#like even when it's not necessary

[ashtonisvibing]

i love how much the narrator has repeated "the EVIL decepticons"

just in case you couldn't tell by their red eyes scary logo and lust for total power, let us remind you that these guys are EVIILL :)

[lazylittledragon]

i refuse to believe that boycotting is hard. my favourite thing in the world is ordering maccies after a late night at work/a concert/getting drunk. yes i do miss it sometimes. but the other night i ordered from a small place near my house instead and it was the most orgasmic burger i've ever had in my life. i very rarely say this but fucking suck it up people are DEAD

[charmac]

Mac and Dennis not having sex.

[periwinkla]

Pokeattorney AU x 15th anniversary skit because I take great personal enjoyment in making fun of Edgeworth

...just as much as Phoenix does. The video in question :

_ pokeattorney AU tag

Btw just for the record whenever I mention the unnecessary feelings bit keep in mind that I didn't bat an eye when I first saw it, but in restrospect it's hilarious and now I just really like to make fun of him for it. Unconfortable Miles hides and/or says things in the most convoluted way possible adding in further embarassment upon himself. And I like to make fun of him for it <3

[arktic-rage]

honestly I absolutely love the Avvar in Jaws of Hakkon. How they worship the gods, how they view the world around them, how accepting they are and just how interesting they are too. I absolutely despise how the Inquisitor and Companions make commentary as if they're stupid or wrong in their beliefs, or that they're "just crazy people who worship spirits".

The dialogue you don't choose or even the ones you do are on the line of condescending, and it's frankly insulting, especially that all options on the dialogue wheel fall on that line.

the Avvar are so fucking cool, I hate we only get a DLC with them. (I also miss the Chasind - I wish they weren't forgotten or left in the dirt by BioWare :( )

[deoidesign]

Thinking about vampires, death, life, and the space they occupy in between

[ecc-poetry]

BALANCE THE PARTY

social justice barbarian Never met a nazi they wouldn't punch. Never met a cop they wouldn't call a nazi. Treats the soft animal of their body like a lance to the heart of a tyrant. Their anger is a gift from God– it transubstantiates.

social justice necromancer Reads her history. Says their names. Goes through cemeteries leaving flowers, grave-borrowing tactics. Coaxes the spirits from their beds to let them dance; we realize we have always been beautiful.

social justice rogue Unplucks the landlord's tapestries at night. She covers her face, she code-names, wipes the prints from her hand after shaking. She's a lot. A blade in the dark that daylight can't soften. She hums a mantra called mission; it's all the warning you'll get.

social justice bard Makes his sincerity a lute and plucks fingers raw upon it. Has brass knuckles on the inside of his throat. Knows what to say to soothe the scared guy sleeping rough, to make the officer laugh instead of shove.

social justice druid Gives you grace and space to grow. Makes a weird balm to calm your hurts. Turns into a panther once a day dispensing courage; turns into a dove once a day dispensing peace. Serves the world from the half-empty vessel in their heart.

social justice warlock Sold her soul to do DEI for a Fortune 500 company. Walks each day through thicketed razors, carving footholds in a hill of glass. The job takes its pint of blood so slowly, it is possible to believe she doesn't feel it.

social justice paladin Always knows the words. Is afraid of what will happen if they forget them. It's not an excuse, but it is sandpaper, truths nailed into the shoebeds. They're implacable from the outside. They can't believe I would love them without their fury.

social justice cleric The people tell her, "Your mouth ruined our movement. You suffer in silence all the time–what's one more?" She believes in a love whose demands cut friends and enemies alike. She cleanses, sad surgeon. She is martyred twice. From the ground where her tears fall, a perfect flower grows.

social justice warforged Has a fuckin' truck!!! He rolls up to mutual aid and the people rejoice at his truck. He is become a mover of things, a Christ-bearer: mattresses and gasoline, the girl who needs a ride across the state. She says bless you, bless your truck, and his heart swells. He never knew he could be so needed.

social justice giant crab Strength +1. Intelligence -5. She is a crab. She has 13 hit points and claws for hands– but she can breathe water and air. She knows what the surface looks like from underneath. She carries wisdom in her crab body that the arc of the universe will always bend to rediscover. Don't you get it? That we all have gifts to give?

-elisa chavez

[wheretheresawyll]

still boggles my mind that in the year 2024 most players still ignore anora's character just to reduce her to a lying backstabber, when she only goes against you if:

you reveal her identity to ser cautherine and howe's soldiers, defeating the entire purpose of her disguise and also ignoring what she told you literally one minute before about how they can't know she's escaping with you - thereby betraying her first

you ignore her completely in denerim after she asks you to come talk to her, and only show up to the landsmeet

you bring up loghain's fate, and when she tells you that she would rather him be spared if possible, you tell her to her face that her father has to die

[turtleblogatlast]

I honestly love the clothing styles of each of the turtles in this show and I love how these styles really incorporate their personalities as well.

Like, obviously Donnie has the best sense of style, yeah? Think that’s something pretty agreed upon here. Everything we see him put together is very meticulously crafted and clean. That goes with his personality because Donnie is a very meticulous person in general, and he knows what he likes very, very well, and knows how to flaunt it in turn. Him commenting on colors he enjoys or disapproving of outfits that the others see no problem with also shows how he just generally has an eye for this kind of thing. He doesn’t just know what looks good on himself, but also what looks good on others - and I think this ties into his love of gift giving too. Donnie also has a flair for making sure that his things have his “mark” on them, and his clothing is no exception. All that he wears and how he wears them screams “Donnie.”

Mikey is really fun because his styles are honestly a pendulum between super simplistic and incredibly out there. And often, you’re going to see a lot of color or patterns to both. And in my opinion I think that all reflects really well on Mikey’s character - he’s got a colorful personality but even more than that he’s incredible sure of who he himself is. Mikey’s style, I feel, is less what looks good as clothes and more what sparks joy in Mikey himself. His bright stickers he wears are a testament of that! He’s comfortable in his own skin and his style reflects this perfectly, whether he goes for a more out-there look or a more toned down one.

Now, for Leo. Okay, I think I’m actually in the minority here I feel because Leo’s style isn’t really that bad? Hear me out- if you actually look at what he wears, try taking out, like, one accessory. Suddenly, that outfit works! He even manages to put together many good outfits in the series, but his “bad” ones are the ones that tend to stand out, alas (just like how his mistakes tend to be big ones oop-) Basically, my personal look at him is not that he’s inept at styling at all, but that he has a “too much” gene. And like everyone else, this sense of style is completely like him, too. Going too far to impress when all he needed to do was slow it down some to think things through. (And funnily enough, a lot of his outfits take random aspects from his brothers too - “nothing without them” huh?)

For Raph, I feel bad for him since pretty much all of his clothes are inevitably going to be ripped, but he makes them work pretty much each time. Like Leo, Raph tends to go more sporty with his looks, but I also noticed that his stuff often goes in that in between of comfy, cool, and cute. His pajama suit in particular comes to mind in terms of “cute” as it’s more something you’d see younger children in rather than older kids, and I think it can be a subtle nod to the fact that for all Raph tries to seem older, he’s still just a kid too.

I could probably go on, but these are just all off the top of my head - I love how the boys’ personality’s come out in so many different ways.

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[azuresins]

The Phantomhive Ring Nonofficial merchandise, fanmade, custom. ·3D modeled in SolidWorks by @noirserviteur ·3D printed using resin, then cast in sterling silver ·Fitted with blue sapphire (+ diamond chips, soon)

[fredoesque]

see the THING about goodsir and stanley is that goodsir may be way less inclined to act cruelly but he has a far greater capacity for it.

[muchmossymess]

Why is everyone here so obsessed with sex and romance why can't you appreciate the comedic genius of "rivals who fight about parenting to rile the other up to begrudging coparents who bicker like a divorced couple to actually maybe tolerating the other and the insults are now less spiteful and biting to hells first qpr (queerplatonic rivalry) to hells first qpr (queerplatonic relationship)"

[royalarchivist]

undefined

Tommy: Did you know that you have rights? Constitution says you do. I believe that every man, woman, and child is INNOCENT!

Niki: Yo Chat! CHAT! WE HAVE RIGHTS!!! WE MADE IT! We made - we f**king made it. Women’s Rights, let’s f**king go, lets f**king go! We made it. We made it! That’s amazing, thank you so much Tommy Innit. [...]

I was the only woman in this recording. And all they did was talk about their fore.skin *tries not to laugh*. I just wanna let that sink in for a second. This is why I am the w- the victim. This is why I am the victim. This right here. [...]

*reading chat* “Guess you didn’t get women’s rights after all” *laughs then puts her face in her hands* Oh my god Chat. *laughs*

[little-mouse-adventures]

@orangerosebush's post here, with my comment and @fowlblue's tags today got me thinking.

Artemis Senior has been teaching his son matters of business from a young age. Not only was Artemis, at 11 years old, discussing stocks with his father, but Fowl Senior had been imparting his wisdom onto his son for years by that point, discussing the ever-increasing value of gold with him before tucking him into bed. Even outside of pure monetary value, Sr. had tried to go legitimate with his business dealings, leading Artemis to have a few legal ventures of his own.

We also see very early on in the books that Artemis has been regularly using Butler as a resource for his plots: bouncing ideas off him was apparently a fairly common tactic when he was scheming.

Both Artemis Senior and Butler are interested in (or at least, not opposed to) educating Artemis on the ways of their lifestyle(s). It would be Artemis Senior who would have taught his son the value of banks and safety deposit boxes and hidden safes but it was Butler who was actively working with Artemis to rob those safety deposit boxes.

In the same vein of breaking-and-entering, TLC also gives us the fun little moment where Butler hands Artemis his own lockpicks, to get into the workings of the bomb.

With one line we learn that Artemis knows how to pick locks, but does not have his own set of lockpicks. Butler, on the other hand, has both the tools and knowledge how to use them. Partnered with a brief mention in TTP of some the specific trades of those previously employed by Artemis Senior (including such things as crime lords, insider traders, and cat burglars), we can extrapolate that Artemis Senior would generally hire someone to pick a lock for him, rather than do so himself.

It's pretty logical to conclude then that Artemis learned big-picture management from his father, and day-to-day skillsets from his bodyguard.

Essentially, Artemis Senior taught Artemis how to run a criminal empire. Butler taught Artemis how to be a criminal.

[shesmore-shoebill]

I think the Amanda Arasha combination is especially effective because they do have differing opinions on a number of things, but Arasha is also largely unafraid to actually disagree/pushback on things (in a very good natured, thoughtful, usually well articulated way) without taking it personally. Which, I think is especially fun/good with Amanda, who tends to have strong opinions and expresses them very. powerfully. And I love her for it, but the discussion definitely gets even better when someone like Arasha is willing to push back or call out the comedy of certain personal opinions/subjective viewpoints, and still have a good time overall.