#but i suppose he's got over it

[mydaroga]

Take touring for example. We'd hate to be touring when we're thirty-five because we'd look silly--anyway we'd probably be bald when we're thirty. Can't you see it, they'll be asking us to shake our hair, and we'd have to say 'we can't 'cos we've got a bald patch'. Everyone has to get old. It's just that a lot of people don't adapt themselves, and do exactly the same as they did at twenty, even though they are about forty.

Paul McCartney, Beatles Monthly, November 1966

[poorly-drawn-mdzs]

Archery Nemesis.

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[kashmimo]

baby pokemon trainers 🐣

[caycanteven]

Here ya go, take some Bal sustenance.

You feel like you're being judged...but he just really appreciates how awesome you look today.

[chawliekin]

and if I said that dennis’ insistence on being the breadwinner/provider despite literally being a pampered princess who dgaf about traditional roles of masculinity in every other regard (aside from ego) is because his mom only stayed with/chose frank for his wealth and dennis is highly aware that he’s difficult to love and unable to show his emotions openly so he has to be contributing something to the relationship materially in order to feel like he’s worth staying for… and mac grew up with parents who were extremely ambivalent to him and eachother so he has to overcompensate by proving his worth at every given moment and seeking praise/validation from people (and religious icons) who will never demonstrate the same amount of dedication to him but he has no idea how else to desperately keep himself close to those he loves other than by eroding himself into something they’ll approve of… dear god they’re both exactly what the other needs — someone who can’t and won’t leave them even if they try — and they don’t even see it…

[mummer]

just saw asteroid city last night, pls explain the proposed significance of the kiss!!

answering this publicly hope thats ok! cant do a readmore im on mobile *****asteroid city spoilers below beware*****

i dont remember anyones names so this is gonna sound partly unhinged. okay so the edward norton playwright and jason schwartzman actor (not character, in the black and white parts) are lovers right. tbh i thought this was kind of a gag and forgot about it. but later we find out that the playwright died 6 months into the production. i didnt make the connection that THAT’s why the actor-jason has to suddenly leave the stage and freaks out backstage about how he’s not sure he’s Doing it right. hes not talking about acting!! because he himself is literally grieving his lover while he’s playing a character who’s grieving his wife written by his lover so obviously it’s too much!!! actor-jason is trying to find meaning in his death through his writing but there isnt any meaning in death [gerris drinkwater voice] which is what the play is trying to say anyway. he doesnt think he’s performing grief right even in his own life!!! (and tbh it’s the 50s so he wouldnt be able to perform grief publicly anyway!!!!) the play starts with a car accident… anyone would search for some hidden meaning there, some sign…. so when he talks to margot robbie outside it’s not really about finding the CHARACTER’s motivations it’s about the actor himself being able to process the playwright’s death! and adrien brody director was probably also dealing with that too (him and norton seemed to be good buddies) so the whole “sleeping backstage” thing gets a bit sadder maybe? maybe everyone else got this in the theatre and im just stupid lol but crazy making stuff to me!!! the whole story is about sublimated gay grief that cannot be expressed?!?!

the tweet that caught me onto this was here which posits that the playwright’s death was a suicide but i think that’s pretty stupid and unnecessary because the whole thing about the play asteroid city is that death is random and meaningless. im pretty sure that’s what the alien represents— a shocking and absurd event that isnt outright evil or menacing, not something anyone can predict or make sense of, it’s just a thing that happens to you out of nowhere, it doesnt mean anything. he’s a little black figure, he’s death! giving and taking! aagh

[camellcat]

"cordelia could you please drive me home?" "of course" OF COURSE she replies to buffy, softly, without hesitation. even if she goes right back to harping on about the world ending, of course she'll help buffy. head in my fucking hands

[fictionadventurer]

I usually think of Gale as "playing by the Capitol's rules" and Peeta as "refusing to play the game", but it's not quite as simple as that. Gale and Peeta are both extremely skilled in different parts of the Game.

Gale is good at the violence part of the Capitol's game. He subverts society's rules by living as a semi-outlaw, illegally poaching to save his family, getting more and more active in fighting against oppression. Yet his violent outlook warps who he is at his core, because it warps his vision of the world into a game of "us versus them" that is actually the bedrock of the worldview that led to their oppressive society in the first place.

Peeta is good at the media spectacle at the heart of the Hunger Games. He can manipulate an entire nation with a story and a smile--a dangerous level of power. But though he's good at putting on the mask, he does so as a way to protect who he is at his core, and to stay loyal to his beliefs. He's able to subvert the system of lies into a tool for presenting the truth in ways that change people's hearts and minds.

Of the two of them, Peeta's probably the more dangerous. He could be the next President Snow if he wanted to be--manipulating the truth to warp hearts and minds and shape society in a way that best serves him. Yet Peeta doesn't play the game for personal gain. He doesn't use his skills to benefit himself. He's always acting out of love for Katniss, and eventually, for the good of all Panem, wanting to save everyone from the lies they're living under, instead of punishing some of them for their role in oppression. Gale works to save others, but only his people--everyone else "deserves" destruction, or is acceptable collateral damage. While Peeta could play the game and keep himself, Gale played the game in a way that warped even his good intentions to bad ends.

You wouldn't think that the honest hometown boy would wind up being less moral than the cunning media manipulator. Yet that's how it plays out, which suggests that it's not just playing the game that matters, but who the players are and how they choose to play.

[reineydraws]

i have this fic series i'm still working on where mihawk sort of becomes rayleigh's kid and spends ages 11-17ish on the oro jackson.

shanks and buggy imprint on him (bugs considers him a sort of older brother figure/sparring inspiration and shanks has a crush that eventually turns into full-blown love) and this is how i imagine they're like on the day mihawk sets off on his own haha.

[clownsuu]

Wally talks to his dad about his love life

Home I feel is a really good listener (maybe a little too good since he eavesdrops a lot on accident- very observant of his surroundings)

cw minor obsessive/possessive behavior on first photo under cut

I remember I freaked out years ago when I found out some bugs, specially some spiders, have lil beaned peets

[sorio99]

Knowing “Nerdy Prudes Must Die” was the first idea the Lang brothers had for Hatchetfield makes the whole series so much funnier.

Like, did they know in “The Guy Who Didn’t Like Musicals” that the weirdo who demanded a hot chocolate would be the leading man of the high school horror show?

Did they know the prude they mentioned a few times would be a homophobic murderer who defiled a corpse, fucked a ghost, and became a vessel for dark lords?

Was the homeless man joke in BEFORE the recast because they were still brothers, or not?

[marblerose-rue]

messy thing of my lioden king

[asteriskemily]

The fact that Ruben doesn’t remember what happened is absolutely sending me.

Like, imagine your name is Ruben Hopclap. You wake up in front of a ruined school gym wearing clothes you don’t recognize and missing your favorite necklace. You don’t remember falling asleep. Your chest hurts.

Uncle Henry is there talking to principal Auegfort over scraps of a robot. For a moment he looks at you like you’re a ghost before wrapping you in a tight hug. He asks what you remember. You tell him you remember packing your bag to go to the mountains of chaos for your spring break quest. You don’t remember anything after that. He hugs you again.

Your party’s there too. Most of them at least. Along with another party that you recognize as the Bad Kids, the most infamous party in your grade, maybe in the whole school. You tamp down any jealousy you might feel about that when you see the way that Mary Ann Almost-but-not-quite smiles at their barbarian. Instead you go to where Oisin and Ivy are huddle together, speaking softly to each other.

You ask where Kipperlily is. They look uncomfortable. For a moment you think about asking after Buddy, but then you realize you don’t know who that is. They keep avoiding answering the question, so you walk away. You almost go to talk to Lucy, but you see how uncomfortable she looks, how she flinches away when you start to move towards her. You decide to leave her alone.

Eventually Henry takes you home. On the drive home he turns on the radio and you hear yourself singing a song you’ve never heard. It’s loud and chaotic and so so angry. The sound of it makes you want to throw up. You turn it off and ride in silence back to the house.

The walls of your bedroom have been painted a deep, bloody red. There’s an electric guitar that you don’t know how to play leaning against the wall. Your desk is covered in notes and plans, some of it written in codes you can’t decipher. That doesn’t really matter because you don’t understand the stuff that’s not in code either.

Your parents look almost scared of you when you ask where your normal clothes are. They tell you that you got rid of them. They keep apologizing, like they think you’ll get mad at them. You tell them it’s okay, but still search your closet for something a bit more your style. You find a box shoved into a corner, under some clothes. Inside is your puka shell necklace and your ukulele. The string on the necklace is broken like it had been ripped off. The body of the ukulele is cracked like it had been thrown to the ground. You decide to deal with that in the morning.

You fall asleep and you dream of a girl. She’s a tiefling with red and black raccoon streaks in her hair. She smiles at you with lips painted black. If you stare at her for too long you can see blood dripping out of those lips and a crossbow bolt lodged in her side. You look at her and feel longing, feel grief, feel betrayal. You want to stop dreaming of her, but some part of you knows that any other dream would be filled with blood and crystals and rage. You accept that you are doomed to Wanda.

[avocado62524]

[sapphorror]

Zim, Dib, Gaz, and Tak are actually all horribly vindictive spiteful people to more or less equal degrees, but the interesting thing is that Zim and Gaz both exact vengeance in very specific, premeditated ways, which are often wildly out of proportion but once they feel like they've evened the score they will pretty much immediately forget about whatever pissed them off in the first place—whereas Dib and Tak are both ostensibly above being ruled by petty grudges, but very obviously boiling over with a constant resentment that sends them pouncing like rabid dogs at even the slightest opportunity or excuse to make the object of their ire suffer (and if they're both working towards their own self-serving end game that just HAPPENS to involve every terrible thing imaginable befalling their enemies, well... that'll just be a happy by-product of their personal success).

I don't I have any point to make here, I just like it when these freaks are all an overwhelming danger to society (and each other)

[iamnmbr3]

in book 4 when draco attacks harry from behind i wonder if his spell missed harry by mistake or if it grazed harry's face as a warning and he didn't actually mean to hit him. also shoutout to draco to being able to cast nonverbally in book 4.