly details for his book.

and when jack marston finally does walk through that door, much older than when anyone he knew last saw him but far too young to die, he is welcomed home with open arms. because no matter what he’s done, and no matter how much he may hate himself, he will always have a home here with people who love him, and who can’t wait to get to know him all over again.

[erinwantstowrite]

“It always feels a little wrong when people say that he’s a good kid, because he had so many years where he wasn’t. But when Dick says it (when the Bats say it) it feels like they mean it. Like they really think it could be true”

Hey Erin, if you wanted to kill me you could have just run me over with a car you didn’t have to absolutely DESTROY me with three sentences ;-;

trust that this WITH context is going to feel equivalent to me obliterating you, resurrecting you, and then obliterating you again

[mediacircuspod]

Obsessed with this scene and will be forever; A very long meta.

Your ‘exactly’ and my ‘exactly’ are different ‘exactly’s’

The Scene.

Crowley’s exactly means “We need to be safe and together and away from danger. Let me keep you safe.”

Aziraphale’s exactly means “We need to help because it’s the right thing to do, and we fix things when we’re together.”

Note though, that this is the only time they clarify with each other, and they don’t actually say what they mean, they say what they want to do.

“Let’s drop him off and leave him.” Vs. “Let’s take him in and help him.” 

The dissection of this also poses the question, Why does Aziraphale think helping Gabriel is the right thing to do?

And the answer is; Crowley gives him the courage to do what Aziraphale thinks is the right thing and not what heaven decrees is good.

And we can come to this conclusion because Aziraphale for the first time ever, immediately and without hesitation, goes against heaven’s will, without having to be convinced or going through a cycle of indecision or guilt. This is… A. Big. Deal.

Season One. 

Heaven’s good requires Armageddon to be complete, and under-way. And what does Aziraphale first say about it? “It’s all going to be rather lovely.” “I am not interested[in stopping Armageddon with you].” 

Aziraphale loves the earth in this scene. He loves the people on it. He loves all the creatures great and small. He loves Crowley, too. And he still refuses. He needs Crowley to convince him, and even then he still thinks heaven will see sense once he fixes everything. He still believes that right, and good, and holy are the same thing. Even if sometimes he doesn’t agree with it. 

Now, let’s go through some history. Between the two of them, for sure, but mainly Aziraphale’s. 

An act of defiance; The giving away of a flaming sword. The guilt and worry Aziraphale feels after giving Adam and Eve a chance at survival is not something he gets over quickly. He worries that it was the wrong thing even though it felt right. And the problem isn’t the system that would make doing a good deed the wrong thing, the problem is him. The problem is Aziraphale.

Compliance; The flood. The crucifixion. “God’s a bit tetchy” he says before Mesopotamia is decimated. Aziraphale is clearly uncomfortable with the will of heaven here, but he does not disobey. He does what he is told because the will of God is good and right and correct. He does this same thing with the same reasoning during the Crucifixion of Jesus in 33 AD. Crowley gives us context with a few lines, “Your lot put him up there.” “I showed him all the Kingdoms of the world.” We see a demon who still doesn’t understand why good is so cruel, and knowledge is so evil. And we see an angel that refuses to be conflicted despite his own inherent morality. Because Aziraphale understands why Crowley has questions, he has them too by now. However, Aziraphale has something Crowley didn’t; he has the knowledge of what good intentions and well-meaning questions get an angel.

Doing bad in order to do good. Let’s talk about the Job mini-sode, because let’s be completely real; I’ll never be done talking about the Job mini-sode. 

Aziraphale starts this episode thwarting evil. Something he is not conflicted about. You have to thwart evil when you’re good. That’s the whole dance at this point. Crowley stops the dance though, he presents a permit. A permit from a higher authority. Meaning that Crowley, the demon, is performing the will of not only Hell, but also of Heaven. A theme that IS THE WHOLE POINT OF SEASON 1. For all their want of a war, heaven and hell want the exact same thing. 

Crowley even states, “The real ‘Big One’ will be between ‘all of them’ and ‘all of us’”. At the end of Season 1 Episode 6.

Aziraphale is horrified by this “permit”. And he goes to check on the validity in heaven, and well. He finds out that it’s real. He doesn’t go higher after that, because he knows you don’t question. He knows he can’t ask why? So he goes to Crowley. If Crowley doesn’t do the evil thing, then Aziraphale doesn’t have to break the rules to thwart it. And well, even though Crowley is a demon, Aziraphale doesn’t actually see him do demonic things all that much. Aziraphale still thinks that Crowley acts like an angel. He’s even starting to think that Crowley is on the side of good. Good being heaven. Crowley denies this, but Aziraphale doesn’t listen. Crowley says, “Kill the blameless Children of Blameless Job” and Aziraphale isn’t going to stop him. The demon has a permit after all. But then something miraculous happens. 

A crow, bleats.

Aziraphale looks at a demon defying heaven, defying hell, and doing good. He doesn’t know it yet, but this is his first glimpse of their side. At this point, Aziraphale still thinks Crowley is a little bit on heavens side, because the demon is a little bit good. But then Crowley keeps saving the Children. Crowley stands before angels and he lies to save the children. He does something bad to do something good. And then.

So does Aziraphale. 

An angel lies to save children. And then that angel thinks that decision is his undoing. He readies himself for a fall that never comes. Because Crowley is going to keep his secret. This is where Aziraphale once again starts acting with his own moral code. It’s important to remember something important though. Aziraphale still thinks he’s the one who’s wrong. Not heaven. The birth of “their side” coincides with the saving of Job’s children. But there’s a problem. 

It doesn’t mean the same thing to each of them. To Crowley it means and end to his loneliness. To Aziraphale it means the beginning of his millennia long struggle of reckoning good with right. Their “exactly’s” don’t match, and they don’t clarify with one another.

The Book and the Bandstand; Aziraphale doesn’t tell Crowley. He doesn’t say, “Let’s go save the world, I found the anti-christ” He says, “Why would I know his shoe-size?” And Crowley doesn’t suspect a thing. Ouch. They disagree on how to continue. Crowley wants to cut their losses and run away. He wants to do this because he thinks they’ve already lost. And Aziraphale doesn’t give him a reason to hold on because despite everything, Aziraphale wants to be good in the heavenly way. He wants to give heaven a chance to do good, too. A higher authority will surely agree with him. And now, he has the courage to ask. Only after he is turned down by heaven does he make his own decision. He steps into ‘their side’ safely, because Crowley had built it that way. 

And he saves the world. With Crowley, and the Anti-Christ, and a series of human beings. 

Aziraphale retreats to the safety that Crowley has built for them and that he himself has built as well, despite constantly looking over this shoulder. And he finds comfort there. It is the entire reason he finds himself comfortable making his own choices in Season 2, regarding what is good. It’s why he helps Gabriel, and it’s how he gets Crowley to do it too. 

You might even say that Aziraphale embraces ‘their side’ more than ever in Season 2. He includes Crowley in all of his plans, excitedly tells him information he finds, calls the bookshop, the Bentley, and their existence, ours. Oppose this directly with Crowley who, in the name of keeping Aziraphale safe, actually just keeps him in the dark(The threat of extreme sanctions, Gabriel’s trial, etc.)

Exactly vs Exactly; AND STILL THE ENDING MAKES SENSE. I have a whole meta HERE about the reason Aziraphale made the decision he did, but I want to talk about it a little bit more. Because it’s the same problem. Their “exactly’s” are different, and neither of them asks the other to explain why. 

In this particular case of the ending scene of Season 2, in place of the phrase “exactly” they use the word “together”. 

Aziraphale wants Crowley with him in heaven, because they fix things when they’re together. And Aziraphale has faith they they can fix heaven. “We can be together” is how he presents it to Crowley. Crowley rightly sees this as naive, and he’s upset that Aziraphale thinks he wants to be something he’s not anymore.

He finds it hurtful that Aziraphale wants him to change. 

“We can go off together” Is what Crowley counters. He says all of this is awful, please let us go off somewhere the danger isn’t. Let me keep you safe. Aziraphale doesn’t want to run away. He wants to save the world again. He wants to save it with Crowley. He wants them both to be good, too.

IT’S THE SAME ARGUMENT. 

Only Crowley doesn’t let Aziraphale win this time. Aziraphale isn’t right this time. And Crowley isn’t wrong. (I mean I don't think he's right either, they need to find a compromise that isn't the toxicity of heaven and isn't the loneliness of running away.) This time he says, “It’s finally too much, you’re finally asking me to do too much.” Crowley for the first time ever, when asked to make the decision between the two of them, chooses himself. Neither of them explain themselves, and neither of them asks the other to do it either. Because asking questions has always been dangerous for both of them. Anyway, this season makes my brain buzz and I love the ending so much.

[statementlou]

.

[souenkun]

I can't get over how this is the first time that seiji sounds so defeated (while also revealing a different, unfortunate side of being a matoba heir)... the animators and suwajun really came in to whack me in the head one by one when I'm still reeling from reading this scene in the manga 😭

[starburr]

Whoever made that slumber - amphibia animatic you are so correct and cool and awesome and never wrong I hope all ur enemies get vaporized because its so them, its so sashannarcy like all the sprinkled scenes throughout the animatic its so them and then rhfjejajaa AEOUGHHHH.... three queer coded girls having bottled up feelings but genuinely loving one another through the thick and thin of their adventure despite the fucked upness of it all.... gosh... the valuing of each other and one another... how theyre all learning together.... HEGHELP

[borgialucrezia]

there's something profoundly melancholic about rodrigo in s3 like...ever since he buried juan in the garden and felt betrayed by his family for not mourning his loss, he distanced himself from them and became filled with sadness and grief as he hallucinates his younger son out of guilt for the whole mess he caused him by placing heavy expectations on his shoulders which ultimately led juan to become the target of enmity and envy from his siblings. and throughout the season he's always hiding his face either sitting alone somewhere forsaking his duties at saint peter's chair or lingering in the vatican garden just to feel close to him, and at times he even daydreams about his own death hoping to see him again. what stands out is how the narrative is stylized without explicitly mentioning juan's name but his aftermath simply haunted the story and reshaped the family's dynamics forever after the fratricide. i'm also very impressed by how jeremy irons embodied all the sorrow and nostalgia into rodrigo, someone who views his children as the light of his life yet ultimately messes up their lives with his ambitions.

[cyanide-sippy-cup]

Obviously a lot of season 2 focuses on Jinx's compassion and love and kindness, what with Sevika's new arm, getting her family back, and everything with Isha. But one scene that really struck me is when Ekko tries to talk her off that roof. She pulls the trigger again and again before he can even speak cause she knows he'll change her mind. But what struck out at me was that, when he complains about being blown up, she opts instead to throw herself from the roof. She had it all planned out but would choose to improvise rather than harm someone who considers her a loved one.

[milkbreadtoast]

looking back at the yjh webtoon screencaps i have saved and giggling... hes so cute... moe... my pookie ^___^ 🥰🥰 poor little meow meow woof woo- *eliminated where i stand*

also these poses are sooooo... 꺄아악🖤🫣🫣🫣🫣

[hilarioushilarity]

the fact that we had Karen angry at Hen for being absent from their kids' lives and that we had Eddie being angry with Buck for being absent from their kid's Chris' life makes me put my head in my hands and breathe deeply. Just a little.

[netbug009]

mild digital circus spoiler kinda???

so uh trans and nonbinary friends y'all doing okay after that one???

[khrysalisposting]

wiz worlds tierlist based on soundtrack

(justifications in tags)