#class season one

[cangse-sanren]

like what was the purpose of this

[gingersnapped]

hermitcraft season 10 | bdubs

[fischyplier]

A SUB DM

[feeling--pink]

Tech week pen doodles!! trying my best to do some full drawings but turns out that balancing work and school is hard?? who knew

[the-worms-in-your-bones]

Everyday I mourn the fact that we did not get more bill and twelve content

[knaccblog]

We all know that when Crowley says, "You can't leave this bookshop", what he's really saying is, "You can't leave this life we've made together", but he's too scared to include himself explicitly in it, right? It's like in the fight about Gabriel where Crowley says he wants Gabriel "nowhere near the precious, peaceful, fragile existence he's carved out for himself" but we all know he's just talking about Aziraphale because whenever he's actually talking to Jim or himself, he's only worried about what will happen to Aziraphale, not himself in the slightest. Worrying what will happen to himself is a facade he pulls up in front of Aziraphale to deflect from how deeply he loves him.

On the other hand, when Aziraphale says, "Oh Crowley, nothing lasts forever", he's really saying, "I love you so much that I am willing to give up all my most precious worldly possessions to assure that you are given the treatment and reinstatement you so deserve." His tone of voice and his face are both all love even.

Like it's just so amazingly sad that what Crowley is reading as rejection, as "you're not good enough as you are", is almost definitely Aziraphale saying he loves him more than everything else and thinks he's the most truly good soul he knows?

[columboscreens]

[pettyprocrastination]

so sorry but bridgerton!Simon Riley where he was the son of a butcher but then became a soldier and rose through the ranks with help due to his (incredibly) wealthy captain John price that left him sitting comfortably when he returned home but still looked down upon because of his status as "new money" in the aristocratic society. Just as grouchy and rude as he was before, but now with the money to gamble as he wishes and a grand estate to spend his days alone on.

but then his captain is pulling him out into the public eye by force because the season is arriving and all the eligible debutantes are looking for a husband and "I wont have you drink yourself to death completely alone, Riley" but low and behold all the motherfucker does is stand in a corner with a drink and stare all goddamn night. On the off chance that some poor woman comes up and strikes a conversation with him she's left less than pleased with his one word answers and walks away with a sour face when he inevitable says something foul mouthed. The night goes the same until he sulks off when price is busy dancing with his wife-

imagine his surprise when he slips outside to find you, one of the eligible noble ladies he found particularly enticing sneaking a cigarette in the garden, who doesn't turn up her nose in judgement when he rolls up his sleeves and asks if he can bum one off of you.

[demadogs]

stranger things season one 2016 was so fucking incredible. it exists as an entirely different entity to me than the rest of the show. you literally just had to be there. to this day nothing has ever come close to the amount of universal love for a fictional story that stranger things first received. ive been chasing this high for eight years.

[mischiefbuckley]

and the “📸: oliverstarkk” of ryan continues omg yes thank you ryan for posting 🙂‍↔️

[cangse-sanren]

balli is such a character of all time

*points to dissatisfying and dysfunctional relationship*: do you have room for one more teehee i’m so good at blackmail

[mostlyvoid-partiallyflowers]

The most recent episode of Interview with a Vampire let's us see Lestat's side of the story and see how it compares to Louis' accounting of their relationship. As a result, it reaffirms just how unreliable of a narrator Louis is, but it also further illuminates elements of his character that the director and writers have been playing with since the beginning of the show.

There's this part in the episode where Lestat turns to Louis and apologizes and it's framed with Lestat turned to Louis on one side and Claudia on his other side. They're the angel and devil on Louis' shoulders, but who is the angel and who is the devil? And as my friend said, Armand and Daniel are placed into that same dynamic with Louis later on. We are being asked to decide who to trust, who's telling the truth, who's the good guy, but the fact of unreliability robs us of that decision.

This whole story is about Louis, he's the protagonist, though not the narrator, and he is constantly being pulled in two directions, no matter when or where he is in his story. He's a mind split in two, divided by nature and circumstance. He's vampire and human, owner and owned, father and child, angel and devil. He's both telling the story and being told the story. His history is a story he tells himself, and as we've seen, sometimes that story is not whole.

Louis is the angel who saved Claudia from the fire but he's also the devil who sentenced her to an life of endless torment, the adult trapped in the body of a child. He's the angel who rescued Lestat from his grief and also the devil who abandoned him, who couldn't love him, could only kill and leave him.

He's pulled in two directions, internally and externally at all times and so it's no wonder that he feels the need to confess, first to the priest, then Daniel, and then Daniel again.

He's desperate to be heard, a Black man with power in Jim Crow America who's controlled by his position as someone with a seat at the table but one who will never be considered equal. He doesn't belong to the Black community or the white community, he can't. He acts as a go-between, a bridge, one who is pushed and pulled until he can't take it anymore. He's a fledgling child to an undead father, he's a young queer man discovering his sexual identity with an infinitely experienced partner. He's confessing because he wants to be absolved, that human part of him that was raised Catholic, that child who believed, he wants to be saved. He wants to be seen.

Louis wants to attain a forever life that is morally pure, but he can't. He's been soiled by sin, by "the devil," as he calls Lestat, and he can never be clean again. Deep down, I think he knows this, but he can't stop trying to repent. He tries to self-flagellate by staying with Lestat and then tries to repent by killing him, but can't actually follow through. He follows Claudia to Europe to try and assuage his guilt. He sets himself on fire, attempts to burn himself at the stake, to purify his body, rid himself of the dark gift.

Louis is a man endlessly trying to account for the pain he has caused and he ultimately fails, over and over again, because he can't get rid of what he is. A monster. He's an endlessly hungry monster. He's hungry for love, for respect, for power, for forgiveness, for death. He's a hole that can never be filled. He can never truly acquire any of those things because he will always be punishing himself for wanting and needing them in the first place. He will never truly believe he deserves them and as a result, can't accept them if they are ever offered. He can never be absolved for he has damned himself by accepting the dark gift and thus has tainted himself past the point of saving.

[fischyplier]

Why are they so cute?

[cobra-wives]

said it on discord, but i'd love to say it here - i feel like, if they choose to show kwon's death as kreese and silver's turning points - both as the ones who began the cycle of violence that he eventually got himself killed in - the symbolism of someone literally killing themselves on a knife meant to symbolize winning the prize is NOT lost on me and i love that storytelling choice.

"winning the prize" has always held the same messaging of the american dream that kreese and silver were originally aspiring towards - you're going to hurt someone, you're going to kill yourself in the process, but you have to get there so bad and it ties so DAMN WELL with the messaging of generational influence and the cycles of violence. kreese is emblematic of the darker facets of this cultural ideal, highlighting themes of ambition, competition, and the relentless pursuit of success, often at the expense of morality and compassion.

it's kreese's silver knife - the dagger he's attached to his never ceasing grudges - and it ending up lodged in his champion's chest.

it's tory asking if it's worth it - to win, even if you're putting your friends down - and eventually, choosing her friends.

it's kreese implanting those thoughts in her head about individualism - projecting his own feelings about his life, about silver and betrayal and lost friendship to circumstance.

this story may struggle at times with where it's finding the ground of its messaging, but the themes of violence and competition being associated with that of cobra kai, and nonviolence and camaraderie with miyagi do, are not lost on me at all. and if they actually move forward with this theming (and honestly, make something better out of whatever the hell they're doing to miyagi), they can close this story out in a really nice way.

[bobbie-robron]

And THAT lament will be my symphony supreme.

Doctor Who | The Devil’s Chord

[aishazero9i18r]

I had too much fun playing Waven and my goal is basically to reunite these two as much as i could until the official lore drops

Also Yes, another overall experience of playing Waven ft. Zza’ah, i was low on health when i finally get to summon these two.

.

Man. I cannot wait until they dropped the patch that included Sadida ruins or something, i lowkey wish that if Amalia survived, she will be the guardian of the ruins and such. Idk about Yugo though, he may isolates himself in another area, with 10 years holding the guilt :))

Is it possible if he isolate himself in the Inglorium tho—