#i make shitposts

[airplanecrashingtowardstheground]

:)

[three-strikes-of-void]

@mossyflowers get name soundalike'd

[omnybus]

making shitposts, making shitposts is so fine

[redstonedust]

symbolism can be whatever you want it to be and now that theres 7 life series we can make the winners deadly sins if we want. heres my proposition:

grian: pride (vibes) scott: sloth (laid back in most seasons) pearl: envy (towards the other soul pairings) martyn: gluttony (time is delicious) scar: greed (seashells on the sea shore) cleo: wrath (die for me) joel: lust (hes gonna fuck that car)

[blaithnne]

Live Mel reaction

[msparrowscribbles]

Scar's bringing such an energy to this season, huh

(this is my first attempt posting something in this very sketchy style asdgjsafs we'll see how I feel about it - designs are inspired by aresonist's lovely designs)

[majubengel]

One Piece final battle

poorly drawn extra:

[holycrimin]

that one Laios meme but with the 12 bros, saw the rise one and got inspired <33

(don't tag as t-cest)

original under the cut!

Original by @/sweepswoop_ on Twitter

[monkesupreme]

ref

a satisfactory answer for Selina

[kyofloral]

[maglorslostsilmaril]

aragorn needs to be 10x weirder in all tolkien content. he’s too manly for elves. he’s too elvish for men. he roleplayed his crush’s grandpa, and then married her even though they were kinda siblings by adoption. he deals with his feelings by singing. he’s a horse girl. he was raised by elrond peredhel. he had the weight of the world placed on his shoulders when he was still an emo teen. everywhere he goes people think he’s lowkey a freak. let him own it.

[ryuuna]

she just gives really nice compliments she can’t help it

[wojtekaneko]

That's how it went

[elodieunderglass]

changes and trends in horror-genre films are linked to the anxieties of the culture in its time and place. Vampires are the manifestation of grappling with sexuality; aliens, of foreign influence. Horror from the Cold War is about apathy and annihilation; classic Japanese horror is characterised by “nature’s revenge”; psychological horror plays with anxieties that absorbed its audience, like pregnancy/abortion, mental illness, femininity. Some horror presses on the bruise of being trapped in a situation with upsetting tasks to complete, especially ones that compromise you as a person - reflecting the horrors and anxieties of capitalism etc etc etc. Cosmic horror is slightly out of fashion because our culture is more comfortable with, even wistful for, “the unknown.” Monster horror now has to be aware of itself, as a contingent of people now live in the freedom and comfort of saying “I would willingly, gladly, even preferentially fuck that monster.” But I don’t know much about films or genres: that ground has been covered by cleverer people.

I don’t actually like horror or movies. What interests me at the moment is how horror of the 2020s has an element of perception and paying attention.

Multiple movies in one year discussed monsters that killed you if you perceived them. There are monsters you can’t look at; monsters that kill you instantly if you get their attention. Monsters where you have to be silent, look down, hold still: pray that they pass over you. M Zombies have changed from a hand-waved virus that covers extras in splashy gore, to insidious spores. A disaster film is called Don’t Look Up, a horror film is called Nope. Even trashy nun horror sets up strange premises of keeping your eyes fixed on something as the devil GETS you.

No idea if this is anything. (I haven’t seen any of these things because, unfortunately, I hate them.) Someone who understands better than me could say something clever here, and I hope they do.

But the thing I’m thinking about is what this will look like to the future, as the Victorian sex vampires and Cold War anxieties look to us. I think they’ll have a little sympathy, but they probably won’t. You poor little prey animals, the kids will say, you were awfully afraid of facing up to things, weren’t you?

[blazeeepy]

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