#show me where that makes sense

[heart-wit-strength]

Being on the ace spec with aesthetic attraction is so rad like 'nooo pls stop taking your clothes off you look so hot having them on' :(

[wigglebox]

Supernatural September - Day 4 | Glitch

Canonically, Dean never said Cas’ name after the fake phone call in 15.19. Canonically, while Bobby said Cas “Helped” revamp Heaven into a Heaven that Dean “deserved,” Cas never showed up. Canonically, Dean left that heaven, which contained his family, to go “find family.”

There is a glitch that is Cas-shaped, and Dean knows it.

[saprozoicworm]

some phone destroyer wendy bc i like the outfits

[gabriestat]

true detective (2014) / disco elysium (2019)

[beanghostprincess]

A bit tired of people complaining about Sanji's principle of "not hitting women" being misogynistic when it has been clearly stated multiple times that he does not choose it and it's heavily tied to his trauma and admiration for his dad and respect for women and definitely not from seeing women as somehow weaker than him

[sevenines]

i saw this tweet and found it interesting for two reasons. one is that some people base how good cartoon network would be to toh by how it treated su, and despite the fact that su’s treatment by the network was considered poor at the time, now its thought to be exceptionally good in comparison to modern shows.

two is how exactly su got impacted by a limited budget. a common criticism is how characters like connie, peridot, and lapis are left out of missions. but balancing a lot of characters is not only hard but also costly (extra animation, extra voices—it’s been revealed that the show is limited to a set number of characters per episode otherwise they’re over budget). animation mistakes are not uncommon since retakes cost extra. the entire reason the original show got cut short was due to loss of funding!

[fancyfade]

characters taking a break from their mental-breakdown arcs in their solo titles to show up in crossover events is always big 'ok you're sick but who's gonna cover your shift?' energy :P

[spoopdeedoop]

when there’s gardens across our collarbone?? or soemthing??

(fanart of this awesome fic by pittedpeaches and my god this fic keeps me up at night i reread it every day i love it so much puts it in my mouth)

bonus doodle:

[seraphimhalo]

...I was told he was a goofy little man

what do the fans think? am I doing it right 💀 (shoutout to @brightlyburningstars for my info)

[athena-xox]

Shhh shhh I’m definitely not saying anything *whispers in your ear* but I keep seeing “‘we need more complex female characters’ but they couldn’t handle Apple White.”

But like …

That applies more to Apple fans than those who dislike her

Because while yes there are Apple haters who completely overlook the complexity of her character but more often than not it’s those who like her that in trying to defend her take away the complexity of her character.

Like some people can’t stand the complexity of her character so they water her down

hmm HMM

Idk like excusing apples actions is VERY different from explaining them

[socialbunny]

 Skip has always found a way to work through his problems and turn them around with relative ease, but the sudden death of his wife, Brandi, has brought his mostly carefreeness towards his children  to a stand-still. With two freshly traumatized children and a newborn under his belt, can Skip juggle turning his shitty ass life around for his family, or will he crumble under the weight of his past mistakes?

Darleen hasn’t been the same since her husband, Darren, died, though she’d be quick to argue with you if you said anything of the sort. She’s FINE! She misses her husband, undoubtedly, but she’s not going to let that very, very, very tiny thing wreck her whole life, and she’s not going to let people give her grief about ANYTHING. Sure, she got fired from her job a few months back and hasn’t made any strides to find a new one, and she’s losing touch with her son as she goes and squanders all her responsibilities by partying and drinking on par with younger years, aaaaaaaaaaaaand the almost obsessive idealistic crush she’s developed on her neighbor is clouding the second half of her judgment, but she’s bounced back from worse and knows everything’s going to come up Darleen :) …………. hopefully

[not-equippedforthis]

really love characters who have varied panic responses. kirk stating himself that he does not panic outright, externally, not in high-stress dangerous situations, but instead becomes tense and level like a wound string, on-guard: mostly because his role as captain necessitates that he maintain level rationality even when facing potential death as his training as 'the guy who tells you what to do when shit hits the fan' requires, but also because his childhood experiences taught him early that drowning in the desperate haziness of panic won't help you survive. especially as kirk already follows his intuition so deeply. he learned to grasp and contort the feeling. spock is the main person who represses his emotions, of course, but kirk does it to those deep-set, personal ones (this includes how he doesn't reveal anything truly personal about himself willingly 90% of the time, only what others already know/shallow anecdotes) in a much more subtle way that's really interesting to me. certified expert at avoiding the subject as long as he isnt caught out on the lie. professional bluffer.

in terms of past or parents we dont know much!!! hes known as the heart-on-his-sleeve guy!!! like yes he yells, he gets irritated, excited, hes a whirlwind of quick-thinking and plans and intuition, he goes out of his way to connect with his crew and shows it, when he puts on a little act or bluff he puts his heart into it and clearly enjoys the dramatics so much, at times he wears his heart on his sleeve, he laughs openly and is honest to spock about what he means to him, he's very sun-coded to me in a burning, passionate way, always intertwined with the stars and seeking them out, but when it comes to genuine deep-set turmoil? we dont actually know all that much about him??? hes so full of emotion and character (i love fics where spock characterises jim's mind/bond as a whirl of colour and sensations, hes a quick thinker!!! intuitive!! lively!!!) and yet its still so outwardly surface level. tarsus iv gets mentioned like twice? so especially here where kirk gets briefly jumpscared by the creature, because like:

its subtle but his eyes. his eyesss!!!!! kirk commands with his emotions but there's always some sort of level of control to it, or he transforms them into something that spurs on others or uses them to ascertain a goal: seeing unguarded fear/distress in his eyes even if its faint and brief (in this instance) makes me go insane every single time. like!!! its such a small moment!!! he isnt even panicking!!! really, he just got jumpscared!!! its insignificant!!!!!!! but seeing a two-second flash of actual, naked apprehension is just...oughhh,,,,,,,,,

oh god, and dont even get me started on the galileo seven episode where he assumes a tense level-headedness throughout the whole thing, irritated and apprehensive but not panicking, making sure he maintains intelligent rationality, even when he has to leave them behind, but when spock and the crew are confirmed safe and the bridge is occupied the camera pans to him and his eyes look like they're fucking watering and he's so achingly relieved. don't even talk to me. im. fuck.

he shows so so much but at the same time reveals so little.

[dykedvonte]

I think it’s so ironic that the Pony Express escapes a lot if not all blame in discussion. I can’t even say I am excused from it but it’s just how hard people circle back to the characters alone without considering the environment they were made to be in.

Why would they design a ship where only two of the rooms lock? Not the bathroom? Not the sleeping quarters? We assume that all the companies in the universe are this shallow and careless to their workers but we explicitly know the Pony Express in extra vile. They are fed processed slop pack they can’t even really cook and the ration of those pack is meager at best. They hired and made people with a plethora of conflicting demeanors and beliefs work together on a mission where cohesion is important if not an outright necessity and punish them for not being happy about it. There’s no social protocols, not chain of command other than Captain’s word/choice and the only way to enforce that is with a literal firearm. They don’t allow them to celebrate freely and even took away leisure activities that would make them less stir crazy. They are only allowed a few hours of sleep despite their being no other real responsibilities or work on the ship, no matter the position or its importance. With any crew, with any level of synergy, this was a powder keg waiting for a spark.

I’m not saying characters that made mistakes didn’t make huge ones, but I think part of the horror is that at least for some (this is targeting Jimathan) those mistakes are partly made by a force of the hand. There’s a running theme of lack of choice and being forced into something and the very nature of how The Pony Express expected them to function plays a big part.

[caeslxys]

Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.

Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.

Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.

So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.

I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.

I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.

Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?

I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?

I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.

[andthendk]

D: "I don't see why this is so important to you, but fine" (enjoys it anyway)

R: 🥰

😘😘Long time no post fam🥰🥰 (winter lags fr!)

[br1ghtestlight]

*thinking to myself* bobs burgers is like the simpsons if it was earnest and also if it was good.....