#maybe ill do a part two about this

[sukibenders]

When other Yellowjackets fans, majority who are poc themselves, talk about how weird and frustrating it is that the writers introduced a random yte character and gave them a storyline when there were two (technically three but they killed off Lottie even when there was an opportunity for more) woc, who have been around since s1, that could've fit the mold instead (like Mari) and have actual personalities outside of building up/being the lapdog for another character. Or how often times many of the, limited, poc characters are often either treated poorly and killed off, or pushed to the side (Simone, reduced to the disposable black girlfriend trope and is nearly killed by her partner because she's in the way of a ship; Travis, since s1, had his trauma dismissed or ignored and was overly hated but no one talks about how he was SA'd by the girls he's now stuck with on top of having to eat his brother and not be able to grieve over it). How Taissa's whole storyline is just revolving around Van even with all the potential, especially given she's fighting to be free from her own mind, how Lottie's mental illness is treated so poorly as if it's not the butt of a joke then it's met with heavy criticism (and the only time she is met with sympathy for it, it's through the lens of a yte character embodying her and having an emotional conversation with her father). How you can have all of these reasons (and more) for being annoyed by Melissa's character or the direction of the show, and be met with #those fans downplaying these concerns, or just being overly antagonistic just because they find yte character #243 entertaining so obviously these conversations don't have merit. But this fandom has always had an...."interesting" way in which it discussed the poc characters on the show, so I'm not surprised.

[always-a-king-or-queen]

As a boy king in Narnia, Edmund Pevensie once swore privately to the stars that should his siblings ever die in battle, he would die with them. Protecting them to the end, so their fear might be lessened by the thought that they weren’t alone. 

But irony would have it that the bloodshed of war did not bring about their end, but rather a train built of steel and glass, hurtling from its tracks onto the greenery of a steep English hillside.  

Edmund does not forget the promise he made so long ago, in another world he can no longer access. He remembers that promise in his final moments, as the train flips and rolls and flings him and his siblings like rag dolls. He feels it burning deep in his heart, feels the stars smiling somewhere in the distant past as he wraps his arms around Lucy and Peter and shuts his eyes a final time. 

Only a few minutes before the derailment, the three of them sit in an otherwise empty train compartment, silent and each occupied by their own thoughts. Edmund is gazing out the window at the flashing scenery when he gets the sensation that something is horribly wrong. 

There is a faint tingling that crawls suddenly up and down his spine, chilling him to the bone, and he sucks in a breath, eyes going glassy as the scenery blurs outside the window. For a moment he is back in Narnia, standing by Peter’s side, hair windswept and helmet tucked beneath one arm as he surveys the battlefield before them. He can almost see the army sprinting towards them over the lush grass, can almost hear the roars and yowls and screeches from both sides, can almost smell the tang of unspilled blood. His sword is nearly tangible in his fingers, heavy in his grip, the engraved hilt cold and familiar against his palms. 

The tingling against his spine swells into a roaring pressure, and Edmund is pulled roughly from the battlefields of his memory, jolting back into the present with violence. This feeling– this horrible, gut-wrenching, bone-crushing feeling that grips his throat and lungs– this is how he felt before his first battle against the Witch and her army. A sense of impending doom, scraping against his teeth with aggression and burning his heart; he knows it all too well. 

Edmund swallows again, missing the distant weight of his sword in his hands as he fully returns to himself. The train is shuddering slightly as they advance along the track, English countryside flashing by outside the windows. Next to him, Lucy hums the haunting melody of a dryad, idly sketching daisies in a blank page of her journal; across from Edmund, Peter flicks through a newspaper, brow furrowed with an intensity Edmund well recognizes from his brother’s days as High King. They are alone in the carriage, the rest of their traveling group crammed into a different car, and for the briefest, most traitorous of moments, it almost feels like their old days, just the four of them. Peter, Susan, Edmund, and Lucy, together against the world. 

But Susan is no longer with them, and these are not their old days, and something is terribly wrong. 

“Pete.” Edmund keeps his voice even-keeled as always, and his brother doesn’t look up from his paper, simply answering with a distant “Hmmm?” that Edmund knows well enough to translate that he isn’t fully listening. Lucy, on the other hand, flicks her gaze towards Edmund, eyes bright and curious as always as she tips her head. Edmund doesn’t meet her questioning stare. If he dared to, she would read his face in an instant, and he doesn’t want to scare her without necessity. 

But then, he reminds himself with a self-directed scoff and a shake of his head, her title was Valiant. 

It will take more than his current fears to scare her. 

So Edmund pushes away his misgivings and tries again. “Pete,” he says a second time, louder than before. 

This time there must have been an edge to his voice, a sharpness that he’s rarely allowed to frame his words since his days as a bully. Peter looks up from his paper, seeming suddenly to recall that this was the tone Edmund always used in times of peril, and instantly recognizes the expression on Edmund’s face. Calm and controlled, but with an undercurrent of panic flickering at the edges. Panic that was not befitting of a king of Narnia, but that Edmund sometimes couldn’t keep from slipping onto his face in the early days. After all, he had only been a boy then, a boy king in a strange world. Now they are back in their own world, but it is foreign to them, and sometimes he is afraid.  

A touch to his arm. Lucy is leaning towards him, face earnest and undaunted. 

“You sense something, don’t you, Ed?” she asks him simply, and his final facade crumbles. 

He nods wordlessly, hands gripping the flaking leather seat of the train car. 

Peter moves to sit beside him, and Lucy watches them both, waiting. Edmund glances towards her. “Lu,” he says quietly, and reaches for her hand. She takes his willingly, her fingers squeezing his own, and he half-smiles, his other arm stretching towards Peter. 

The High King grasps his brother’s hand firmly, and Edmund exhales, his heart soothed by the wordless reassurance of his siblings. 

“I don’t know quite what is going to happen,” he tells them softly, voice gentle as a winter snowfall and soft as a shaft of sunlight in the western woods. “But something is coming.” 

He sees Lucy the Valiant swallow, her fingers trembling just slightly in his, and Peter the Magnificent lifts his chin, cold fear burning in his eyes. 

Edmund grips their hands tighter. 

“I won’t let anything happen,” he says fiercely. “To either of you.” 

It is a vain promise, but they cannot peer into the future. They cannot foresee the grinding, twisting metal and searing flames that await them, mere moments ahead. And so his siblings simply smile at him and scoot a little bit closer, holding his promise close and silently vowing to do the same for him. Peter sits tall and straight, his shoulder pressed against Edmund’s, and Lucy leans her head on his shoulder, her journal forgotten.

Edmund is just beginning to think that perhaps he was wrong when there is a deafening, thunderous screech from the front of the train, a grinding cacophony of clashing metal.  

The sound of the world ending. 

In the same instant, Lucy and Peter’s hands are ripped from Edmund’s with a feral violence. “Ed!” Lucy screams, thrown backwards against the wall of the car. Peter slams his head into the roof and slumps unconscious to the floor, and the car bucks wildly, windows shattering and spitting out shards of broken glass. 

Edmund tumbles head over heels as the train flips and rolls in its derailment, crashing into Lucy and Peter again and again as they each come dangerously close to being thrown from the broken windows, yet somehow escaping each time. He catches snatches of broken screams filtering from other cars, desperate and agonized, and swiftly pieces together that they have mere moments before the end.  

Lucy slams into Edmund again, hair askew as she scrabbles to grab hold of something, and Edmund wraps an arm around her, stopping her tumble midair. His other hand closes around the now-empty frame of a window, briefly anchoring them both, and the train slows suddenly in its maddening descent. Edmund has the distant thought that perhaps that is not mere coincidence, because the train seems to be rolling almost in slow motion, shards of glass flying past their faces as if in a dream. 

Peter, still unconscious with blood dripping down his forehead, tumbles over to Edmund and Lucy’s feet, faster than the train is currently moving, and Edmund makes a swift calculation. 

“Get down,” he says softly to Lucy, releasing her. She drops into a crouch next to Peter, and Edmund kneels beside her, taking a final look at the train car as it rotates with an almost magical slowness, allowing them to have a last moment together. 

Seconds. They have seconds left. He doesn’t know quite why he’s certain of that, but he is. 

Lucy has flattened herself against Peter, weeping softly and whispering with the irrationality of grief, “Wake up,” and Edmund wraps his arms over both of them and closes his eyes, hugging his siblings tightly with all the love he was never able to articulate aloud. 

“Goodbye,” he whispers, though peace fills his heart as light begins to glow through his closed eyelids. “I’ll see you both soon.” 

Lucy's hand finds his and squeezes it tight.

The train flips a final time, and glass and metal explode in a deafening burst of fire, smearing the sky in clouds of ash and smoke. A lion’s roar echoes briefly in the flames of the wreckage.

And somewhere, in a realm flooded with golden light, the Pevensies open their eyes.

[skunkes]

i loooove when ocs unrealized development makes them feel like real people like no i dont know whether talon is genuinely attracted to women after years of both clinging to them for safety and years of putting them onto that untouchable idealized Perfect Protector Pedestal that must remain untainted by any bad experiences, so he doesn't even try to Be With any. He doesn't know either

[cerealmonster15]

yaaaaaaaaaaaaaaaaaaaaaaaaaaaaay ch3 of danganronpa CLEARED but like. why did so many people imply that was gonna be a bad and annoying chapter. i had fun lmao, and the trial didnt feel any more or less frustrating than all the other ones ??

[wyrmwhispers]

On the idea of “is Paul lying about this being the best path” my interpretation is no, he's not. At the very least not purposefully lying, although it may not be the actual truth. And by that i mean that there's no future where all the Harkonnens die miserable painful deaths and then yippee the Fremen rule Arrakis and Paul is there living happily ever after with Chani, that he sees. but what i do think is true is that the path Paul chooses is the one that allows him to meet all his goals which, in relative order of priority I'll say are:

revenge on the harkonnens

keep the people he loves alive (jessica, chani, alia)

free the fremen from harkonnen control (maybe, if it's convenient or if he has time)

and the really shitty thing about this list is that number three is extremely convenient and helpful for number one but not in a good way and number one is really non-negotiable for him. Like from his perspective he needs revenge against the Harkonnens, that's why he joins the fedaykin because fighting against the Harkonnens like that feels like revenge. But the idea of taking it all the way to the top and getting revenge not just against the Harkonnens but also the emperor for killing his family and the entire imperium for standing by and doing nothing is too tempting for him to ignore. And he caveat on the second point is that the people he loves being happy isn't necessary just that they're alive. (*cough cough* Chani in the movies *cough cough*)

So i think that the future Paul picks, the narrow way through is the one that satisfies all those best and you'll notice that “do right by the oppressed indigenous people” and “don't murder 62 billion people” aren't really on there. not because he doesn't care about those but… he doesn't really in comparison to the aforementioned goals. Post-water of life, he sees "the best path through" where he gets everything he wants and sees the jihad as an acceptable price and reasons it as "inevitable" whether or not it actually was.

all of this means that yeah, to him there very well may only be one way and yeah the one that he chooses is the best one from his perspective even if you've read the books you'll know that he kind of fails at point number two in trying to protect both Chani and Alia.

Lastly, in the later books Leto II talks about the Golden Path and that its the only way to save humanity and blah blah blah. Frank Herbert pretends like he mentioned it in Dune and Dune Messiah but he didn't. Although I do believe he had some ideas about it in Messiah but it wasn't fully formed until Children of Dune. How I always interpreted that in retrospect is that Paul saw the Golden Path but wasn't willing to make the sacrifices necessary (becoming a sentient sandworm god, living for four thousand years, etc. which... fair) and tried to half walk the Golden Path without ever fully committing to it and fucks it up and leaves it to Leto II. All of which to say, the Golden Path isn't a thing in the original book so the "narrow way through" is not the Golden Path because Frank Herbert hadn't made it up yet and its not what I'm talking about.

[toopunkrockforshul]

The real problem with Going to Therapy is the part where I have to Go

[jasontoddenthusiastt]

I think fans want Jason to be a good person or be becoming one. To have a character that is well meaning and compassionate but decided murder is ok and to stand against main heroes who’s beliefs and actions go against the people he cares about and wants in his life. It’s confusing for people. People want their fav characters to be happy. But Jason can’t have his family’s support and follow his moral code. He’s cares about people and Gotham, and he’s an asshole who kills. It’s messy. It’s not black and white. I don’t even think Jason cares about being a good person or in the right anymore. I think he cares about what will save the most people instead.

Oh my goodness gracious I’ve been bamboozled

Batman’s definition of Good is not synonymous with absolute good/right no matter how much dc insists it is. Torture, battery/assault, surveillance, those are all condemnable actions too. I won’t get into the exhausting and frankly dumb debate of comic book morality wrt killing because I’ve already reblogged plenty of posts from other people who explained my thoughts on the matter far better than I ever have the patience to sit down and articulate. I also just think the notion that there’s something to be done about fictional characters who kill nazis and senseless murderers is stupid. Jason’s point is that the “main” heroes’ sanitized definition of right has its unaddressed holes and flaws which ultimately result in more preventable fatalities, and that he’ll work to correct those missing spots.

He doesn’t not care about doing what’s right. What he doesn’t care about (at least during his Winick characterization) is whether Batman thinks he’s right or wrong, because he sees the flaws in Batman’s methodology (and since he has a mind of his own). Batman’s methods alone cannot address Arkham’s revolving door and the rogues that come and go through those doors who have no intention (or capability from the doylist pov) of ever changing or undergoing redemption. Jason knows that he’s minimizing the number of preventable deaths by killing his targets, typically Characters Who Simply Do Fucked Up Shit Just Because, Why The Fuck Not?

Secondly, Jason is compassionate … to a fault. That was his fatal flaw. If he wasn’t so hell-bent on saving his potential birth mother he just met from that bomb despite everything she did to him prior, he could have protected himself instead, however slim his odds of survival were. What about his relationship with his other parents? He was a caregiver during his early childhood years for Catherine, until her death. Even mature adults who are financially stable find being a caregiver to a dying parent to be extremely burdensome on their bodies and minds, but he never complained about it or resented Catherine for being unable to care for him. Despite how none of his parents have really been what he needed them to be, he doesn’t blame them for their failings, and even continues to think highly of them (Bruce included).

And post-death? Enter Lost Days. Despite being dead set on plotting his revenge on Bruce, he constantly sidelines this in order to save other victims who are helpless like he once was. His own anger, trauma, and mission don’t remain his priority. (Sound familiar? Something something my own trauma above my son’s, mission above all else, etc.). Why would he waste precious time and risk his own life to do this if he wasn’t empathetic towards these victims or didn’t care about doing the right thing. He is simultaneously horribly traumatized and full of rage, and also incapable of ignoring what’s happening to victims around him (even as he claims that it’s indeed not his priority). And in that same vein, the entire premise of his rebirth outlaws run was that he doesn’t care if the public views him as a villain, an outlaw, so long as he can protect Gotham. And anyway where is this portrayal of him not caring about being in the right anymore. Almost every modern Jason story is about him grappling with where he stands with Bruce/Batman. During the early 2000s was probably the last time he did not care (hello, tentatodd??).

Jason has very evidently been portrayed as a kind and compassionate character. He is also simultaneously a calculated killer who doesn’t hesitate to kill when he deems necessary, and does so without remorse. It’s called being a Complex Character With An Edge™ that as you said, people so often claim to love. However when he fulfills that latter part, that seems to upset people because “killing bad”, and they then try to shave off and round out all his edges and claim he shouldn’t be that angry. In that case I guess you should just stick to liking traditional one-dimensional characters instead of claiming to like Jason but then encouraging his character assassination attempt by dc. Lol.

Lastly, who said anything about the batfam making Jason happy? Just because he’s written nowadays to want acceptance from Bruce (a shoddy attempt at forcing a non-existent nuclear batfamily), doesn’t mean that it’s a sound decision or that it does his character justice. I certainly don’t empathize with the idea that Jason needs the family’s approval or acceptance to be happy. (And anyway he has enough outlets for angst and pain aside from the batfam hello explore his other sources of trauma and do more deep dives into how he thinks when he’s alone). I don’t want them to magically make up and become one big happy family. This is not disney Lol. Besides, there are plenty of stories from dc that have that type of “wholesome” (hate that word utilization) characterization for Jason (Li’l Gotham, Tiny Titans, wfa, and even new stuff like the brave and the bold mini) and that is sufficient imo. Jason fans who are invested in the character deserve accurate, nuanced characterization and well-written stories, whether they be from his robin days (e.g., Batman: The Cult) or as red hood.

[somefisher]

Fuck my stupid lonely gay life

[bittsandpieces]

.

[spaghett-onaplate]

ok i love daredevil but marvel is so ass sometimes... im rewatching s1 and bruh tell me why this man just used plain old water to put out a chemical fire and it WORKED </3 and this one old lady always listened to english speech and responded in only chinese without a translator in between and then the characters were surprised she speaks english?? hello do you know how this works?? daredevil is such a compelling idea (catholic, lawyer, vigilante!) and i really do love the main characters and plots but the attention to detail is so horrible in like every aspect. the terrors of loving something bad you also hate

[huginsmemory]

Where's that one Ford art post thats like I'm in the best years of my life clutching a hot pink thermos thingy with hot gurl juice when he's clearly not. cause damn . Yeah

[todayisafridaynight]

Religiously i think about one of my twitter mutuals pointing out how aoki's design is subtly asymmetrical while ichiban is more symmetrical

when i think of it, masato's design is fairly symmetrical as well isnt it.....

[tokruta]

I’m starting to hc Miguel as Miguel Rivera (from Coco)’s great grandson.

It’s mostly because I’ve been doing my family tree for a good while now, so most of my free time is occupied with tracking down Mexican ancestors, looking for resources to better understand the different settings they lived in, reading old Spanish handwritten records, etc. So, with genealogy on the brain, and seeing some names repeated down family lines…I think having Miguel O’Hara be descended from Miguel Rivera would be a neat lil idea.

Like, imagine little Conchata growing up in Mexico with a famous musician grandfather who loves her and dotes on her and her cousins. Yes, he’s a famous musician, but he’s a family man first and is always ready to pass down stories from his life and his loved ones, dead and living. She loves her grandfather so much she decided to name her firstborn son after him.

She wasn’t always the best mom, especially to Miguel, but she passed down those stories and traditions, including singing and a love for music. And Miguel grows up loving to sing, and being good at it but keeping it to himself and Gabriel because George hated to hear it.

Gabriel, on top of being a good artist, is a pretty damn good guitar player and also has a great voice. He mostly keeps it on the down low, though, even in adulthood.

Miguel didn’t pick up any instruments, but he sometimes wishes he picked up the violin before he became Spider-Man. Instead, he let Gabriela pick out an instrument she wanted to play, and if she happened to pick the violin, the onions that manifested were a complete coincidence.

Plus, it’s literally canon that Miguel goes to Mexico to celebrate Día de Los Muertos and that his suit in the comics was one he wore to the festivals. I think it’s better for that to be a thing he does bc the holiday is a big deal in his family rather than bc it’s an excuse to party or whatever.

His mother had an ofrenda and so does he.

Miguel Rivera is still alive (he was born in like 2005, he could totally still be alive in the 2090s and 2100s, so he is in my hc ☺️) so Miguel visits him in Mexico, too. Miguel is shy about singing in front of anybody, but his bisabuelo is able to bring him out of his shell, especially by singing his old songs that Miguel grew up listening to.

The more I think about it, the more attached I become to this hc.

Now I want to write a fic where Miguel is visiting a dimension in the 2020s (616B, 1610B, etc) and he happens to see that a young Mexican musician is starting to trend, and it’s his bisabuelo Miguel as a young man 🥹 so he buys tickets and flies to Mexico 🥹 to watch him live 🥹 and yes he knows this isn’t his bisabuelo but he is as close as he can get to a young Miguel Rivera at the start of his long and successful career and it just hits him in the soul 🥹

And if Miguel Rivera happens to notice a 6’9” giant at his show, who looks strangely familiar, watching him perform like it’s the best thing he’s ever seen… who’s to say.

[13eyond13]

trying to start S2 Ep 6 of IWTV and I've already paused it like 10x in the first 10 minutes because it's just kinda getting hard to care what they're going on about and I keep getting distracted tbh

[bleetusmcyeetus]

Oh my god I was NOT expecting to leave the Sun & Foxy fake date ep. mildly shipping Puppet and Foxy?? Help when I clicked on it I was kinda thinking “oh. More fake kidscove stuff. That’s always fun :)” but then everything happened and???????????? Huh??????? Like I don’t really ever ship TSBS characters just cuz it feels weird to me but?? Oh my god

[thefluxqueen]

started the sims 3 legacy challenge. being myself i made a spreadsheet ta plan out how ta get as many points as possible n keep track of which lifetime wishes ive gotten. they dont call this thing a challenge for nofin yall like bein broke as hell ta start has genuinely got me thinkin bout the sims gameplay differently akjwerkkjwe HAVIN A GOOD TIME i love the sims