#so bloody wrong

[maliciouscigarette]

The Bible says Tetris and Puyo Puyo, not these "DT-cannon" and "4-wide" abominations.

[hammill-goes-fogwalking]

to find the real phase I’d have to search 2.168,2 km away from here

back then-me really thought 2024 sarah will transform into siouxsie & vibe to falco, hell no, I’m sitting here listening to a local finnish theatre crew repeating the german translation of kaikki on hyvin for a thousand times including poor parody of aborigines sounds & the japanese noh theatre made by markku peltola

I predict miserable phases coming into my life in 2024 😶‍🌫️-

[muzsmocsing]

White No-Face may be a powerful villain but he is wrong about one important aspect of his whole supremefying Xie Lian plan.

"[...] Who knows if he'll still want to be with you when he sees what you'll become."

Hua Cheng would be devastated. Of course he would be, knowing exactly what horrors his beloved had to go through in the Kiln. E-ming would literally flood Ghost City with tears! But leave him?!????!??? If Xie Lian emerged from that mountain unchained and furious, brimming with corrupted heavenly power, a Calamity of unheard of caliber, you know how Hua Cheng would cope with that? By getting on his knees and tying his hair back.

[snekdood]

"if we make america worse and more of a dictatorship that will be even harder to unravel and make it the way we want the country to be, maybe then everyone will join our Glorious Revolution!" bb girl you cant even be in the same room with someone who thinks you should vote, how in tf do you think you're gonna unite people to fight in The Revolution with you? it's gonna be you and your 5 friends, i hate to break it to you.

[novuit]

Everytime I join a guild and equip my new tool/weapon, Arthur becomes completely stripped off his clothes; it's so embarrassingggg.... And I have to very quickly dress him in unflattering clothing to save his dignity..

[supersapphical]

perhaps my most esoteric but very, very passionate spn take is that i truly believe if you haven't watched season 1 supernatural with the original music cues, you have not seen season 1 supernatural.

[thisisyourdriverspeaking]

Yes it is Franco's 3rd crash in 2 races but I feel people are forgetting the conditions in Brazil. That was a complete nightmare weekend, I think we can forgive a rookie for crashing in borderline undrivable conditions

[monsterbrush]

I've gotten like three separate asks specifically mentioning a desire to see more of Magni with his hair down.

Y'all are freaks about seeing him lettin' it all hang out.

Enjoy though!

[mistbornthief]

tonkla's revenge arc you will always be famous <3

[atopvisenyashill]

i was thinking more about characters Performing Gender, but not necessarily Transgressing Gender. I wound up focusing on Ned and Sansa bc I feel like I understand them the most but-

Sansa as a hostage is imo the most obvious (bc it’s so well done) moment of someone clearly Performing Gender but not being transgressive in that performance. Which isn’t to say it’s not a complicated performance; it’s a fine line Sansa walks between weaponizing her gender to protect herself without seeming too fake. She’s trying to placate the Lannisters by playing the perfect, dedicated, air headed betrothed because it’s the only defense she has - if she outwardly rebels, she will be punished in a likely violent and/or sexual way (which isn’t even conjecture - when she says “or maybe he’ll give me yours” Joffrey has her struck with an armored hand). She’s not quite successful in being convincing but that’s because it’s a rather extreme situation; despite no one believing her, she does make herself seem meek and stupid enough that no one suspects she’s plotting to escape with Dontos until she’s well away from KL. The fact that she even has Dontos to confide in is because of Sansa’s relationship with gender! When she saves him, she covers her rebellious slip by playing up Joffrey’s intelligence & his role as King; she reaches for “tools” of her gender AND of ~proper manhood~ to save a life and herself from another beating. Her retreats into the godswood and silence are very much Sansa attempting to recharge from these draining interactions, the same way a knight would need to stop and eat and rest after a fight. She is fighting, constantly, by forcing herself to stay within the narrow confines of a specific type of gender performance as a way of shielding herself from harm.

Ned yelling at Cat is another big one, and I’ve seen the scene referred to as Ned using his patriarchal power to scare Cat, which is a great description. It feels like a Performance because Ned is putting on this terrifying Lord Stark mask in an attempt to get Catelyn to stop asking about Jon (and Lyanna). This is not how he usually acts with those he loves! When Ned is with His People, he is welcoming of questions, curiosity, emotion, even transgressive thought (to a point! the idea that Ned is a feminist because he lets Arya learn to fight is Not accurate but you can’t deny he allows significantly more flexibility wrt gender expression than most of the fathers we meet in this series. the bar is in hell tho). Yet when Cat asks him about Jon’s mother, Ned scares her so well she stops asking & still remembers the moment bitterly over a decade later. And if that snippet we see through Bran’s eyes of Ned praying that Cat will forgive him does come after she asks (like it’s suspected), it’s clear not only that this is a performance he’s putting on & weaponizing against Cat, it’s one he does not like using as a weapon against someone he is close to. After using the power his gender gives him to cause harm, he retreats to the godswood and silence to pray and rest, much like Sansa. A spiritual cleanse, the way a soldier may pray after battle, to reset and reconnect Being A Proper Man to Being A Kind Man.

I think there’s something interesting in that two of the characters most widely defined by how well they adhere to Westerosi gender norms both dislike feeling like they had to weaponize their gender. They are exhausted by the performance, because it’s a performance. This isn’t Sansa getting excited over tourneys, or Ned teaching his sons to fight; it’s toxic masculinity, it’s structural misogyny. It’s something they’re good at, excel at, and connected to something they enjoy but when it’s paired with violence, whether done by Ned or done to Sansa, it crosses over in their minds from an innate part of themselves (The Gender) to a performance necessary due to survival (The Gender Role). And that after these performances, both retreat to nature & god as a way of resting and cleansing from the experience.

[goldengrecha]

Today I'm thinking about manga versions of Maxie and Archie, because it's something... I even dont have words for it. Like. Holy fucking shit.

In the beginning, of course, they're confront each other - that's the classic, they're rivals after all, standing for different things and all that things. They're different. They're opposites. They're still strongly exist in each other lives, because of their conflict.

But then

This happens. And this IS beginning of the end, because of course they're working together - and at the moment it looks like it is only for benefits for their goals, nothing else. They will destroy each other when they will get to finish.

They're fucking irritating(/pos), it almost feels like they're drawn to each other, in any scenario, their destiny is to meet, to exist in each other lives. None of them exist alone (and when one of them do exist alone, it means that something went terribly wrong).

AND THEN THINGS JUST GO EVEN WORSE (/pos)

This panel. I don't know where to start.

Do I need start with that they're realizing they work together perfectly? Do I start with that this making them thinking they needed to work together from the beginning? Do I start with that two men, who, up until this point, was fighting with each other and conflicting, hating each other, founded in each other the best partner they ever could have? Do I start with that they're probably the best persons in each other lives?

It is already very emotional (at least for me), but with how story goes on, they're connecting more and more, becoming even more emotionally fucked up.

AND THEN THERE IS EMERALD ARC???? CAN WE PLEASE TALK ABOUT EMERALD ARC???????

There is so much going on in emerald arc I barely can find words for describing my emotions.

This is the fucking tragedy. Because, what do you mean, they're put in situation where is only one of them can leave alive for some more time? (Remember how I said that if only ONE if them exist it means that some shit is going to happen something going to go really terrible. It either them both exist or them both don't).

What do you mean Archie is literally killed Maxie, just for chance of living a little longer?

And this is tragedy, because Archie, in the end, loses again. And now, not only he does lose in literal sense - he didn't achieve his goal, after all. He loses everything he had - his team, his life, and most importantly, he loses his only friend. He is all alone now.

Ah yeah can we talk about

This?

It's just one phrase. It has so much in it.

Not only he calls Maxie friend, not only he confess that Maxie probably the only one person which Archie was thinking as a friend, but also like.

Consider this: this isn't oras archie yet. This version of archie is cold, closed and gloomy, genuinely intimidating person. He doesn't care about his team members, it is kind of okay for him to use them as tools (which, ironically, shows even in this interaction with Maxie: after all, Archie still killed him for a chance of living a bit longer. And Archie acknowledging that he betrayed Maxie. He betrayed his only one friend). He is a cold person, but it almost seems like Maxie managed to warm him up a bit, just a little bit. This is actually incredible and, again, endlessly emotional, and I still can't stress this enough. Holy fucking shit.

Just imagine Archie at this point. Imagine, because, the best person in his life always was his rival. His rival, and maybe, even friend.

And I told about this before, but can we talk about that in distorted world they became one? It's just so symbolic. Like, Archie and Maxie from beginning were opposites, they was supporting opposite things, their goals was completely opposite. But they can't choose only one of this, because everything around them is a combination of different, sometimes opposite things. Like even the land and water in Hoenn! Exactly this combination of land and water create Hoenn as we know it, and how they know it. And they, people, who choosed only one of these things, in the end, became the one themselves - isn't this ironic? Isn't this funny? Isn't it symbolic in some way? (I also fucking love how this fusion explain in some way why when oras hits, Maxie is more like original Archie, and Archie more like original Maxie. They had explored each other minds I'm sure of it)

And finally, ORAS, part that I love the most.

Not only they both was given chance of living again, but this is literally their peak. They're working together again - and by that I mean they're working perfectly together.

They even acknowledge it themselves:

And this is so good in contrast with Ruby and Sapphire arc - back then, they too, realized and started to think they're work perfectly together, but it still was mixed with some evil fucked up shit, but here? They're working together because they (ironically), have the same goal. And they're helping each other.

They're working together perfectly, this is so good for them. And no evil bullshit this time! It's actually best versions of them in some way - because they're working together, for sake both of humanity and pokemon. They working towards happiness and safety for everyone, not choosing and prioritizing only one of them.

And they're talking to each other as if they was old friends, partners, every one of their interactions shines with this somewhat warm feeling. This is so good for them. I would even dare to say that ORAS part was the happiest moments in their lives.

And.. Then end of ORAS hits.

And, again, as classic already, it's a small panel, but how much here is.

First of all, can I point that Archie died two times, and both times he was thinking of Maxie in some way?

And both times is some kind of emotional moment for Archie: first time, he calls Maxie friend (he doesn't call him by name, but. He obviously talking about him COME ON), and second time he ask Maxie, if he would want to work together again, if they will have chance to do so. I just love seeing this progression, how Maxie became more and more dear person for Archie as time goes on, how he became more attached to him. And Maxie does too!

It is such an incredible moment filled with so much emotions, with so much sense. I love how Archie doesn't even say his question fully, but Maxie still understands him. Of course he does, because, I'm sure, even if Archie didn't ask this, Maxie still would think of it. I'm sure if none of them said this, they still would understand this wish to work together again that they both have. At this point, they are incredibly connected together, and they have only each other.

I also love this moment, because when Archie died first time, he was told that, if he will continue like this, he will end up all alone. And Archie agrees to that: he answer in the way that he is already accepted that he is alone now, and he doesn't even have Maxie by his side (I still can't get over that he really highlighted him in this speech holy fucking shit). BUT then, when he appears next time, he appears as ORAS self, and his ORAS self is very different from what he was, not only as a person, but his motivation is different, too.

He changed in some way. And he ISN'T alone, because now, Maxie is by his side again. And I can't stop thinking about how happy it probably made Archie.

And even dying, he is calm, because he isn't alone. He have Maxie by his side. His only friend.

[yujeong]

Back here again with my unpopular opinions (aka me being silly), but I don't see "love" being the main motivator for some of Vegas' or Pete's actions post-canon.

There's this trope in romance stories, as far as I can tell, of people committing heinous acts out of love for their partners, and I'm sure the VP fandom sees that as something VP would do - I've read fics with that concept, mostly either Pete or Vegas getting kidnapped and the other saving them, and I love some of them, I have no problem with the trope and it being applied to VP.

However

I believe the key motivator of VP protecting one another or, for lack of a better phrase, becoming monsters for the sake of the other is desperation, not love. Specifically, desperation to hold on to that fragile reality they built for themselves through literal blood, sweat and tears.

(Even during canon, like, Pete shooting the main family guard when he shot Vegas was, besides an act of fury, an act of desperation. He had *just* managed to save Vegas from death and suddenly, all his efforts were rendered useless.)

And it's funny to say that when Vegas kept insisting and will keep insisting Pete should leave him, but to me, what I said above applies here, too:

Pete is desperate to protect Vegas and their little family from everyone else. Vegas is desperate to protect Pete from himself.

[vinegar-rights]

You’re down, and you’re pleading, my head is just reeling

[wikitpowers]

sorry but ty’s the type to leave hickeys and mark kit as his…… i said what i said 🫣

[cameronmitchelljohn]

edwin coded

[pasdetrois]

like eve before you

George Frederic Watts, Eve Tempted (detail) • Vievee Francis, "Apologia" • Edmund Blair Leighton, The Keys (detail) • Maria Tatar, Secrets Beyond the Door: The Story of Bluebeard and His Wives • Angela Carter, "The Bloody Chamber" • Heinrich Aldegrever, Adam and Eve • Gustave Doré, Illustration for "Blue Beard" • Paul Dukas, Ariane et Barbe-bleue • Glen Duncan, I, Lucifer • Hans Baldung Grien, Eve, Serpent and Death • Erika Steiskal, Illustration for "The Bloody Chamber"