#just in case its not clear

[newyorkstate-official]

Official Post of New York

April 4, 2023 - A Trump supporter is taken down a peg by a well-aimed skateboard in New York City. [video]

[filurig]

some of my kin liken humans to beasts to illustrate their ruthless ambition.

i do not.

the wolf hungers, and hunts to sate that hunger.

the bear must rest, and hunts to sleep once winter comes.

the human does not merely 'hunt'.

they torch forests and poison rivers. they build giant constructions which spew gas as black as night into the very air we breathe. they hunt and hunt and hunt until nothing is left.

describing them as anything other than 'human', is to undersell the reality of their callous disregard for any semblence of mercy.

[bluegiragi]

guess who's about to learn all about werewolf tail etiquette

early access + nsfw on patreon

[umbrvx]

[idanit]

I am not immune to wordplay.

[ruporas]

can’t talk about it

[ID: Black and white comic of Vash and Wolfwood from Trigun Maximum. The comic starts with the sounds "thud, thud, click". Vash, mid-action of peeling an apple, turns to the sound, noticing who it was that entered, and says, "Oh, Wolfwood, you're back." He resumes back to his apple in the next panel as he speaks, "Where'd you go? You snuck out of bed quickly this morning..." Wolfwood's hand then enters the panel, hovering over Vash's cheek and Vash looks up as Wolfwood asks, "Can I?" Vash responds, "Not going to talk about it?" while using a hand to gently hold Wolfwood's hovering hand and presses a kiss to his inner palm.

Vash then gets up fully, setting down the knife down on the table and the apple onto a plate, He leans into Wolfwood as Wolfwood explains, "Had to meet someone. Nothing interesting to talk about." Vash kisses Wolfwood's left cheek and a hand moves to cup his other cheek while muttering, "You're being vague." Wolfwood says neutrally, "If yer really that curious, keep askin'. We  can talk about that instead of doing this." Vash leans back and responds, "Let's talk after, since... You look so tired."

The panel pans to a close up of Wolfwood's downcast eyes, bags heavy underneath his eyes. He doesn't allow Vash to sit in that moment for long though, then saying, "Yer not helping, Spikey. Being all slow with it... I could fall asleep right now." He moves his hand to start unclasping Vash's coat, starting from his collar. Vash with red cheeks, responds briskly, "Oh, shut up. I'm worried about you. I can't be worried?"

The final shot shows Wolfwood's back to the viewer while Vash's softened expression can be seen as he holds gently onto the side of Wolfwood's face and a hand firm on his waist. Wolfwood responds, "I'm fine, seriously," pausing for a moment before continuing, "Is it okay to still..?" Vash responds, "Yeah, it's okay."

The next image is a shot from later that night after the previous comic. Vash and Wolfwood are now in bed, half naked. Wolfwood's buries his face into Vash's chest, his arms wrapped around him, while Vash is petting at his hair. Vash reminds him, "Hey. You said we'd talk about it." Wolfwood pauses for a moment before piping up, "In the morning? I'm sleepy." Vash says, "Okay..."

The next two pages start from the morning after. Wolfwood is already fully awake, pulling on his outer jacket as he says to Vash, whos' still bundled in his blankets, "Breakfast is on the table. Make sure to eat it. I'm going to grab some things in town and then we're leavin'. Got it?" Vash says, "Mh." Wolfwood responds, "Good. See ya in a bit." The dialogue starts to shift into Vash's inner thoughts now, as he gets up and eats toast, thinking, "Wait. Weren't we supposed to... talk about it?" The next shot then shows him fully up, meeting Wolfwood in town. He carries a half worried expression with him while Wolfwood slides on his glasses for him. A quick panel shows Wolfwood's tired expression from the night before and quickly juxtaposes with Wolfwood in front of him who's smiling gently, the shades covering his eye bags. Wolfwood asks him, "Still not awake yet?" Vash pauses, his thoughts stirring, thinking, "Oh. I guess I was getting ahead of myself... thinking you owe me that kind of honesty." He smiles at Wolfwood and responds, "I'm awake!" His thoughts continue, "Maybe one day, you'd trust me enough to share your burdens."

The final image shows Wolfwood pulling at Vash's cheek and Vash complains, "Owwwww why..." Wolfwood quickly says, "You were thinking something stupid, right? It's all over yer face." Vash mutters, "Nooo, I wasn't..." END ID]

[xxplastic-cubexx]

If you were to like redesign Magneto's classic outfit in a way that both suits the character and your own tastes, how would you redesign it?

uhhhh errrmmmmm i dont know i really couldnt improve upon perfection but i have still tried for you my friend !!!

[carouselunique]

Introducing the one taking the place of Sunburst in the AU: Bon Bon! She still thinks about her old friend Lyra and hopes she's alright...

[dandelion-roots]

[ID: a digital redraw of the scene where chuuya shoots dazai in the shoulder. on the top of the drawing is chuuya holding a guy to dazai's head in the red and grey hallways of the prison. on the bottom of the drawing is dazai's pained face. the gunshot is shown stylistically as hectic lines behind his bloody shoulder. over the image is half a quote from goncharov that reads 'if we really were in love you wouldn't have missed.' the signature says dandelion-roots. end ID]

This quote from Goncharov (1973) in relation to soukoku has been haunting me from before I even got to that scene in the anime (the full thing is: Katya- Of course we're in love, that's why I tried to shoot you/ Goncharov- If we really were in love you wouldn't have missed). Violence as a tool for communicating emotions, especially love and hatred, especially love and hatred makes me go feral- how could I not think of the iconic quote that says that katya's miss was a sign of a lack of love/a fake love when chuuya didn't miss? Just... losing it over here.

[squiretilde]

My Scott (Scout) Pilgrim Brainrot is back in full fucking force.

INTRODUCING: THEM!

(Descriptions under the Cut!)

[stagefoureddiediaz]

Ok So who is down for a bit of a wild Eddie Diaz is Freddie Mercury theory that is actually based in colour theory?!!

Yeah, yeah, I know that sounds insane but hear me out!

So Freddie superstar queer man of moustache wearing fame who also happened to sport a swept back floppy haired look in the 1980’s

Remind you of anyone??

Yeah - similar hairstyle and moustache! Keep that in mind as we continue!

Did you know that he never actually confirmed his sexuality publicly?

He hinted at it in the lyrics of Bo Rhap - which he wrote (and released with Queen) in 1975 when he was figuring things out. At that time he was in a relationship with a woman (Mary Austin - who he called his wife even though they never married. They remained best of friends and she was at his side when he died - he left her most of his estate) but had an affair with a man - and was also dealing with religious and childhood trauma (he was sent to catholic school and had a difficult upbringing at the hands of his mother). Bo Rhap was Freddie sorting through all of his feelings around his sexuality - the lyrics can be interpreted in many ways but the other members of Queen have spoken about its meaning being clear and personal to Freddie at the time. So ‘mama’ is a reference to the Virgin Mary and also to his mother - playing on both his childhood and religious traumas, saying he didn’t mean to make them cry is about not wanting to disappoint them but also about needing to be true to himself. ‘Just killed a man’ is about the death of his heterosexuality. I could go on (I can always write a post explaining the lyrics more fully if that is something that would interest anyone - Queen and Freddie were a hyperfixation of mine as a teenager!!) but I won’t in order to keep to my actual wild theory!

Now I wonder who that sounds like?? Childhoood trauma at the hands of his mother, catholic upbringing that didn’t fit with who he is, relationship with a woman who he loved but didn’t love the right way?? Yeah that sounds remarkably like a certain Edmundo Diaz if you ask me.

Now the moment Freddie actually ‘came out’ without actually coming out and essentially confirming he was not straight (there is debate about if he was gay or bi because he referred to himself as bi) was when he released ‘The Great Pretender’ in 1987 - when he was diagnosed with HIV/AIDS (he had been showing symptoms since 1982 but he also never actually confirmed his diagnosis until the day before his death in 1991) The reason this is significant in relation to Eddie DIaz is multi fold!

Firstly this was the moment Freddie chose to shave off his moustache as a symbol of not hiding who he was anymore and he never grew it back. So for Freddie Mercury his moustache was a literal mask and not a symbol of his queerness. The song is literally about coming out to the world and confessing and not hiding who you are and about wanting to fit in even though you are different. When we have had Episodes titled Masks, confessions, and have wannabes coming up - and we have Eddie Diaz shaving off his moustache as a symbol of not hiding any longer - choosing to embrace his true self - that’s a pretty loud parallel if you ask me.

Now to the colour theory of it all - because you see we have pink coming to the party for both Eddie and Freddie!

Freddie wore this wonderful double breasted pale pink satin suit for the promotional photographs and for the music video of ‘The Great Pretender’ and the scenes he wore it for in the music video were the ones that symbolised him being his true self as he reflected back on his life and all the various costumes and ‘disguises’ he wore throughout his life and career.

And now we’ve had Eddie in Pink for two very key scenes - the only time he has worn pink in the entire show.

Firstly we have the karaoke scene with Eddie in his Crockett and Tubbs pale pink suit and dark pink shirt.

And then we have Risky business Eddie in a pale pink shirt

Both times Eddie has worn pink pale pink have been in connection with being shown his true unmasked and unfiltered self - at the karaoke we see him letting loose and just enjoying himself, and then we have the newly shaven Eddie dancing the Risky business dance finding joy in something. They’re both scenes about Eddies joy, his freedom and him expressing himself. They’re about showing the audience who the real Eddie is - when he isn’t weighed down by all the other things in his life.

Oh hey look, its not even just the pink parallels of it all because we also had drag queens in the great pretender music video (L-R Roger Taylor, Peter Straker and Freddie Mercury) just like we did in the Karaoke scene.

And then we have the green and pink parallel!

Because something I have been side eyeing hard since we first got the stills for the karaoke scene is the colour swap for Buck and Eddie. This was the first time we saw Eddie in pink - in any real colour colour to be honest - Eddie has stuck to a pretty rigid colour palette since he first appeared in Under pressure (oh look yet another Queen reference!) always in muted shades rarely wearing anything bright and generally in a green, grey, blue, black and white colour palette with a little bit of burgundy/maroon thrown in. The only time we’ve really seen him in anything close to a bright colour is the yellow shirt from 601 which we have just seen again in 806. Buck however has worn pink on numerous occasions (Mays graduation party, the tsunami, the hilly coffee maker scene, when Chim figures out Buck knew where Maddie was scene etc etc) and so it is a staple colour for him. Mint green however is not a colour he wears - in fact Buck wearing green more generally is not common at all (especially outside of break up scenes!). So I was already looking for significance in the colour choices that had been made - but didn’t have all the pieces (and not just because the actual karaoke element of the scene had been cut) - until now! Now it is very clear that wardrobe and ABP have to have been given specific colour instructions about Eddies costume colour - because they needed it to play into the Freddie Mercury concept - the pink suit and the swept back hair, the drag queens - the entire thing was a nod to the great pretender and basically the kicking off of a queer arc for Eddie - now backed up by the 806 scene.

I wrote at the time in my meta about pink being the colour for the season and being a play on innocence and naïveté - which did fit with this scene and Eddie in this scene, but it also felt like it wasn’t the entire answer - with the context of the risky business Eddie scene though - now it is making sense - it is about showing Eddie letting go and being free, but it is also symbolic of Eddie becoming lighter (and no I don’t mean in terms of the fact he seems to only wear half his clothes when he’s in pink!) as he allows his true self to see the sunlight.

It also gives us this very interesting parallel/mirroring - Eddie in Pink - Buck in green - in both scenes - the framing is the same - right down to Eddie drinking his beer!

Notice how the tone has swapped though - Eddie darker toned in his darker pink shirt while Buck is super pale in the mint green - switched to Eddie in the super pale pink while Buck is in the very dark green. In S7 both are in relationships and they’re all over each other - because it is ‘safe’ to do so - its the most intimate we’ve ever actually scene them (physically I know they’ve metaphorically been closer) Then when they’re both single they’re keeping a foot apart!

The parallel is a really interesting one - this idea that the episode before - in 705 both Buck and Eddie nearly end up single but choose to stay/ pursue relationships that are not the right fit for them - highlighted by this karaoke scene showing who there person actually is - now backed up by the final scene of 806 - reversed colours and all - showing who their person is after both relationships have ended. The light and dark of both scenes plays into who is in the better place in that moment - So Buck was in the best place in 706 while Eddie is in 806. The other aspect of the two scenes is the loud v quiet. Bucks bi arc being a loud and bright colourful affair full of drama etc, while Eddies is taking a more sedate and quiet route - much like the quiet of a scene where they just sit together in silence. This is a reflection of what each needs in those moments - Buck needed the world to accept him and his bisexuality in 706 and in 806 its about Eddie accepting himself. Their journey’s from here on out are the opposite - Buck now needs to sit in the silence and accept himself while Eddie needs the acceptance of the outside world (namely his parents and Chris) they are holding mirrors up to each other and it perfectly highlights their respective personalities and wider journeys. It also reflects the duality of Freddie Mercury himself - a complete showman - confident and full of charisma on stage - off stage however he was, by all accounts a quiet and unassuming but complex man who accepted himself privately but wasn’t able or wiling to share all of himself with the world (as was and is his right).

So the Freddie Mercury parallel that it seems Tim is playing into is very loud and telling and the colour theory is backing it up perfectly so far.

This is a rambling mess - it’s 2:30am and I should be asleep so apologies if it makes zero sense, but I hope it does!

[hazel2468]

At this point, “OP is a Zionist” means “OP is a Jew who has spoken about the rampant and violent antisemitism in leftists spaces and it makes me feel icky that a kike dares to express their opinion because I’m a racist bigot, so I’ll call them a Zio and that means I can get away with being outright racist about Jews because it’s acceptable to hate ‘Zionists’- and if any other Jews call me out, I’ll just say they’re Zionists, too!”

You absolute fucking ghouls couldn’t be more transparent if you tried. You’re not allies. You’re not good people. You do not care about human rights. Your “activism” is the smokescreen you put up to hide the fact that you get off on hating Jews. Your “activism” is about nothing more than making you feel good and getting your little brownie points from other antisemites online.

We see you. We know the deal. At least the fucking Nazis had the guts to say outright that they want every Jew dead. You’re so cowardly that you have to couch it in social justice language and beat around the bush.

[a-caterpillars-world]

The Chariot and his entourage

[I] [II] [III] [IV] [V] [VI] [VII]

[sonknuxadow]

see i do think there have been actual instances of fandom people just deciding two characters are siblings with no real basis and acting like its canon and forcing that interpretation on others and getting mad at people who disagree . but a lot of the characters i see people list as examples of this happening with are just actually stated to or heavily implied to see eachother as siblings by the source material and at that point i think you just dont see adopted siblings as real siblings idk what else to tell you

[deliciouswhisperssheep]

I think it's very funny that a lot of the writing choices in Veilguard can be boiled down to, "We desperately fear causing the kind of discourse our previous games have." As if they could prevent that. As if finding things to argue over and get offended by isn't the internet favorite pastime. And don't get me wrong, that may nit have been the actual writers' choice at all, like that actively could have been EA interference and I would believe it. I just genuinely think it is funny that they clearly wanted to avoid it and it is happening regardless.

[freakinator]