#he was very popular at this show

[drhubrisworm]

It is soooo funny going to an art show and then telling people that I'm in it .

"On yeah btw I have pieces in this show"

"Oh really, which ones are they??"

"The little alien in the tube ,,"

"YOU MADE THE LITTLE GUY IN THE TUBE! HE IS SOO CUTE 🥺"

"Yeah,"

Little guy for context

[rystiel]

idk what we’re all calling the concept of fiddlestan working together but i’m calling my version the portal partners AU 🙏🏼

[itsmetheabnormalone]

Saw someone say on twitter „luke experienced subdrop and needed aftercare“ and I haven’t stopped thinking about this video/interview/comment bc I REALLY hope the producers are aware how much their actors are doing for this show and are taking proper care of them (e.g. having competent intimacy coordinators).

[haaam-guuuurl]

Looks like Brennan is finally getting compensation for all the psychological torture!!

[turtleblogatlast]

Something I think is cute is that - y’know how Raph’s eyes are more on the yellow side?

Well, you know who also has slightly yellowed eyes? Donnie.

While Raph’s are more yellow, I think it’s cute that this is something that they share and I don’t see it pointed out too often?

It’s also something they both share with Draxum and Splinter’s current form (though again, these two have much more yellow sclera than the boys do.)

But yeah, I like that there’s this little detail that ties Raph and Donnie together, even if it’s small.

[bigskydreaming]

Imagine looking at a character whose entire premise is that in every stage of his life, he's made every version of himself into someone that inspires people to such a degree that EVERY SINGLE VERSION OF HIM has people wanting to literally follow in his footsteps in some way or another.....

And coming to the conclusion that like.....the most important things about him are the sum of all his trappings. His entirely homemade developed from scratch could not exist if not for what he already was and brought with him BEFORE crafting this newest version of himself trappings, with his greatest trait throughout all of it being his adaptability; his ability and willingness to roll with the punches and not try to simply weather any opposition or changes to his life but instead reshape himself as needed to better fit INTO whatever new shape his life and the world around him takes. All while managing to carry the most innate, fundamental and necessary aspects of himself from one version to the next. Thus every single version of himself is different but simultaneously every single version of himself is also undeniably the same person.

The strength of this character, to me, will always be that he can be so many versions of himself, he can become so many things, all without ever actually losing or discarding any of the aspects of himself he considers most essential, the things he's not willing to lose or give up just to keep going. Finding that road not taken by most, usually because most never even think to look for it as an option. But one that he's always able to find because the one trick he's mastered in his tumultuous life is threading that needle of not just digging in his heels in an unproductive way but rather being selective about when and where he makes a stand and decides "this is not a thing I'm willing to compromise about" but here are places and ways I can and will change and evolve and adapt in order to make it possible for me to hold onto these parts and keep them as they are.

And that's why its always so mind-boggling to me that so many writers can't seem to think of anything else to do with Dick Grayson other than invent some new reason for him to just....not be that person, or to like just take the character whose most basic fundamental trait he's NOT about to compromise on is willingly giving up his spot in the driver's seat of his own life.....and make him just a passenger in his own life and stories.

Dick Grayson at age nine....at age nineteen...at age twenty nine....the one core thread running through all versions of him is the only way he's standing back and letting you call the shots for him or putting him on the sidelines in some way is over his dead body.

HOW he goes about that, what that looks like, who he becomes and what aspects of himself he plays up at some times and what traits he lets fall by the wayside at other times when they offer less in service to his primary goal here....that changes constantly. He changes constantly.

But those changes are almost always (or at least they used to be/should be IN MY OPINION) made with the intention of keeping certain things about him or his life as consistent as possible.

That's the duality of Dick Grayson that I'm here for. The inherent contradiction of him that COULD allow for endless conflict and breaking new narrative ground in all sorts of ways if mined properly:

His eternal willingness to compromise....but only ever in pursuit of doubling down on the ways he's not willing to compromise.

Forever walking that tightrope in ways that only a kid born and raised in a circus could ever hope to.

[moonlit-typewriter]

Annabeth: *using her dagger for target practice*

Percy: *watching her make a bullseye and yelling at the top of his lungs* I SAID, whoever threw that dagger, your mom’s a HOE

Every Demigod within 20 feet: *staring at Percy in horror*

Percy: *smiles and walks away without a word*

[gen4grl]

messy expression sketches + colouring with my oc clem who looks alot like her dad lol

[lemonhemlock]

I did not get into Game of thrones when it first started airing. In fact, I waited until it was long past it's heyday (around s6 or 7) to check it out because the marketing and the conversation surrounding it misled me into thinking it was nothing more than "grimdark" bullshit. As one famous YouTuber sarcastically called it "hot fantasy that fucks." So, I avoided Martin's work for literal years due to the impression that I got from online reactors and show-only casuals who did as you and a few others have described as his work being fundamentally misinterpreted.

Fortunately, I overcame my hang-ups, purchased the books (even the supplementary material) and fell down an entire rabbit hole of ASOIAF which led me to recognizing that this world he spent decades creating is far more complex than what had been portrayed onscreen. Regardless of the possibility of the books remaining unfinished (which I am fine with, personally), what George has created is a genuine work of art that I imagine took a tremendous amount of time and energy. So, for so many people online to behave like children and throw tantrums because they feel entitled to him (ew) instead of ushering forth more reasonable conversations and legitimate debates about the nature of his situation frankly makes me look at this fandom with a heavy dose of skepticism.

It is truly baffling to hear even professional critics and see articles describing George as being "ungrateful" or "unprofessional" when it has been well-documented just how often authors get locked out of the adaptation process and left to the wayside as consultants. Look at what happened to Rick Riordan and Christopher Paolini! George R.R. Martin is not the only author to have qualms with how a multimillion dollar studio has mishandled his creative work, and to act like he should remain silent just because he's amassed a certain degree of wealth is quite frankly, ridiculous. He shouldn't have to settle down, be grateful, and stay quiet because the greedy corporate executives and their media drones will get offended by actual criticism that could alter the perception of the adaption being revealed as mediocre for having departed from the source material.

TLDR: authors should be allowed to speak up about their art being sacrificed for commercialization.

Thank you so much for this message, anon! This needs to be talked about more, because I don't think a lot of commentators truly understand the vulgar, late-capitalistic sheen that seems to set in and slowly poison any ASOIAF adaptation. It honestly baffles me how quick some members of this fandom are to rush to the defense of, what is essentially (let's not be kidding ourselves here), a cashgrab by a giant corporation to the detriment of the actual artist and the actual creative foundation behind it.

Why else would "MAX" (if that is even their name) make another (or several other) ASOIAF adaptations? Not to stay true to any philosophical aesthetic vision, as it has become more than apparent with Season 2, but to increase shareholder profits by appealing to the lowest common denominator. Even the basic premise has been shifted in order to address popular trends and satisfy the mindless consumer that doesn't want to engage with anything deeper than their favourite tropes, prettily packaged:

from a story about a doomed ouroborous family superimposed on the pitfalls of feudalism, with villainy and heroism to be found on both sides, it has been simplified and reduced to a narrative that exalts white feminism and disqualifies anyone who opposes its girlboss protagonist. This is Sheryl Sandberg's version of Fire and Blood.

Truly, I think Sara Hess did (unintentionally) outline it the best: "civilians don't matter in Game of Thrones". They don't matter in Game of Thrones, but they matter in A Song of Ice and Fire. The entire heart of the series is contained in Septon Maribald's speech. The writers "kind of", must have forgotten, though.

[i-dreamed-i-had-a-son]

Broke (2016): BBC Sherlock is a phenomenal piece of media and anything that seems like a flaw just hasn't been fully explored yet

Woke (2020): BBC Sherlock is an incredibly flawed series run by an egotistical writer, it never deserved the hype and is actively bad on so many fronts (especially representation)

Bespoke (2024): BBC Sherlock is flawed and bogged down by increasingly poor writing, which many fans refused to see while it was airing, leading to hugely misplaced expectations (particularly for the final series), AND it has the seeds of some compelling characterizations and portrayals, some genuinely solid performances, and touches--albeit imperfectly--on complexities that are still being discussed today (particularly as it relates to the relationship between Sherlock and John). The huge cultural impact of the show has created a massive pendulum effect in its public perception, leading to most people today remembering a caricature of the show (whether positive or negative) rather than appreciating its nuanced merits and failings...that being said Season 4 sucked

[mydream-synopsis]

i like to think togame was raised by his grandparents; as a result, his idea of love comes from observing his grandparents and their display of affection. so when he looks at you, he imagines growing old together.

[eddiegettingshot]

actually like... buck is not christopher's dad. he really isn't. he's helping eddie parent but he's not actually a parent himself. and i think trying to exaggerate buck's place in chris's life for the buddie of it all not only does a disservice to eddie as a father a lot of times but... to the buddie of it all. the fact that buck is not at all chris's dad right now but that chris and eddie are not only unfazed when he does but frequently invite him to touch the boundaries of fatherhood - that eddie says you were there for him when i couldn't be - speaks to the weirdness and all the things about them that they can't really name, and it doesn't really make sense to name it preemptively. buck is not christopher's dad but he wouldn't have to think twice about stepping into that role alongside eddie and eddie would let him - that's what's so insane!

[quadrantadvisor]

Batman: The Audio Adventures is about two things: goofy-ass worldbuilding and villain monologues. That's it, that's the podcast. Funny Gotham public service announcement, followed by a rogue giving a gay little speech while they literally torture somebody to death, rinse and repeat. And it's awesome.

[mayxo-hxh]

I personally think that Kikyo would absolutely be thrilled that Illumi found himself a man he wants to marry as strong, handsome and fit to be Zoldyck as Hisoka.

Hisoka is strong enough to be considered an equal to a zoldyck, which means strength is no problem for him. And I don't know about you but the way he assassinated that terradin man that was threatening to reveal illumis identity at the end of the election arc? CHEFS. KISS. THATS A WHOLE ZOLDYCK WIFE RIGHT THERE. And Hisoka is a certain type of fucked up enough to be a Zoldyck, even if he is... mmm.. self aware. Even if he himself thinks zoldycks are a special kind of fucked up. He'd fit.

I always see people make silva and kikyo disagree with illumi marrying hisoka but i soooo heavily disagree. Like what is there NOT to be proud of in Illumi's marriage choice. There is not a single other character IN THE ENTIRE ANIME fit to be Zoldyck than Hisoka Morow and I will fight people on that.

Something a lot of people also don't realize is that the Zoldycks are not a family that discriminates in the slightest (this is a whole discussion on its own but examples are how Kikyo is from meteor city, the butlers are taken from anywhere as long as they have the skill to work and one of the people who attacked kukuroo mountain to hunt the zoldycks now works for them instead. The zoldycks didnt hesitate to hire that mf they fr dont gaf lmfao)

there are soooooooo many misconceptions about the zoldycks in general and i think thats what aids the whole "the zoldycks would HATE hisoka" thing but like. nah. they wouldnt.

I also think about how Kikyo found Silva at such a young age. I bet she was constantly nagging Illumi and asking when he'd get a partner himself. Now he's got it, Millukiiii ITS YOOOURRR TURRNNNNNNNNNNNNNNN!!

[hotdrinks]

I meant WHO is Jon?

A fella

[ID a very simplified sketch of Jon sims sitting with his legs straight out, holding a tape recorder and frowning deeply. Three disembodied eyes hover behind him and look at him. End ID]

[local-limebug]

jason todd has so many underrated canon love interests. essence, isabel, artemis, and rose are all characters i love with him. like those are good ships. why is everyone ignoring them?