#how very subtle

[safficranger]

See me with them hands

Guess that`s what they call muscle memory

[jaredthebc]

Do you ever think about how almost all of N’s Pokémon throughout the first games were one offs he released after he battled you, how he cared about them all deeply enough that he thought it would be selfish to have them battle more than necessary. And do you ever think about how this is the case with all his Pokémon EXCEPT his Klinklang in the final battle at the league, where the second to last battle he had a Klink and this Klinklang is very likely that same Pokémon? Do you think this was a visual representation of his mindset wavering from a fixed point? How that Klink refused to leave him right away and he couldn’t bring himself to force them to leave because his mind is in so many different directions? He can keep them around just a little longer until he becomes champion, it won’t be long, he can bend things some so long as he doesn’t fully stray from his path…right?

Or is that just me am I the only one willing to be insane about Klinklang of all Pokémon

[tiniest-hands-in-all-the-land]

Carry me home

[aethersea]

I do think Blazing Saddles handled its one depiction of native americans very poorly, and the full extent of its representation of chinese workers on the railroad is they were literally just there. not even one single speaking line. unclear if this is worse or better than the redface.

it's fucking phenomenal at lampooning antiblack racism though. extremely blatant, extremely funny satire, which is constantly and loudly saying "racism is the philosophy of the terminally stupid at best and morally depraved at worst, and we should all be pointing and laughing at them 24/7"

plus the main character is a heroic black man who has to navigate a whole lot of bullshit but is constantly smirking at the extraordinarily stupid racists and inviting the audience into the joke. the one heroic white character is a guy who was suicidally depressed until he met the protagonist and they just instantly became buds, and he's firmly in a supporting role the whole time and happy to be there. the protagonist saves the day with the help of his black friends from the railroad, and uses the position of power he was given to uplift not only those friends, but all the railroad workers of other minorities too, in an explicit show of solidarity.

anyone saying "Blazing Saddles is racist" had better be talking about its treatment of non-black minorities. it had better not be such superficial takes as "oh but they say the n-word all the time" or "they have nazis and the kkk in there!" because goddamn if that's the full extent of your critique I very seriously suggest you read up on media analysis. there is too much going over your head, you need to learn to recognize satire.

[poorly-drawn-mdzs]

Sublime Equine.

[First] Prev <–-> Next

[rileylastname]

maybe it’s because it’s “too obvious” but im surprised how few readings I’ve seen of the Substance (2024) that discuss the themes of addiction and substance (ha) use & abuse.

in moderation you can use the substance to become a better, more fun, easier, happier version of yourself. then you realize you no longer want to be who you are when you’re not on the substance. then taking the same dose that used to be enough before isn’t enough anymore, so you want to take more, and just a little bit more couldn’t hurt, right? so you start to take even more. but this is only taking away from sober you, which is painful and difficult and even scarier than what compelled you to take it in the first place, so of course you can’t stop now. now you want to take even more, you NEED to take even more. sober life becomes harder and harder to bear, especially compared to how much easier everything is on the substance. now you’re not only using it to enjoy that feeling anymore, you’re using it to hide from what you’re turning into without it, from what you’ve already turned into.

every minute that you’re sober is spent counting down the days until you can use again, and the ends of being high are spent dreading going back. the sober self is upset and jealous at how irresponsible the high self is. the high self is upset at how much of a buzzkill the sober self is, and wishes they could exist on their own, without requiring their sober tether to existence. but the sober and high selves are the same person, you are one, and you become jealous and angry at yourself for ruining your own life in a vain attempt to become an impossible version of yourself that you most desire to be.

you want so badly to have all—and only all—of the best parts that you milk yourself dry, until you end up with all—and nothing but all—of the bad parts. by the time you truly feel that you have indeed lost everything and know you need to stop, the damage is already done, and there is no going back. you wish you had stopped at the first chance, you wish you had never started to begin with. and even then for many people the only way to deal with this terrifying, painful reality is to use even more, because you have made this terrifying, painful life without your substance feel unliveable, even scarier yet than what had made you use in the first place. there is nothing left to do but to hide from your own life, and the only ways to do this are to stop, to love yourself and take care of the person that you are now… or to keep taking more and more, using until there is truly nothing left, not even yourself.

[crystallizsch]

jamil is so silly

[kizzer55555]

Welcome to the Restraint! (Restaurant)

Imagine Danny runs to Gotham and starts squatting in an abandoned old building in Crime Alley. Slowly putting some ecto into the place to claim it as his haunt (while recovering from the sudden loss of his old one). And he does the normal stuff to survive. Finds some odd jobs, often as a messenger, and is just surviving. Another thing he does is make his own food. It’s cheaper than takeout and he’s gotten pretty good at cooking (out of necessity instead of eating sentient hotdogs). Then he ends up accidentally taking in some street kids. Or more like they follow him home. He can’t just turn them away so he makes a meal for them and lets them stay the night then sends them on their way. And then it happens again. And again. And ok, so maybe he saved a girl from getting molested. And that older guy from getting his only good blanket stolen. And sure, maybe letting that poor pizza delivery guy rant was unnecessary but he looked like he was having a bad day ok? Pretty sure that kid with the scar is a meta too but…he needed a place to stay a few nights alright? It’s not like any of them stay permanently. Danny’s started picking up a few more odd jobs to pay for all the extra food he’s had to buy. Always keeping his place stocked. At least he doesn’t have to pay for water and a fridge, he just makes some ice (or melts it). Sure the water is cold, but it’s probbaly the cleanest water in Gotham. And then some of the people start paying. Like…actually paying in exchange for food. Not sure if it’s because of guilt or pity but Danny won’t look a gift horse in the mouth. And with all the money, he hasn’t had to take as many dangerous jobs. Soon, his little abandoned apartment became what’s essentially the closest thing to a legitimate restaurant in Crime Alley.

It didn’t look normal. The chairs and tables were more like old couches and stools pulled up to coffee tables and cabinets turned on their side. Although with the bulling becoming more like Danny’s haunt, the walls naturally started repairing themselves so at least it didn’t look like it was gonna collapse anymore. And ok…so Danny might have rescued a few feral kids who…weirdly have gold eyes. And possibly stopped a meta trafficking ring on accident. And look, these people didn’t have anywhere to go! And the apartment did have empty rooms. It was already known as a place someone could crash for the night (last winter the entire place was cramped with people. Danny had to break up multiple fights but they usually calmed down when he got there.)

One benefit from controlling a haunt is controlling the temperature inside so it was one of the only buildings with ‘heat’. But back to his…strays. So yeah…most didn’t seem like they could rejoin society…so he let them stay. And…they kind of became employees? Impromptu bodyguards? (Some of the golden eyed people almost felt like he was rangling feral ghosts again.) they came in all ages. A few kids, lots of teens, and a few adults. Same with the metas he rescued. They mostly helped deliver food to costumers. They even got a phone line working and could take orders. (Although the new…employees…also got more protective whenever a fight broke out.) With all the extra money he’s been getting he was even able to afford some medical supplies. A lot of his customers(?) came in injured and he tried his best to patch them up but now he could do more than tie some ripped clothing around the wound and use ice to numb it. He’s got bandages. And pain killers. Plus other medical stuff. He can even give someone stickers now! All that experience as an injured vigilante was paying off. Even Villains and goons start attending this place. The place was unofficially designated as one of the Alley’s ‘safe zones’ where no fighting takes place inside (the body guards make sure of it.) the metas and Talons are getting an identity for themselves, the street kids even get a job and a hideout, random people can go there for help or to pass messages, this place provides food, shelter, and medical care. No one wants it going down.

So yeah, welcome to the restaurant!

(I’m debating whether I want this to be the weirdest restaurant/safe place/truce area in the alley, or whether I want Danny to accidentally become a crime lord. Possibly both.)

Also, this place is called the Restraint because I keep misspelling Restaurant and I think Danny would do the same so the name stuck. (Or one of the kids spelled it when making a sign or passing around messages to spread the word of this safe place.)

So anyways, to add some angst, after Danny adopts a bunch of crime alley kids/villains they find out about Danny’s powers and that he’s a ghost, only they don’t know about Halfas so they think Danny is fully dead and this super kind guy who has been the only person to ever treat them like people…died. He died likely a long time ago and there’s nothing any of them can do to change that.

(And if the GIW dare to come into the alley, they better be prepared for the entire place to turn on them.)

[littlefankingdom]

Simple observation I made from reading these comics. DC, stop making their dad an asshole and make him hug them more.

Also, the hugs in these comics:

Tim's hug is not in Red Robin but it's during the run and when Bruce comes back in time.

Cass' hug is weird because they're suicidal freaks who think fighting is therapy. They fought while being drugged, and blew up a brigde. It makes sense for them only.

Jason's first hug (Outlaws) is after he tries to apologize for his crimes and Bruce refuses to let him to do it, because his boy is innocent for him 🥺 (and then, they fucked it up with Ethiopia because they cannot let them have nice things 🙄). The second one (Red Hood & Arsenal) is started by Jason, who is just very happy to see that Bruce is alive, even if he has lost his memory.

[sneakyboymerlin]

Merlin is kind of like a dog to Arthur. I mean this in all of the good and all of the bad ways.

[chandralia]

this actually means everything to me idc

[nite-puff]

this was what their dr:s interaction was originally gonna be. trust me. i’m mr. danganronpa

(no cuz seriously. how are you gonna have them interact and then forget that hiroko canonically has a bit of a thing for takaaki?) (i say this like the dr:s writers even knew who the other captives were)

[rin-sith]

This came to me earlier, and now I am utterly obsessed: While it was clear to me that Odysseus stabbing Poseidon wasn't any kind of Vengeance, there was one act of Vengeance after all, even if inadvertent—it was Odysseus disproving Poseidon's "Ruthlessness is mercy upon ourselves" belief right in front of his very eyes. With him as the subject, even.

Think about it—the fact that Poseidon remained ruthless and insisted on punishing Odysseus was the only reason he got stabbed repeatedly. If Poseidon had been merciful, if he had accepted Odysseus' offer of forgiveness, he would've been fine. His own ruthlessness backfired so hard on him this time that I am sincerely hoping it haunts him forever.

I am actually utterly obsessed with Poseidon thinking back to Odysseus "Maybe you could learn to forgive?" on a daily, no an hourly basis. I cannot and will not lie to you that is unironically my favorite moment in the whole Vengeance saga just because of what it says about both the characters—about Odysseus for offering and Poseidon for declining (and also because Odysseus sings it in Poseidon's own motif which is just absolutely brilliant.) And this makes me love it even more.

Poseidon was going to decline, we all know that. I don't think anyone watching—even Odysseus, probably—expected him to accept. But then I'm picturing him lying there, bleeding into the stone, and, against his will, wondering whether maybe he should have. Maybe if he had, he wouldn't be in pain. Maybe if he had not killed Odysseus' fleet ten years ago, he wouldn't be in pain either. Maybe this one time ruthlessness wasn't mercy upon himself—maybe this time, his one grand belief was wrong. Maybe ... it was always wrong.

Obviously, he would never admit to these thoughts, he would slap himself for having them one second later. But I simply need this self-proclaimed god of ruthlessness to be utterly haunted by that and question whether he made the right choice or no—whether he's even lived by the correct philosophy all his immortal life—and no matter what, be too stubborn to admit he was wrong.

He's trying to pretend like nothing changed, but the thoughts still remain. They pester him. They won't leave him alone. Especially every time someone—anyone—is kind to him for whatever reason, they come crashing back into him and they won't leave.

"What if my own ruthlessness hurt me that time?"

"What if ruthlessness isn't mercy upon ourselves after all?"

"What if I'm wrong?"

"What if I have always been wrong?"

The most dreadful thoughts imaginable to a god as proud and stubborn and old as Poseidon, but they're there now and he can't do anything about them. You all don't understand how much I NEED this god to jolt up in his bed at 3 am after having a dream or nightmare about something related to one of his many ruthless deeds (maybe even sinking Odysseus' fleet) and go "BUT WHAT IF I HAD LEARNED TO FORGIVE?? WHAT IF I STILL COULD??" only to immediately slap himself for it because that's absolutely ridiculous.

He is left to watch this belief shatter before his very eyes as he's clinging to the remains of it desperately, trying to keep it all from crumbling. Not because he genuinely believes he's right anymore, but because he simply cannot imagine ... does not know how to live by any other philosophy.

No matter whether it's objectively correct or not, it's the very thing that defines him. The thing he's known for. He has built his entire image around this, he cannot give it up no matter what ... at least not quickly or without help.

But as much he would seek to deny it, his core belief has now been proven wrong; he has actually lived through an instance where it was wrong, and he can do nothing to erase those memories or conclusions from his mind no matter how much he yearns to go back to simpler times.

And that was the real Vengeance, guys—possibly the biggest, most painful existential crisis of Poseidon's immortal life. I rest my case.

Although before I disappear back into the void I simply must give a shout out to @o3o-lapd-o3o (this came to me during a conversation in one of their comment sections for the glorious Friends In Higher Places AU, which is quite possibly my favorite piece of EPIC fan content that exists ...)

[thenewgothicromance]

Obsessed with the way the passenger (2023) juxtaposes the incredibly serious with the comically absurd. And they exist simultaneously, never contradicting each other. I love how it manifests in the visual language of the movie, and is also at the core of the story! I think it's so important to the ethos of the movie that the genesis of Randy's life-altering trauma is sort of ridiculous. It being ridiculous does not change the emotional impact of it on Randy, and it's still treated with tenderness and gravity.

The sharpness of the juxtaposition feels sort of surreal or jarring at certain moments, but I think it's actually part of what makes the movie hit a real, emotional nerve. The thing that's been haunting you for years does not always seem so obvious out of context. Or sometimes the thing haunting you IS so obviously unspeakably bad that it's going to kill you, and the only way you can talk about it is to say something as trivial as, "I wanted to be a giraffe when I grew up."

A fuzzy yellow sweater and childhood sexual abuse. A lifetime of denying yourself agency or personhood, and a woman with a color-coordinated eyepatch for every outfit. A brutal workplace shooting and bedazzled stuffed animals.

Which speaking of, it's also why, in my opinion, the epilogue does work. It reverses the dynamic from serious with a side of comical to comical with a side of serious. Our focus is on the eraser game, the sillier part of Randy's traumatic story, while the lasting impact of violence lurks quietly in the background (Randy's still physically injured, he's still got the jacket). And then the last shot of the stuffed animals is the *chefs kiss* on top of the whole thing!

[vixxdaemon]

My personal assignments for Termina characters as animals, my foundation for each of these is either genuine symbolism or simply vibes.

[numberonetribble]

When your love for each other is so great and it becomes something bigger than either of you, oh that's family baby!