#over and over the only truth

[biconicfinn]

maybe one day listening to this town won't make me feel incredibly emotional but today is not that day

[dappy-dappernette]

I keep on hearing people go all "The voice of the Smitten is such a creep. All he wants in the princess is someone to control and keep as a pretty object. He'd drop the princess if she wasn't the perfect petite maiden like in the damsel route." and I will not stand for the Smitten slander.

Like- He's been in love with her as a burning corpse ghost lady:

A terrifying ghost woman who wants to bring fear and chaos to the world:

And even a murderous blade monster woman who would kill you and enjoy every second of it:

Like, he ALWAYS loves the princess no matter what she looks like or how she acts, he loves her for being herself no matter what or who she is. That's the point of his character and I'm tired of people slandering my boy.

[corpsentry]

pick your battles

[poorly-drawn-mdzs]

Gaslight, Gatekeep, Girl found dead in a hidden room.

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[forzathunder]

"I have many fears, most of them about Lucrezia." — Cesare Borgia (The Borgias, 2011-2013) + hints of insecurity

that she adores someone that much / if she will reject his dark nature and act of love and violence as Ursula did / if he truly is not part of her desires / that she easily forgets him

[imkazz]

man forced to sit away from his wife after he goes blind

[bookshelfdreams]

That is certainly - a statement.

What about Jim, who both metaphorically and literally discovers a path for themself beyond what they were raised to be? What about Pete, who learns to overcome his toxic masculinity, his posturing and self-importance? What about Ed, whose entire story is about deconstructing the performance that is expected of him?

What about, oh, idk, our main fucking character Stede Bonnet, whose arc starts with him literally breaking out from the hetero marriage he was forced into despite never fitting in? Who tries (and initially fails) to build a community where he can be himself? Whose entire story is about discovering his own queerness! He starts out not even able to put a finger on WHY his marriage made him feel so suffocated, and then journeys through s1 until he reaches the emotional climax - "His name is Ed"!

Contrast that with Izzy, who has to be dragged into a supportive community kicking and screaming. Who rejects care and compassion, even at his worst, who has to be forced to accept help. He receives the leg and calls the crew a homophobic slur for it, ffs. Only after that, only when people refuse to let him push them away, is he able to poke his nose into something approaching positive human connections. And that's a powerful narrative, sure, in it's own way; but it's hardly the Ultimate Queer Experience, and it's definitely not the "only queer arc".

And Izzy never lets go of the old ways. He never abandons the Blackbeard-era pirate lifestyle for something more positive, not fully. And that's okay, because ultimately, his arc isn't even about himself.

It's about Ed.

Ed keeps repeating toxic relationship patterns, and Izzy is a part of that. He's linked (on purpose, and I wish it had been done more explicitly) to Ed's father; because Izzy represents the poison that was instilled in Ed from a young age, and that has become so entrenched in his system that he can't imagine a life without it. He keeps Izzy around despite being hurt by him because Izzy is predictable, and in that, is safe, even though he hurts Ed; at least it's a hurt Ed is familiar with and can rely on.

When Izzy slowly changes it's to show that Ed is growing beyond the little voice in his head telling him to reject softness, that he can never be loved, that We're just not these kinds of people. If Izzy can evolve from someone spitting boyfriend at Ed like it's a slur to someone congratulating him on getting laid by that same person, Ed can overcome his inner demons telling him the same thing.

That's the point of Izzy's arc. And this is why he has to die, because Ed can never be truly free as long as Izzy is around. So Izzy goes, quietly, peacefully, and releases Ed of the poison; apologizes to him, tells him I was so wrong, and I am so sorry, because that's what Ed needs to hear to move forward.

And that's such a kind, positive way to end the story of Izzy Hands.

[zukkaoru]

[ID in alt]

when characters with very carefully crafted personas begin to crack and expose the truth behind the mask. nikolai, who has spent the entire time he's known fyodor plotting ways to kill him, is horrified when he actually sustains a life-threatening injury. and not only is this the first time we see him express an emotion like this, but he's also stumbling over his words - both verbally and internally - which is not something Nikolai does. he's confident. he's smug. he's a clown and the world is his circus. he's a performer and the mask stays on for everyone.

until fyodor's death is real. he never expected fyodor to be the one to die. he brought a radio with him to celebrate. he wouldn't do that for dazai. he claims he wants to kill fyodor, and he probably thinks he does, but he also didn't truly believe it was possible. he set a goal he didn't believe was achievable. except it was, it is, and it's happening right now before his eyes and--

it doesn't feel like he thought it would. it doesn't feel like freedom. it feels like a new cage you built for yourself.

[peace-hunter]

tfone au where OP is created as the last of the primes but way after them, a sparkling born at what were thought to be the last days of the war against the quintessons, the beginning of a new generation of peace after eons of war. a child meant to be loved and raised knowing nothing of war nor sacrifice.

he's kept mostly out of the spotlight by his siblings, who don't wish to expose him to everyone's optics so young, and want to wait until the war is done and over to properly introduce him to their people.

except of course the primes are betrayed and murdered by sentinel, the war is lost and everyone who knows and cared for the truth is either banished or outright killed in order to suppress it.

and the high guard, the ones the primes trusted the most, the ones that were supposed to protect them, the ones who failed in their most important duty, have to make a choice. to take the last prime, their last hope, with them to the surface, a hostile environment where there's little to no supplies and where they'll be hunted down by both sentinel and the quintessons as the biggest threat to their regimen.

or hide him in plain sight. place him where sentinel won't think to look for him. one more sparkling among many. and hope it will be enough to keep him alive. pray to primus that he'll protect his last child long enough for them to come back for him when it's safer (even if most of them have already lost their faith on him when he allowed the rest of his children to be massacred like that)

they almost lose their resolve when they realize they will have to take the little one's cog away in order to make him blend in with the rest of the newborns (and oh do they burn with murderous intent when they see what sentinel has done to their people but it's not the time yet-) but in the end they decide an impaired little prime is better than a dead one.

and so in the chaos of thirteen dead primes and a sudden energon crisis, a little sparkling who very few mechs really knew about and even fewer had seen completely vanishes. and in the depths of iacon a mech in charge of a new batch of newborns scratches their helm in confusion as they realize they must have miscounted the first time.

optimus prime is quietly erased from any official records by sentinel, written off as dead when they find a sparkling's frame mangled beyond recognition after an attack on the base of those rebels that insist on being a thorn on his side. killing the sparkling hadn't been precisely in his plans, he probably could've found some use for it after all, but he's not particularly upset about it either.

and orion pax grows up with an ache on his spark that tells him he's missing something far more important than a t-cog and dreams of gentle and loving hands, cradling him against the frames of mechs he cannot recall the faces of.

[lesliemeyers]

For winter is coming and I… am a princess.

[kateis-cakeis]

Do you ever think about how the scene where Arthur catches Merlin with a dress in S2Ep9, and the scenes where Arthur is like "girl??????" in S5Ep8

that it's like just a lil bit suggested that Arthur thinks Merlin is both into men and crossdresses (which does that suggest some kind of queer culture in Camelot where gay men are known to do drag?? who knows) and not only thinks that, but accepts it too.

Like Arthur who is presented with the fact that Merlin might wear dresses in his spare times just shrugs and says what a man does in his spare time is up to him, and that the colour suits him.

He literally could have made any joke about Merlin being a girl like he often does when he teases Merlin about being a coward (which we know is just teasing) but instead he just accepts it, and still calls Merlin a man.

Meanwhile in The Hollow Queen, well, I'll let the lines speak for themselves:

GUINEVERE: He’s not in danger. He’s seeing a girl.

ARTHUR: Merlin?

GUINEVERE: Gaius, I’m sorry, but there is no reason to worry.

ARTHUR: Except for the poor girl.

---

ARTHUR: Oh, so you can go and visit that girl again.

MERLIN: What?

ARTHUR: Girl.

MERLIN: Don't have one.

ARTHUR: That's not what Guinevere tells me. So, why don't you tell us all about her?

MERLIN: Right.

ARTHUR: And why you're walking with a limp.

---

The first lines could be interpreted that Arthur doesn't think Merlin is good with women, but paired with the lines from the 2nd scene where Arthur asks him about it.... it definitely feels like Arthur is saying to worry for the girl because he thinks Merlin isn't attracted to women.

I mean the sheer disbelief alone when he says "Merlin?" like it's so out of realm of possibility. (I mean it could also be suggested that Arthur doesn't think anyone would be attracted to Merlin, but with the 2nd scene it definitely doesn't seem so.)

Especially the way he says "girl" with sarcasm dropping from his tone, like literally "girrrl" is how he says it. Like he's basically calling out Merlin, or saying that he knows that the girl Gwen told him about is actually a man.

Which I believe is why the "and why you're walking with a limp" has Arthur so, well,

like this. I think he truly believes that Merlin is lying sjhdfghsdfg Like he's thinking in that little brain of his that Merlin got pegged by a man and just isn't admitting to it.

And he's definitely accusing Merlin of sneaking away to have sex, you know, during an important time and all.

Basically, with these like 3 scenes in the show, I'd say it really comes off as Arthur accepting Merlin as gay and just waiting for the day where Merlin tells him the truth.

And that's really funny to me.

[a2zillustration]

I figured we weren't going to convince them that Gortash is the problem and quite frankly I didn't have time for this.

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[jojo-schmo]

I wish I could tell the original artist that this drawing permanently changed the entire direction of my life in 2009. I want to shake their hand, look them in the eye, and admit I would not be who I am today if this drawing didn’t exist.

EDIT: Original artist is @ivynajspyder !!!!

[melmedarda]

Defending Mel Medarda of Arcane fame from antis who seem to find their only joy in misrepresenting her and calling her evil and people who show an astonishing lack of media literacy skills is not nearly enough. I need something else. Preferably sharp and pointy.

[rooftopdaigos]

desperate and self destructive wet cat

[randomness-for-life]

Finished replaying Apollo Justice and I forgot how truly GAY Klavier and Apollo are for each other