#constantly trying up do one another

[kavalyera]

prince stop fucking ur primogen challenge

[turtleblogatlast]

One of the earliest examples of Leo’s “I’ll do my own thing to accomplish our goal without discussing it with my team first” is in episode one. It’s super, super quick, and ultimately inconsequential, but it subtly sets up a great precedent that I think is very interesting.

When the boys need to grab the medallion from Splinter without Splinter noticing, Raph, Mikey, and Donnie huddle together with Raph taking the lead in trying to devise a plan to get the mystic device. Meanwhile, Leo slinks away and grabs the device by clocking the situation (by knowing his father well enough to predict his actions - something he does with each family member multiple times in the series) and making a move on his own.

It works out perfectly fine, and is ultimately the best move, and it’s honestly okay that he didn’t consult everyone for something so small when it’s such a non issue to get it, but it nicely sets up how this tends to go in the series, including how it goes in the movie.

To be honest episode one is actually really good at setting up a lot of things for each character in the long run, this is just one example that caught my attention, as small and unassuming as it is.

[deconstructivesurgery]

Another Borderlands idea I really like to think about is the idea of Katagawa Jr. genuinely not grasping the concept that his attack on Atlas was percieved as anything but like, a flamboyant display of power (a show of prowess that should convince the company he's attacking, in this case Atlas, that Maliwan is a corporate entity well worth joining), or a simple game meant to initiate negotiations until that moment when Rhys finally lands a hit on something he likes. Not in a "he didn't know what he was doing" way, but in a "this fucker was born and raised in a corporate environment that would turn anyone into Patrick Bateman 2 after a few months, corporate war is something he's so used to that it seems like little else asides from typical/playful negotiation to him." Why would any of it would be personal, when that's just what you do in the corporate sphere, right? It's almost more of a formality than anything else. In his case specifically, I think it's almost another poor effort at wooing Rhys- showing off how easy it would be for him to use Maliwan's armada to garner whatever they wanted, in his fantasy world where Rhys ends up working with him all while promising he can easily replace what was lost if they just join teams. Destructive as it was, he didn't mean any of it with ill intent aimed directly at Rhys himself until he actually recognized his retaliation as BEING personal in nature. I mean, hell, he blew up Rhys' invisible ship like two feet in front of him, and could've just obliterated him on the spot right there, but he didn't really think *they* were at war yet, so of course he didn't. The man was literally peacocking for him the entire time. Send tweet.

[spookythesillyfella]

UUGHH I JUST HAD THE WORST DAY IM SO ANGRY AND FRUSTRATED GRRRR !!!!! goes to draw my best friend @jumjum-crafts 's guy to blow off steam

★ version without text + reference image under cut :

★ song : "STATIC ELECTRICITY HUMAN – Computer Flavor" – kairikibear

[autisticrosewilson]

thank u so much for defending Willis and Cathy. this fandom is so unbelievably stupid to think that Willis and Cathy are evil for bad retcons yet ignore the decades of Bruce abusing Jason. ur doing the lords work. thank u so much

Cathy and Willis are the loves of my life and it's absolutely diabolical what DC did to them, and the ridiculous stereotypes that this fandom continues to perpetuate really piss me off. Were they perfect parents? There's no such thing, especially living in a poverty in a place known for its oppressive systems and corruption. The tragedy of the Todd's, and Jason's character thesis, is that the love was there and it didn't change anything. There were too many forces against it but the love was there and that's important.

What has Bruce done for Jason besides actively make his life worse. Like yeah thanks for taking him in but you also basically made his position in your house synonymous with being Robin which directly led to his death and you've been nothing but terrible to him since so it basically cancels out. What's like, three years of financial security while experiencing insane amounts of trauma (Did anyone else read Batman: The Cult, Bruce is always talking about Jason being unstable but look at the fucking missions he was taking this 13-15 year old on) to literally the rest of his life after. You can argue it's better than homelessness, and I'd be inclined to agree with you if the version of homelessness that he often is portrayed in had any resemblance to what homelessness actually looks like in lots of cases.

And I know I know suspension of disbelief for the medium but I don't think that should be applied to things that are very easily researched. Like insanely easy to just Google. It's just laziness at that point and I'm not going to suspend my disbelief for a complete lack of effort. Suspension of disbelief only works for magic and gods and sci-fi fantasy nonsense, not something actual people experience that you are all more than capable of looking into before you write a stupid headcanon about Jason's time on the streets that tells me exactly what tax bracket you grew up in.

[disdaidal]

Someone who constantly embarks on ship wars and fandom wank... doesn't sound too mentally stable. It's sad, really.

Dedicating all that energy and free time to arguing about fictional characters and their relationships, instead of channeling it into something more relaxing or creative, sounds destructive.

Seek help, please. Before it devours you completely.

[moeblob]

A succubus and a demon! (The succubi don't have names but the demon is Kronos and the succubus is one of his bosses in Hell and he's not /fond/ of the succubi for many reasons but they all adore picking on him)

Also because I love them and like to point it out, the succubi act more as pleasure dealers in the sense of they offer up whatever a human wants most in exchange for their soul. It's rarely of a sexual nature since it's what they want MOST in life. And most people's ambitions are outside of a bedroom. (happy pride, asexuals are able to get affected by a succubus now without discrimination)

[donttouchtheneednoggle]

don't mind me just dethorning the bramble in my stick insects' cage because a CERTAIN beautiful old lady

managed to snag her wing on one and got stuck there until I saw and detangled her and I am not eager to repeat the experience!!

ALSO I finally managed to get a picture of the whole family as it is now :DDD

1 adult Indian stick insect, 1 adult Pink Winged stick insect and three Pink Winged stick insect nymphs at various stages of development

(I also have an Indian stick insect nymph but she lives in a separate enclosure at the moment and is so tiny getting her out would be way to stressful for both her and me)

[freaky-flawless]

Yes hi hello, this is regarding your reblog. Between Cleo and Clawdeen, who fell first and who fell harder?

I'm just gonna give you a whole rundown of how I see them getting together. Which is spoilers for a fic I've been trying to write, but oh well!

Clawdeen fell first.

Not long after she accepts that she likes ghouls, and only ghouls, she also realizes that Cleo is the one that has caught her affection. She's quick to bury these feelings and tuck them away, not wanting them to get in the way of their friendship, especially after so many years spent as rivals. And given that Cleo is straight as far as anyone (including Cleo herself) knows, and in a loving, sometimes rocky, but seemingly unending relationship with Deuce, she resigns herself to pine after her for the rest of high school.

However, Cleo and Deuce do end up (mutually) breaking up early on their senior year (HEALTHILY AND ON GOOD TERMS)

Cleo's reputation takes a bad hit, as vicious rumors start to spread. All of her ghoulfriends come to her defense, but none as fiercely as Clawdeen. On top of that, while the other ghouls treat her with pity, Clawdeen doesn't, and Cleo is incredibly appreciative of that. The two of them get closer and start to hang out more one on one.

Cleo fell harder.

Clawdeen comes out to her one day, and she's ecstatic. Mainly because she can't believe that the two of them have gotten close enough for Clawdeen to trust her that much. After asking more questions though, she becomes quite jealous as she realizes that there is someone Clawdeen is crushing on. While offering advice, she secretly makes it her mission to parse this ghoul out and make sure she's good enough for Clawdeen. She lowkey becomes obsessed trying to figure out who it is, and fills with relief every time she crosses someone off her list. She's so preoccupied, she doesn't even realize when Clawdeen starts using the advice she'd given her, against Cleo. At one point Cleo becomes convinced that the mystery ghoul is Toralei and is devastated. She tries to tell herself it's because she feels betrayed, but she's all too familiar with heartbreak to recognize it for what it is.

A bit later, Clawdeen asks Cleo to hang out, and Cleo is quick to oblige. They have a great time, Cleo tells Clawdeen that whoever it is she likes would be lucky to have her as a ghoulfriend. Clawdeen is mortified, and in that moment fully confesses to Cleo that she is, in fact, her crush. It all hits Cleo at once: the fact that Clawdeen had been using the advice he'd given against her, that they were actually on a date, that she apparently very much does like ghouls, and in particular, has fallen for Clawdeen. Not only did she fall harder, she was oblivious of it up until the crash. She also feels incredibly vindicated, as she realizes she's the only ghoul in school worthy of Clawdeen and vice versa.

Cute shit ensues, the two of course start dating, and become the most iconic couple to ever walk the halls of Monster High. End scene.

[batsplat]

casey also talks about sepang 2015 what do you think of that

oh in that podcast? uh... lemme listen again...

yeah idk it's not really anything new I'd say? he's said basically all the same stuff in more interesting and extensive ways elsewhere. I think casey inevitably has a very 'well feuding is bad and helps nobody' point of view, has expressed that before in the past, does it here again, and he's also drawn a parallel between himself and marc on several occasions. which... well, of course there's similarities in terms of public discourse or whatever, but the parallel really falls apart whenever casey argues the feuds cost valentino. like, I do think it's sometimes important to just. keep in mind. it's interesting that casey draws this comparison in his mind but that doesn't necessarily means he's right about this. I'm not sure how you'd argue that starting a feud with casey cost valentino anything competitively? you can argue it didn't help him I guess, and then we can have a debate about the ins and outs of the 2008 season. we can also have an argument that in a hypothetical world where casey isn't ill in 2009, valentino doesn't break his leg and casey isn't on a piece of junk in 2010, and valentino isn't on a piece of junk in 2011-12, then actually maybe valentino sparking open animosity with casey COULD have cost him. but we don't know that! didn't happen! I wish we could have found out, but we never got the chance! as it stands, the tally on this is pretty straightforward: casey won the title when things were reasonably civil between them in 2007, and valentino took control of the following season at the exact moment he worsened the relationship between the pair of them in 2008. obviously, it's all more complicated than that and casey would of course argue laguna didn't negatively affect his subsequent performances... but it certainly didn't help them. like, at the very worst valentino escalating tensions in 2008 is a complete net neutral. after 2009, them being bitchy to each other every other tuesday was completely competitively irrelevant beyond maybe affecting how they approached occasionally fighting for a podium position. hey, maybe casey used that feud to fire himself up through sheer spite throughout the later stages of his career, but that doesn't actually support his anti-feud stance - it's basically the exact same thing as what valentino does. they're both quite similar in that regard! always so hungry to prove a point, to show how someone else is wrong. kinda half the point with this feuding business is to get yourself going, get yourself motivated, yeah. he straight up openly admits to using yamaha's repeat rejection of him as a way of giving himself motivation, and at the end of the day that's really not all that different?

anyway, what else does casey say... oh yeah, that him and the other aliens were already kinda prepared for this and had learned vale's tricks. that valentino had only been able to get into the minds of the previous generation. welllllll *wiggles hand* sure, I mean, he did clearly have to change his approach... he couldn't just use the exact same playbook to get to them, either on-track or off-track. but that's why he did change up the playbook... again, whether you want to believe valentino won his final two titles 'in the head' rather than just through pure pace kinda depends on how you assess the evidence, but it is at the very least a debate. and, y'know, it's always worth remembering that valentino's most important mind games with casey didn't happen in a press conference... it was on the track. and the on-track stuff really is just embedded in how valentino approaches winning. speaking of aliens, this is what dani and jorge have said:

like, valentino's entire approach to his riding, even to the way he's setting his bike up, is deliberately about directly fucking with you... he's not actually always trying to be faster than you as much as he's trying to give himself the tools to make your life miserable, to pressure you into mistakes, etc etc... and again, especially with casey (if anything because he was so mentally sturdy), the off-track stuff was really just window dressing. (I know they bicker a lot after 2009 but it's just so fundamentally irrelevant to actual on-track competition.) so you can be aware of those tricks, but it also doesn't necessarily help you when someone's being nasty to you on-track in a way you just fully do not enjoy. which is what it was like for casey! for casey, a lot of this comes back to the truly unpleasant context of how he was perceived by the public, how he was treated as mentally weak or 'broken' or whatever partly because he had the misfortune of coming up against a bloke who had the reputation for breaking rivals. I think it's quite natural to end up with a bit of a hardliner 'actually I've never been mentally affected by a result in my life' stance - and of course casey is a lot tougher than a lot of people give him credit for. that being said. sometimes your rivals affect you, shit happens, it's part of the game. it's fundamentally a nice idea to think that valentino's tactics weren't just morally wrong but also ineffective, which is kind of the appeal of this narrative, right? you want to believe you're above that, you want to believe you were adequately prepared and wise to valentino's tactic. it's unsurprising and understandable that casey does tend to tell the story that way, but again it's *wiggles hand* also hard to describe it as completely factual

uh. what else. oh I'm thrilled casey does canonically know valentino and marc were friends, he has said he wasn't following motogp too much during that time period so you couldn't be sure of that. does this mean anything? does it tell you anything? well, no, but it's just a pleasing thought to me. I like that. oh also 'provoking particularly aggressive riders isn't a good idea' is kinda a funny take from casey? like, he of all people would hate the idea of being cowed by someone's reputation like that... casey's right that provoking fast riders can potentially be dangerous, but y'know I do think that's probably not news to anyone almost nine years later. um. that's all I've got I think

[sskk-manifesto]

Finally got around to watching ep 11 (´；ω；｀)

[unnamed-atlas]

Finally finished sweet tooth s3. Having incredibly mixed feelings

[theflyingfeeling]

yes it's just me whining about the same thing for the billionth time, pls just scroll past nothing new to see here 👋

[kerorowhump]

god the writing in KG is just impeccable and it does NOT get the credit it deserves because i can put any two characters from the main 5 together in a pair and they'll have some interesting contrasts and points in common that they don't have with the others

[sqlmn]

OC RNG stuff.

-Lucinda is engaged to the oldest prince in a family of nine where there are 8 brothers and then the youngest is the only girl. She adores her future husband. -Ink Blot is a really dumb mage who acts as a street performer using fake magic despite being an actual mage. He just wants to be the center of attention. -Ruby and Luce are from the same plot (thank you RNG I love the dream wardens). They're part of different pairs and basically just patrol to keep dreams in check. Ruby and Luce also don't really meet each other in canon. Their routes don't overlap but they both interact with the main duo which is Colette and Marcus. (Ruby wants to beat Marcus up while Luce wants to kiss Marcus for what it matters.)

[selfinflictedgunshotwound]

having twin peaks thoughts & theories bc i just started watching the return (i know spoilers ofc) and i have literally nowhere else to put my thoughts so i'm just gonna dump them here.

obviously i don't every single thing about twin peaks was meant to just be like... One Thing and that's it. i think there's room for interpretation for a reason butttt the one thing i just keep going back to about the show is just that. like. it's about the corruption of innocence and the perversion of family. of cycles of violence and abuse. children being sexually taken advantage of by "trusted" adults. teenage prostitution rings. barely a single relationship in the town wherein people aren't cheating on someone/cheated in the past. bob being "the evil that men do" (tbf this is technically just albert's theory but i choose to believe it) and now this weird thing with judy/the experiment (are they the same thing? idk yet) being the thing that CREATED bob? there's this weird thing i get with the black lodge/waiting room like... good people can't survive there without disappearing completely (nonexistence) or being permanently changed (in the case of annie, ig)

and then ofc you have the tormented souls being trapped there (laura, maddy, caroline(tbh idk what was going on w her doppelganger being there?), leland(he was originally a victim too, i'm getting there)) because of the things that were done TO them. i was thinking like. in regards to the frogmoth that crawled into sarah's mouth (when she was a child) and everything that's going on w/ her in the return (watching insanely violent things on tv, "eating" men, etc.) ... compounded with leland's story about bob "I was just a boy. I saw him in my dreams. He said he - he wanted to play. He opened me and I invited him and he came inside me." ... mr. c's introduction song being a twisted version of "american woman" (i've heard this is also related to diane's doppelganger, as well. makes sense) w/ the stand-out lyrics (aka the backwards ones) being "all my headstrong women... don't let em put you in a corner. make em salute you like a flag on the fourth of july." and sarah palmer having a shortened and remixed version of "good man" blaring in her house that just repeats the lyrics "i'm a good man. i'm having fun." like. there's smth to this i'm not insane...

anyways to go even FURTHER... there being specific emphasis on being in the right time and the right place. opposites (giant and dwarf, young and old, black and white, etc.) and the planets jupiter and saturn.

the experiment violently killing that couple that was watching the glass box bc they were having sex? or because they were(n't) watching? or both? the experiment very obviously being the thing inside of sarah but it pulling off it's own face within sarah and revealing a smile that looks eerily similar to laura's (even if not exact... ppl are such pedants about things being exact in this show where literally everything is drenched in like 8 metaphors at any given time) AND the laura in the black lodge/waiting room removing her own face in the exact same way. it's weird that in this instance, laura's dialectical opposite or opposing force is her own mother who she claims she has so much in common with. but this goes even a step further because when the experiment spawned in the glass box, it has a gold orb (or smth like it) like the one laura's like... spirit? was born from? AND APPARENTLY there's a little clip of what sounds like sheryl lee's voice saying "gone" or "the one" or something like that while the experiment is flying towards them (not unlike an owl) to kill them... hm. not to mention the experiment has a proboscis-like knife that comes out of its mouth that it uses to kill the guy sexually harrassing sarah at the bar... and carrie page has a dead guy in her motel room that has a hole in his head... could obviously def just be a bullet-wound LMAO but idk let's have fun w it!

i do think there's a crazy connection between sarah, laura, and the experiment/judy/whatever. "the room seems different... and men are coming. something happened to me. i don't feel good..." obviously, i will be able to make more connections and add to this theory as i watch more but from what i've seen i think there's a huge connection to children and how easily it is for them to be taken advantage of (literally every member of the palmer family was taken advantage of as a child when an evil entity entered them. i mean. how more on the nose can you be!!) or for their innocence to get stolen (prostitution, drugs, murder, becoming child brides to abusive older men... the list goes on). and there's obvious themes of intense sexual violence and dreams and blahhhh. it's like 5:30am and i'm theorizing about a show that will never have an actual answer LMAO... to be fair though it's not ABOUT actually "solving" it for me. i think most media works well when you get what you want or need from it and just kind of make that The Point and, for me, twin peaks will always be about the tragedy of laura palmer before it's about anything else!

i really do like that theory that dale cooper is just like. an entity that laura dreamed up to save her originally but in the end, after she had finally escaped being laura palmer and that life and that house and her trauma, he ended up bringing her right back to it. it's like. how does that not make people insane?