#i feel bad I didn’t mean it

[wyrm-with-a-why]

Realizing a mistake I made long ago is the worst I literally feel so bad but how am I supposed to apologize

[kurthummeldeservesbetter]

I feel like something that should have been explored more in Arcane is that despite the dangers and pretty much horrific conditions, Zaun children seemingly grow up a lot more caring and have a larger understanding of family in comparison to Piltover children. And if such a reflection of the real world in a sense.

The kids of Zaun seemingly grow up with a lot more adult support. Ekko is easily welcomed under Benzo’s wings. Vander adopts 4 kids (two of which we learn he knew of before their parents death, two of which we can’t be sure of). Silco, despite all what happened, and his ulterior motives, shows no problem adopting Powder/Jinx. In the alternate universe it seems as though he’s still played a part in the kids lives. Jinx adopts Isha easily and Sevika cares for her as well. Hell, even Mr. War Crimes Against Humanity does well with little Viktor (until ya know, the animal abuse).

Hell, up until Vander dies (the first time) there seems to be a large understanding of if there’s an orphan or a kid in need of guidance, take them in! (And certainly don’t inform them of your plans to turn a giant pink salamander into drugs and be confused when a nine year old doesn’t understand). If a kid wants to be your apprentice, let them! For the most part, until things all went wrong in the end of act 1 of season 1, the worst parts of Zaun seem pretty typical for any city in poverty.

Match that with what we see with how Caitlyn and Jayce grow up. Caitlyn is given adult support, yes, and it’s clearly a good adult mentor, but it’s not entirely by her choice. It’s been chosen for her. She’s safe, but there’s a lack of freedom of choice. Meanwhile, when Jayce gets older, and that same accident in Act 1 happens, the family that supported him and his mom turns their backs. His own mom doesn’t support him either, because she’s afraid of what he’s talking about, but also because he’s damming them to being outcasts.

Conversely, Vander is more than willing to take the fall for what Claggor, Milo, Vi and Powder did. He’s willing to go to prison for a long time, in order for them to have a better future. Despite Vi’s best efforts, he’s not going to listen to her (she is just a kid) and he’s not letting his family go down and get hurt.

Meanwhile, a man who grew up in this mentality, where there’s a wide sense of family support from people who aren’t your biological family, is the one to go to Jayce, a stranger, and tells him he believes in him. It’s why it’s such a shock to Jayce; his own family and family friends denied him. They didn’t support him.

I think that’s what makes all the difference. Piltover and Zaun have wildly different understandings of family and forgiveness. For Piltover, it shuns and damns the lives of those who upset the balance. For Zaun, it provides safety and never ending understanding.

Just. I’m thinking.

[un-pearable]

ngl one of the most useful things i’ve internalized from doing art online is never tell people what to criticize. don’t preemptively apologize for things or point out where you think you fumbled, it’s just priming people to notice minor issues that might not actually matter and hit you where you’re sensitive and throw you off your game. don’t tell people your weak points. if it’s a genuine problem they’ll point it out

[ladyantiheroine]

Barbie and Sasha

I have to say I really appreciate the Sasha character in Barbie. I see a lot of my middle school self in her.

I too was a girl who adored Barbie as a kid, but then I got older and got a first taste of What The Real World Is Like (inequality, sexism, etc.)

And then I rejected Barbie because I internalized all the misogynistic crap that had been projected on her and she became a symbol of All Shitty Things Women Are Expected To Be (brainless, useless, only exist to be pretty assistants to men).

Hence, I fell deep into a “not like other girls” phase because I desperately didn’t want anyone to think I was one of those girls (“”brainless bimbos who have no thought in their heads but boys””). I wanted to be taken seriously, and as someone who was already a bit tomboyish, I felt like I had to reject everything Barbie represented in my eyes.

But then I got older, and a tiny bit more nuanced, and realized Barbie being bubbly and pink wasn’t the problem: The problem was the assertion that anything considered “girly” can’t be smart, or useful, or anything but an empty shell.

Barbie is far from flawless and perfectly unproblematic, but the older I get the more I realize that she wasn’t the problem: It was the flawed people and world around her that were.

Anyway, Sasha does a great job illustrating that push and pull between what Barbie used to mean when you’re an innocent kid versus what she can become when you start to grow out of childhood and get your first taste of the real world and how deeply unfair it can be, especially to girls.

Anyway, Barbie is great go see it.

[randomalistic]

Wait you guys are actually buying Disney products I thought it was a joke

(READ TAGS FOR FULL CONTEXT Sorry it’s long dies

[here-comes-the-moose]

Time for another headcanon that randomly popped into my head and would not leave me alone until I posted it:

Before Omega entered the picture, all of Hunter’s protective, caring, mother hen instincts we see in Bad Batch weren’t dormant, they were just focused on Crosshair. 😂

[magicandmundane]

Something I really loved about the finale was Omega, Hunter, Wrecker, Crosshair, and Echo saving each other. It wasn’t just her saving the boys or vice versa, but all of them fighting for each other and the future they wanted.

[crookedfivefingers]

3.13 | ᴛʜᴇ ʟᴀꜱᴛ ᴏꜰ ᴛʜᴇ ᴛɪᴍᴇ ʟᴏʀᴅꜱ

link to the post I accidentally wound up prattling endlessly about in the tags 💀

[chibishortdeath]

Ya know, Castlevania tackled the concept that life after defeating Dracula could be difficult for a Belmont with Richter feeling like he’d lost all purpose and reason to go on living if not for saving others and fighting against something—

But, do you think any of them before him felt that way too?

I mean it sounds kind of miserable, being raised your whole life to be solely relied on for one moment… and then what? How do you handle the sudden shift to ‘not being needed anymore’? Evidently, most of them didn’t have very much happen to them after the events of their games since we don’t get to know—

But, do you think any of them ever got better? Do you think anyone before Richter ever learned how to live for themselves? Did Richter?

Anyway it’s 8 PM and I’m sitting around wondering if any of the Belmonts were still happy after their happy endings (debatable if certain ones got happy endings tbh but anyway), Konami can u check on them, I’m worried—

[luna-the-cretar]

*watching the shorts (before actually subscribing to them)* hey, this Mace guy is kinda cute

*watching OUAW and Icebound* hey, Andy is kinda cute

*watching EOM* hey, Derek is kinda cute

[atomicjellyb3an]

Maddie got to touch the Kirammountains before Vi did 😔

also it autocorrected Maddie to laddie when i was writing this which is so

[1960z]

I love ghost trick is classified as “part of the ace attorney series” by capcom at this point

[sincericida]

ANDREW GARFIELD

photographed by Liz Collins for Port Magazine.

«In our final cover story for Issue 35, Andrew Garfield opens up to Daisy Edgar-Jones about the emotional impact of his latest film, We Live In Time. Garfield wears Loro Piana AW24 throughout. Photography Liz Collins. Pre-order here: buff.ly/3yOxjgS» [Port Magazine tt]

Article here.

[o-wild-west-wind]

okay, here’s my actual thoughtful post: I get why people are upset about the finale…I really do. but I want to mention that there’s a bigger picture to this story that’s missing if you’re zooming too close onto Izzy as a character, and I’m honestly so grateful that the show stuck to the thematic arc it introduced in season 1 because, as per usual, it’s about the themes 🤌 and this show never skimps on the symbolism!!

so here’s the thing: the primary themes are toxic masculinity (& it’s opposite, queer joy); trauma; love as a healing force for the above; and, title alert—DEATH. because it’s so much more than a cool title!

now, Izzy has always represented something metaphorical about all of these points; most directly, he’s always represented masculinity, and s2 has been an arc of toxicity deconstruction. but crucially, he’s also represented all that for Ed, who is the deuteragonist of this show. because—don’t forget—Stede and Ed are the show.

I’ve always doubted myself for feeling this after seeing how fandom saw Izzy as a third romantic figure (which like by all means have a blast in your fanfics I don’t care it’s about joy at the end of the day and pursue that as you want to), but after hearing something about djenks referring to Izzy as a father figure, it confirms a major point for me—Izzy is also in a lot of ways a parallel to Ed’s dad, and a representation of the trauma and guilt Ed felt from that formative killing. for so long, Izzy was an aggressive shadow in Ed’s life, and a tangible reminder of those daddy issues—someone telling him what to do, keeping him Blackbeard—and the beautiful thing is how that changed this season, how Izzy became a version of masculinity that could love and be beautiful and make good from the hurt, the literal poison into positivity. someone antithetical to his own paternalistic force, healing our daddy issues one drag show at a time. BUT, Izzy is still thematically representative within Ed’s arc—and by also representing the trauma that made Ed “Blackbeard,” it does make smart writing sense as to why Izzy died (NOT saying you can’t be sad about it—stick with me for a moment).

because here’s the thing—as aforementioned, this show is also about DEATH. killing is the root of everyone’s trauma, and reconciling a relationship with death is the ultimate arc Ed and Stede are both on, with the ultimate path of learning to live despite its inevitability. there’s a reason it was such a huge thing that Ed couldn’t personally kill, and then in this episode killed so many people with his bare hands in the name of love—and there’s a reason that was framed as a good thing. and there’s also Ed’s (and arguably Stede’s) active suicidality, which has been a huge force driving this season. these are characters who see death as this all-consuming thing, and they see their own deaths as the only solution. death is the traumatic force driving almost everything about their being for so long—and its reconciliation is everything for them, the greatest sign of growth. so Izzy’s death, and everyone beginning again with love—healing each other with love—is a cap to it all. it’s death as a positive force, for once. it’s death as love, not trauma. it’s death as something that will always happen, but this time not forced by your own hand. it’s a death to everything toxic, to what “Blackbeard” represented, and all the while a sort of rebirth. it’s kind of a death to…death? it’s functionally like the real physical moon replacing the giant romantic imaginary orb: it’s taking the thing that’s been artificially morphed in Stede and Ed’s heads and making it real this time, with all the bittersweet emotions that come with tangible reality.

and honestly, I’m glad that it was tragic and emotional. I didn’t think I’d be so devastated to see Izzy die, but it really did get to me, especially because of everything he said to Ricky and then to Ed. but think of it this way: Izzy and Ed might be romantically compelling because they were toxic and charged (and I hope people still enjoy everything they get from that dynamic in fan work), but imagine if the show had actually gone in that direction—where would it take us thematically? it would kill the thesis; it would be love as chaos and entertainment, but not healing. instead, this show gave us something so much more powerful: a legitimate, fully-fleshed trauma arc.

trauma hurts. Izzy’s death hurts. but that’s okay. that’s great, actually! it means the storytelling was effective—that Izzy’s arc made you feel something. and i know this won’t be every viewer’s experience, but honestly? I’m glad I can have this grieving process in such a beautifully framed light in the safe space ship of this show, because let’s be real—death, real life death, fucks you up. and let me tell you, I could’ve used this show during so many episodes of grief in my life. but here it is now, reminding us that our grief and trauma doesn’t define us—and WHAT a powerful thing for queer love, especially, to be presented as the thing that heals us all. ESPECIALLY when so much grief and death in this community is woven so deeply with the trauma of our identity.

so grieve as you need to, but don’t forget to turn the poison into positivity 💛 because that’s what the show is telling us—choose live, despite!

[hyacinthsdiamonds]

I've said this when Oscar replaced Daniel, when Franco replaced Logan, and when Liam replaced Daniel, and I'll say it again now that it's been officially announced that Liam has the red bull seat:

Drivers are not responsible for the shitty decisions of team principals and the actual decision makers behind the scenes. Don't like the decision? That is absolutely fine, but get mad at the people who actually made the decision. Leave the driver, who took a job, alone.

You'd swear Liam was a freaking cartoon villain right now. I'm pretty sure this who y'all are describing instead of him:

[howlsofbloodhounds]

How do you have so many ideas about the chromatic crew??? My only thoughts about them only come to me in the shower 😭😭

Obsession.