#that was a fascinating potential

[onceuponalegendbg]

I think it is the stupidest thing that Toga dies.

Every other character gets blasted through the heart or gets bones crushed and loses gallons of blood on a daily basis but one stab is enough that Uraraka needed All of Toga’s blood? Couldn’t just give a little had to give her everything.

Frick me.

[marlenacantswim]

shassie as a dynamic works so well imo because shawn is dialectically a genius and an idiot while lassie is dialectically badass and pathetic. thus, in the most ideal scenario, they're a scarily effective power duo of whip-smart deduction and ruthless tactical intimidation, but when you flip them to the other sides of their spectrums they become Two Losers Making Asses Of Themselves, both of whom constantly try to hoist themselves back to the other end by using the other as a counterweight.

[httyd-art-requests]

Buddy is entirely unimpressed by the floating dorito

(Not canon to the Ad Astra AU)

[battlekidx2]

Alastor Episodes 7 and 8 Thoughts

These two episodes really gave us a lot in regards to Alastor and I cannot wait to see where they go with him in season 2. What I find most fascinating about what they established with him in these episodes is how I think this perfectly sets up Alastor to directly challenge the show’s main themes of redemption.

Alastor is the only character in the main cast that I think could effectively challenge Charlie’s idea of redemption by making her face the question of “where the line for who can be redeemed and who is too far gone is?” 

Even Vaggie and her past as an exorcist couldn’t challenge Charlie’s ideals in the same way because Vaggie so clearly wants to be better and is trying to be better. She could only challenge Charlie’s idea of who could be redeemed. She couldn’t truly challenge the line of when someone is too far gone unlike Alastor. 

And to explain this I'll just jump right in.

It’s clear these two episodes were meant to show a shift in Alastor and Charlie’s relationship in some capacity. It’s a bit more of a subtle shift than with the other characters, but I think it’s setting up this future conflict well for the limited time the show has. 

At the start Charlie doesn’t think Alastor cares and calls him out on this. She directly states that she believes he enjoys the suffering. He refutes her idea of him by stating she doesn’t know what he feels. He purposefully hides his feelings behind a smile as a sign of control. (The first shift. It tells her there’s more beneath the surface)

Then Alastor helps Charlie enlist cannibal town and says he wants to mentor her in the song. This is more than the initial indifference and humor he got out of Charlie at the beginning. There’s an interest in seeing Charlie grow and being a part of it that wasn't there before. And, with Alastor helping Charlie here, trust is being built (at least on Charlie's end).

Then Alastor talks to Niffty (who he is clearly fond of) and admits he finds the group enjoyable to be around. He says he could grow accustomed to them after Niffty says she really likes them almost in agreement with her. He's very candid with Niffty and doesn't seem to feel the need to hide his emotions around her. They appear to be on the same wavelength.

And finally, Charlie is upset when she thinks that Alastor died against Adam and hugs him happily when he returns. In Charlie’s eyes Alastor has been helpful and risked himself and his power to protect the hotel. This is a true shift in their relationship on Charlie's end.

This bond is necessary because if (at the very least) Charlie doesn't care about Alastor then he won't be able to truly challenge her idea of redemption and the show implies it doesn't just go one way. It's just obscured.

To explain what I mean I want to look at Alastor's role in the final battle and that moment when he is alone after he escapes.

At the beginning of the battle he felt like the trump card he should have been. He makes the exorcists, before Adam destroys his shield, look like a joke. And he gives Adam a run for his money before he becomes overconfident and lets his guard down. He didn’t expect Adam to bounce back and have that much power left to show. He was caught completely off guard and paid the price. 

And instead of staying to face the end with the rest of the people in the hotel Alastor opts to save himself. He places himself first. When he leaves he seems almost smug, spouting off a one liner and smiling as he sinks into the shadows. It seems calculated and calm, but alone is a completely different story. This moment shakes Alastor and that moment alone puts his fight against Adam and decision to flee in a different light.

In this moment when he's alone he starts to lose it, saying there has to be a way out. This isn’t where things end. He will come out on top. 

He can feel his control over the situation slipping. His power and notoriety has been challenged left and right this season. First Vox, then Lucifer, then the loan sharks, now Adam. It’s one right after the other. And Adam almost killed him.

He’s struggling to grasp onto what little control he has left by forcing himself to keep on his smile and it calls back to the beginning of episode 7 when he says to Charlie that just because she sees a smile doesn't mean she knows how he really feels. His smile is a sign of control. And even in this moment you can see that last bit of control slipping. And it’s left him even more desperate for his freedom than before.

The Radio Demon was introduced almost as if he was an all powerful entity and now he is being brought back down to earth and he’s raging against it, barely keeping it just below the surface. 

But there’s even more to his breakdown than just his pride. The lines “Great Alastor, altruist, died for his friends. Sorry to disappoint that is not where this ends. I’m hungry for freedom like never before. The constraints of my deal surely have a backdoor.” strongly imply that he really does care for the residents of the hotel more than he wants to admit even to himself.

He is freaking out because he got too close to dying trying to protect and help people that he never thought he would care at all about and he’s doubling down on his plans from before. 

His immediate desperation to be free implies he is at the hotel because he is forced to be there, but he’s desperate to get out of the contract because he doesn’t like how it’s changing him. Alastor has always put himself first and here he is almost dying trying to protect this hotel and it's rattled him even more deeply than the blow to his pride.

I feel like they know exactly what Alastor can mean thematically and they want you to know he’s a villain while seeding hints there could be change under the surface (ones that Alastor himself is afraid of and wants to double down against). There’s a balancing act going on with him and it seems they really do want to challenge the idea of redemption with him. Not just Charlie’s, but his own as well.

Alastor is still in my opinion the best written character in the series. There’s just so much to unravel with him and he’s the most fun to try and dissect to me. I can’t wait to see what they have planned for him in season 2.

[samwinchesterstan]

sorry but what show are these people watching .

[finelythreadedsky]

ancient greece had some weird notions of the female going on. like what do you mean the innermost nature of women is the concealment of their nature? what is pandora an imitation of? if women are by nature deceptive, do they in fact reveal the truth of what they are in using their bodies to deceive? can you cover covering itself?

[tezzaa]

so apparently these sylvanian family looking little shits hit like trucks

[poorly-drawn-mdzs]

The girls are plottinggggg

[First] Prev <–-> Next

[lovegrowsart]

it's pretty wild to me that people don't see that aang running off to save katara in CoD is his luke in empire strikes back moment, where he runs headlong into his want and attachment and he's narratively punished for doing so and not learning his lesson - aang runs after katara despite guru pathik's warning, like luke runs after leia and han from yoda on dagobah despite yoda's warning; similarly, as a result, things go to hell in ba sing se like they do on bespin - aang enters the avatar state before he's ready and gets killed, and ba sing se falls to the fire nation, luke fights vader before he's ready, loses a hand, and symbolically commits suicide after vader tells him he's luke's father.

the difference between their character arcs is that george lucas and co. actually went thru with luke's hero's journey and understood the fundamental difference between attachment and love, whereas I don't think bryke understood this difference and then dropped this from aang's arc pretty much completely and replaced it with aang digging in his heels into his want and attachment and he gets rewarded with energy bending from a lion turtle, the avatar state from a random pointy rock, and his forever girl from the self-indulgent white men that couldn't bring themselves to give their hero a compelling character arc that meant he might not have gotten everything he wanted at the end.

[oh-no-its-bird]

Playing w brushes, thinking ab the uwuification of Tobirama via Madara's office thoughts

[gabelew]

sidon but awkward lanky teenager

still not yet grown into his head fin and big adult teef. he'll get there eventually

[aroaceleovaldez]

i think a lot about how early-series, demigods are referred to pretty equally as "demigods," "half-bloods," and "godlings," - the last used particularly by gods at demigods - but after that "godlings" is almost exclusively used to refer to minor gods.

something something i am literally always chewing on the concept of the line between immortals/demigods/monsters/etc being thinner than it appears

[incorrect-hs-quotes]

CC: You're doing numbers, bitc)( buoy.

CA: no time for that

CA:

CA: are these crabs havvin a shag

CC: I'm actually not s)(ore. T)(ose look like two females, but maybe? T)(e males, w)(ic)( latc)( onto t)(e back, are notably smaller.

CA: wwoa

CA: lesbians....

[arctic-bookclub]

something about how phil has missa’s volume turned up because of the time missa was playing on a laptop at a hotel with a low volume mic, something about how despite his mic being normal now phil hasn’t turned his volume down not even one bit despite always changing everyone else’s volumes when needed, something about how regardless of how many people are in the room missa is always the loudest in phil’s pov, always the easiest to hear, something about how you can always hear missa over everyone else from phil’s pov, something about how that doesn’t bother phil in the slightest, something about this never being aknowledged by phil and something about it not needing to be, for it’s how it’s supposed to be

[sir-adamus]

Raven's semblance is so telling about her character

the facade of the tough disaffected bandit leader crumbles completely under it - it's bonds to people she cares about. it's hard to pretend like she doesn't care when her literal superpower is defined by how much she does

but you can read deeper than that - cos it's defined by those bonds, you have to wonder about the original utility of that power was; what in Raven specifically led her to develop Kindred Link as a Semblance - to be able to open a portal to someone she cares about anywhere in the world? not necessarily the reasons why and how she uses it, but why it manifested like that

was it a desire to protect? a plea for safety?

or a cry for help?

[my-name-is-apollo]

Okay I do tend to ignore some of the lore surrounding Zagreus, but I have to admit I am seeing a particular appeal in the versions where Zagreus, after being torn apart, is put together often by Apollo. To me, it's such a good opportunity to explore what death looks like for a god.

I don't mean physical death, of course. Greek gods are deathless, so Zagreus cannot truly die - it makes sense to me. So I like to entertain the idea that he will live, but never be quite the same ever again after being put back together. He's no longer the beloved god he used to be. His remains were given away to be buried. Almost everyone believes his story has ended, that he's gone. But he lives on, like the unsatisfied ghost of a dead mortal. He mostly spends his time in Delphi, in and around Apollo's temple where he was supposed to be buried.

His heart had been taken away and used to birth another being who will ascend to godhood. He is a part of Dionysus now; but also, not really. He almost envies Dionysus for the life he gets to live. But this new god has the same heart as his, and so he will also suffer like Zagreus did. He will also lose himself and feel scattered. Zagreus can only hope that when that happens, Dionysus can be put back together in a way that doesn't make him feel hollow.

Growing up, Dionysus often wondered if he was born cursed, because how else can the nightmares that frequent him be explained? Sometimes during the winter revelries at Delphi, he feels his heart wanting to leap out of his body when he dances around Apollo's temple. He thinks it is just the ecstasy of the festival but when he wakes up in a cold sweat after a long night of celebration on mount Parnassus, he can swear that he was being watched in his sleep.