#and right after that

[profoundmakerdreamerss-blog]

Give me tomarry au where Tom is obsessed with the boy that saves him. It happens during summer of his second year, when the sky rain downs fire and when little Tom had no idea what was a happening.

It happens when the man with scar grabs him and apparates away to a place he remembers vividly. The cold, dark, and damp place where people were loud. And it was hard to breathe but the man held onto him. The man, who would later walk him back to his orphanage, who would tell him he is sorry.

The man who wore cracked glasses, the man who looked no older than fifteen himself — now that Tom looked at him properly. The boy whose clothes were larger than him — and the way he smiled at Tom (pained, and torn). Tom would remember him. Because how can someone forget those eyes. Those avada eyes that glowed as the sky rained down fire that drowned everything. The scar that looked like thunder.

Tom would remember him disappearing after delivering him to the orphanage. The person who saved him as little Tom nearly died because he didn't know bombs were coming, no one told him (he just returned from Hogwarts).

That day little Tom meets a boy no older than fifteen. That day, little Tom learns about shelters that he can go to and that he regrets not asking for the boy who save his life's name. That day Tom makes a decision that he would find him. Find the person with eyes like trapped thunder and brittle smiles. He would find him and not let him go. Even if it takes him a thousand years to do so.

[thatrandomblogsays]

I’m so happy for them

[Image Description: Castiel from Supernatural is saying I love you, underneath is an image of Dean Winchester with the caption: “After four months of striking the WGA has a reached a tentative agreement & finalizing the contract. If all goes well writers will get to return to work with better pay and protections. They did it. Go unions”]

(Source)

[arcanefanpage]

And just for a moment they both recognized their sister

[illusioncanthurtme--art]

Physically? I am sitting in my bedroom. Mentally? Spiritually? I AM DEAD ON THE FLOOR!!!!! THESE TWO HAVE KILLED ME!!!!

(Another drawing! This was originally attempt #1 at drawing stan, and then fiddleford just showed up. Kinda feels like them five minutes after the above acting like nothing happened though, so it works sdjkgkjfshj)

[mylittleredgirl]

that moment when you cross the point of no return with a character should be accompanied by a specific chime i think. like 🔔 congratulations! this one has been installed in the Permanent Collection and you will never stop thinking about them as long as you live

[prouvaireafterdark]

listen I know it's heartbreaking that Claudia dies and it's understandable to wish she didn't, but let's please not accuse the writers of fridging her. to do so is a fundamental misunderstanding of the story and is frankly insulting to the intelligence and skill of the writers of the show.

Claudia's death, and the overwhelming grief and regret her parents experience because of it, is quite literally the point of the entire story. she dies because Anne's daughter Michele died of leukemia when she was five years old and there was nothing she or her husband could do to prevent it.

writing IWTV was how Anne coped with the unimaginable loss of a parent losing her child. she created a story about a little girl that could not die and then killed her anyway. Claudia's death is a senseless, unavoidable tragedy, just like Michele's was. the grief that haunts Louis and Lestat for the rest of their lives is the same grief that haunted Anne and her husband.

so when you're accusing people of killing Claudia off to benefit a story about two men, please remember that in real life sometimes parents lose their children. please remember Michele Rice.

she's the reason Claudia exists.

she's also the reason Claudia cannot be saved.

[proselles]

Dungeon meshi ushering in a new era of peace on tumblr. I have a big tidied woman and her horny simp gf kissing across my dash. Autistic monsterfuckers with no game in every nook and cranny. Short king fathers represent. Cat girl in the way that u couldn’t get her ass to the vet. FOOD. Truly a sign of peace and prosperity in a war torn land

[spacespacespace]

Dick: so if it’s you or the laptop-

Tim: me. 100%.

Dick: …your not even gonna pretend to think?

Tim: about what? I can always just rise from the dead but my laptop-

Dick: what?

Tim: what?

Dick: what made u think you can rise from the dead?

Tim: well Jason did it so it’s obviously not difficult

——

Jason, in his safe house reading a book: I feel a chill or disrespectful in the air.

——

Dick: alr can you at least lie abt it

Tim: ughhhh

Dick: for me *flutters eyelashes*

Tim: Fine. *says in monotone voice* If it were either me or my laptop to be destroyed I would choose … the laptop.

Dick: thank you Timmy

Damian, walking past: Richard even you know that’s an outright lie.

[dreadark]

it’s always “why did you sacrifice yourself and leave me behind” and never How was the sacrifice Was sacrificing yourself fun it looked fun

[peacheskoo]

Saw these panels the other day and—

LET JASON BE SILLY YOUR HONOR

He knows he won’t no balls

[mistercrowbar]

Sorry not sorry Shadowheart, from every Astarion romancer ever.

[novaneondream]

it’s our turn to make you smile

[blueskittlesart]

Dear Big Brother

kind of a sequel to this comic

[chloesimaginationthings]

Susie meets the friendly yellow rabbit in FNAF..

[what-am-i-doing-in-this-fandom]

Suddenly, bell bottoms aren't so bad

Bonus sketch, because I had to vv

"Stop checking out my assistant, Stanley."

[elodieunderglass]

changes and trends in horror-genre films are linked to the anxieties of the culture in its time and place. Vampires are the manifestation of grappling with sexuality; aliens, of foreign influence. Horror from the Cold War is about apathy and annihilation; classic Japanese horror is characterised by “nature’s revenge”; psychological horror plays with anxieties that absorbed its audience, like pregnancy/abortion, mental illness, femininity. Some horror presses on the bruise of being trapped in a situation with upsetting tasks to complete, especially ones that compromise you as a person - reflecting the horrors and anxieties of capitalism etc etc etc. Cosmic horror is slightly out of fashion because our culture is more comfortable with, even wistful for, “the unknown.” Monster horror now has to be aware of itself, as a contingent of people now live in the freedom and comfort of saying “I would willingly, gladly, even preferentially fuck that monster.” But I don’t know much about films or genres: that ground has been covered by cleverer people.

I don’t actually like horror or movies. What interests me at the moment is how horror of the 2020s has an element of perception and paying attention.

Multiple movies in one year discussed monsters that killed you if you perceived them. There are monsters you can’t look at; monsters that kill you instantly if you get their attention. Monsters where you have to be silent, look down, hold still: pray that they pass over you. M Zombies have changed from a hand-waved virus that covers extras in splashy gore, to insidious spores. A disaster film is called Don’t Look Up, a horror film is called Nope. Even trashy nun horror sets up strange premises of keeping your eyes fixed on something as the devil GETS you.

No idea if this is anything. (I haven’t seen any of these things because, unfortunately, I hate them.) Someone who understands better than me could say something clever here, and I hope they do.

But the thing I’m thinking about is what this will look like to the future, as the Victorian sex vampires and Cold War anxieties look to us. I think they’ll have a little sympathy, but they probably won’t. You poor little prey animals, the kids will say, you were awfully afraid of facing up to things, weren’t you?