#that's it no others fuck you /j

[considerablecolors]

This is what happens when your friends are also your mutuals

Oh my god

[stark-lord]

Side A

[ender1821]

im a child of divorce

[caguaydreams]

espilver nation I made a little something for y’all 🎁✨

tumblr won’t let me upload the gif version so mp4 it is

[jabberwockprince]

my blorbo now, he has melanin so i'm giving him more and some earrings <3

[frogs-in3-hills]

rewatching hxh is crazy like the foreshadowing is so good. i’m just as emotionally engaged as i was the first time watching but in a COMPLETELY different way bc it’s almost hard to watch through the sheer sense of foreboding you feel as gon learns more and gains more power. his recklessness was always taken quite seriously by the narrative and that’s clear on a first watch, but knowing exactly what happens and where that self-abandoning recklessness, that thrill-seeking, that bullheaded perfectionism (not to do everything perfectly but to do everything with perfect accordance to his own terms), and that childish willingness to disregard everyone else in pursuit of his own impulsive goals (thereby reinforcing his own worldview for better or worse) goes… the show is SCREAMING at you that this is all going to go horribly wrong and it’s so sinister in this weird offhanded way, like it’s sticking to shounen tropes just close enough that you definitely notice something off but don’t suspect it’ll snowball the way it does.

[k4r4ss]

I watched the trailer and immediately made up a fanfic in my head based on 0.75 seconds in which we were shown the Decepticon high command

[a-scary-lack-of-common-sense]

Not me genuinely in a dilemma of whether or not I should block someone just for one absolutely ASS take even though it literally won't make a difference from their POV

[loserboyfriendrjl]

sirius black headcanons because obviously i can’t help myself

happy trail

really similar to his mother (and, by extension, to bellatrix) and his feelings on the matter are conflicting

effortlessly talented (in most things, including school). he only picks up studying in subjects he hasn’t taken before, but his memory is usually the most helpful

light sleeper, and wakes up a few times during the night; it takes him a while to fall back asleep

ruffles peter’s hair and puts his arm around his shoulder when they walk down the hallway

likes big cars

blunt, can come across as rude (sometimes he is). least approachable out of his friends, partially because he’s intimidating. polite, charming, charismatic, but keeps his distance from others

chips away the polish on his nails when he’s bored

cracks his knuckles and chuckles when peter hisses at the sound (“what are you even so mad about, mate?” “that sound will be the death of me”)

(would have loved bon jovi)

dislikes long car rides (he gets horribly bored) unless he’s the one driving

never was exactly on good terms with regulus. regulus had always been jealous of sirius for being accorded more attention due to him being naturally brighter, and sirius disliked him for being too soft and easy to manipulate

[clegfly]

Finally got caught up with TADC and to no one’s surprise I’m now uncontrollably sobbing over the tragic doomed loving couple

[sparky-is-spiders]

Aromantic Jon who doesn't know they're aro who treats romantic relationships like yet another chore they have to do now that they're an adult. They're in their twenties now. They've put it off for long enough but they're going to have to do it eventually, it's just what adults do. They sort of approach every relationship like an obligation they're checking off of their to-do list. People keep breaking up with them for it. They used to think everyone else also felt like being in a romantic relationship was a huge burden, but after a few comments landed weird they now suspect it's just yet another short-coming of theirs (they've never been good at understanding other people anyways).

They don't think about it for most of the plot of the podcast, due to the. Everything. Until maybe around S4. But by that point they've basically decided that that doesn't matter any more. Too much time, effort, and risk for anyone not already involved (and no one who IS involved is an option). It's a massive weight off their shoulders. They draw no larger conclusions from this.

[hellofastudysession]

am i rlly going to write a death note literary analysis when i could be doing other things

about the discourse going on in the tag abt "death note is acab and thats why the characters couldnt better the world with the note (/written in somewhat jokey matter)" vs "death note is trying to say we all have potential for evil, especially if you get a chance to insta-hurt ppl without repercussions, and it doesnt matter if youre a cop or not", i personally feel like it ignores the things that i like abt death note, which is "both of these things are true", and simultaneously "both of these things do not matter". the first part of this is dedicated to the first point, the latter to the last.

first point. i think its an important part of the message and themes (unintentional or not, and i lean on the former because... come on, can you really say the author intended you to not think of the cops as good people, at least compared to light and l) that light is a cops son, and that almost everyone who gets the death note is cop adjacent/thinks like a cop and is already corrupt/powerful when they get it (mello raised to think hed be just like l, yotsuba group is self explanatory; you cannot look me in the eyes and tell me teru "churchill" mikami, who was hand selected by light out of a bunch of rabid kira supporters, is a normal citizen). i appreciated the cop post bc its rlly important to not gloss over that aspect.

all of this would be an argument for "only someone like them would do something like this, and i am not like them, so im above them and immune to thinking about what id do with it", but... misa is the MOST important outlier in all of this bc her murders are solely selfish in nature and shes not doing any of this for "the greater good"!!! her nature of being an exception and still a very very bad person is really really important...

or it would be if death note gave a shit about her character at all!!! im not talking about her tragic side, im talking about exploring the ramifications of her killing people the way lights murders are (somewhat) explored. that would strengthen the message greatly! but shes dismissed and that weakens it overall. firstly, she's dismissed by the characters when l only sees her as a way to get to kira and basically shelves her the rest of the time. secondly, shes dismissed by the narrative when her character is gradually ground down to a stump and (not to sound perilously close to the bad takes ppl meme about) she never faces repercussions for her actions. every other character using the death note is treated relatively seriously, but misa just dies bc her love is dead. im not saying this isnt a... fitting punishment or that it isnt in character, but it doesnt fit snugly into the theme other people are talking about of "you reap what you sow" at all.

we do have something of an equivalent to misa's grayscale motives. surprise surprise, its light yagami. first is light's characterization in the musical (i will also note that misa never kills anyone in the musical). light's thinking is coplike, yes — he literally starts his first song by talking about "throw[ing] away the key" — but also, oddly enough, could be read as progressive and therefore sympathetic to tumblr ("let the corporations make the regulations / and hold no one accountable when everything gets wrong / let the rich and famous get away with murder / every time a high-priced mouthpiece starts to talk, his client gets to walk"). compare to the anime and manga, where his bigotry and pride and disgust come from a place of lukewarm dissatisfaction and boredom. the musical has much less time to play around with lights character, so it gives the audience something to immediately hook on. more on how that actually plays out later.

in the animanga, none of this is justified from the start. animanga light could say he was just killing people to make humanity way, way worse, and that wouldnt matter, because at the root of it, it was always his boredom that made him pick up the note. of course he actually believes in justice and believes hes doing the right thing (no, he believes he's doing the wrong thing, for the sake of the world... the right thing, because he is god...), but it was boredom at the start. all animanga light says about justice and righteousness and the law is a front in the end, bc he is exactly like l and misa — amoral. selfish. searching for entertainment. hedonistic. we know this. he kills naomi misora*. he kills lind l. turner. everything hes saying deserves to be dismissed from the beginning.

"but doesnt that mean you agree with the discourse post you wrote this post to argue against?" like i said, i agree with both of them! but i... still think its not right to reduce death note to the message of "the power to kill people is bad". because that is not exactly what the story is saying, even though that's literally its whole plot and therefore reaching that conclusion is self explanatory (lmao). let's look at the concept of mu. nothingness. "there's no heaven or hell". The Real Slay The Princess (Death Note Essay) Starts Here.

in light's final moments in the death note manga, while screaming about not wanting to die, he remembers that the first day they met, ryuk told light that "there's no heaven or hell. no matter what they do in life, all people go to the same place. all humans are equal in death". it is retroactively revealed that light knew this the whole time, operated under this knowledge for all the years we watched him — the knowledge that nothing he does is actually bad, that nothing any human does is actually bad, that shinigami are not "evil", that the universe does not care. that no one cares except humans. this oblivion absolutely terrifies him more than anything anyone could ever do to him. its what he thinks of before anything else as he flails there, screaming, dying. one could say everything he does after that day is him trying to escape that fact, or wrest control over it. but it doesnt work.

here are the lyrics of requiem, the musical's final song, sung over the bodies of l and musical light, a light who was at least somewhat good-intentioned at first: "sleep now, here among your choices / then fade away / hear how the world rejoices / shades of gray / gone who was right or wrong / who was weak or strong / nothing left to learn". this is the final message the death note musical and the manga chose to leave us with. there is no judgement. even after all that acknowledged hurt, after all the damage done, there is no judgement.

in the manga and anime alike, the world is just as fucked when light picks up the death note as when he dies. sure, we as readers can guess otherwise logically (and be optimistic, believing the world was never fucked regardless), but that's not what death note wants you to think. it ends with matsuda and another member of the task force noting how the world is worse again even though they killed kira (matsuda is clearly much worse for wear, but still determined), we see the shitty motorcycle band again, it ends with misa and a whole kira cult on a mountain even though kira died a long time ago...

its extremely important that light is never killed by any human or any aspect of the law. he is always killed by ryuk: a chaotic force completely detached from human sensibilities, one that does not care about good and evil. same with l; in the anime, manga, and musical, he is always killed by rems senseless, morally gray love (and you could argue in the kdrama that hes killed by love there too lol). justice is just a set dressing.

this is not just because death note is a tragedy, because good and evil can still matter in a tragedy. the theme of "nothingness" and "good and evil doesnt matter here" is also shown in a situation relatively unrelated to light winning or losing, or being good or bad. and its in fucking lawlight of all things. we all know ls not a good person. we know lights not a good person. this is tip of the iceberg death note knowledge. but the moment they start to interact, none of that starts to matter. textually, their relationship becomes more important than the people theyve killed and hurt. and the thing is? the thing is? THAT WORKS STORY-WISE. THAT'S ENTERTAINING. AND IT'S NEVER TEXTUALLY CALLED OUT IN A LASTING WAY. l and lights relationship, no matter how much i meme it, is genuinely important to the themes and "mu" because it makes it clear that despite all the pretensions, despite everything, this was never about good and evil. and it still works in the story. this is why death note is simultaneously a comedy — isn't the battle of good and evil supposed to matter more? well, fine, i'll keep watching this anyway. that suspension of disbelief comes crashing down the moment l dies, though, and a relationship built on nothingness (the "mu" sort, meaninglessness, not "character development" nothingness, theres plenty of character development) gives way to just nothingness (again, "mu", not light's post-l depression nothingness), forever.

(an aside: there is no one to root for in death note, and the only things to root for are either interesting character relationships, convoluted plots, or complete and total destruction: for everything to end so no more damage is done.)

not to say that death note does not encourage its readers to consider what damage they might do with the death note (obviously.), or that its characters never do. look at matsuda, a much easier heroic figure to latch on to than soichiro because of his unique place in the cast dynamic and because he's willing to consider both sides of the situation and kill light instantly for all he's done. its just that the story's own stance on the subject is... complicated by the existence of shinigami worldviews and by its own insistence that the world cannot change for the better.

also, this is not to say that this is executed well by the death note manga at all. it is a very strong tool, artistically, to establish and then violently remove any emotional connections between characters and make your story only about the exceedingly convoluted lengths characters go to to survive and catch each other so the reader can realize how ultimately pointless all of this is, but like... is that a good story choice if that's all you do? i would say not really. add in a good dollop of misogyny that destroys the second-to-last character who might actually be an interesting contrast to the rest of the cast's dull one-track focus on winning and justice, and youve got yourself a shitty story that... honestly still achieves what it went out to do, just not in a way id ever want to replicate.

anyway, back to the parts death note's actually trying to say. no matter what any human does in their life, no matter how they try to hurt or help the world, they all die in the end. hey, light, they all die in the end. once dead, they can never come back to life. and the seasons turn. and the world rejoices. and you say "goodbye"...

that's all.

no analysis of death notes overarching theme would be complete without nears final monologue, the definitive roast of light, the "you're just a murderer" speech: "what is right from wrong? what is good from evil? nobody can truly distinguish between them. even if there is a god." if we take this as talking about the actual god in the room (ryuk) as well as light, then near admits that humans will never be able to withstand these overwhelming forces and that, using justice and happiness and selfishness, they are just scrabbling to find meaning in things they ultimately have no control over.

but of course, near does not stop there. "[...] even then i'd stop and think for myself. i'd decide for myself whether his teachings are right and wrong." nears alright with not having control over everything, because near can still control nears own actions. these forces can and do exist, but they have no sway over nears own humanity — unlike light, who caved.

one of the creators of death note said they believe its message is "life is short, so everyone should do their best". the first time i learned this, i was like, thats... nice and optimistic, but an awful reading of the story! "life is short, so everyone should be desperate and striving like light yagami", who literally cut off other ppls lives for his own life? what character in death note are we supposed to strive towards when we "do our best"? they all do awful things with their lives! honestly, maybe they shouldnt have tried their best, if this is what their best is!

but with the view of "mu"... it makes a bit more sense. just a little. maybe.

there is no good and evil. there is only what humans think, and no matter what we do, we all die in the end. it is easy to be crushed and terrified by this in the same way light is, but what is more important than justice and righteousness and finding meaning is... doing your best. not being a person that hurts others too much. not letting yourself get swallowed up by an ideal. not going too far. and simultaneously, trusting yourself.

it leaves a few questions, though... was the currently dead l even a little bit right about his blatantly amoral approach, then? was there a point to this pain, and me slogging through this dumbass manga, and all the people that have lost their lives to a selfish teenage cop's son and the whims of everyone chasing after him? was there a point to any of this...?

the manga** never answers this. it stays clinically impartial until the very end. the musical is anything but clinically impartial (and i love it so much for that), and its ryuk that has the last word.

"there's no point at all."

of course theres no point. none of this was ever supposed to happen. that is what matters more than all the hurt and the crimes and the pain.

and that's... actually okay, because it's over now.

yes, death note has many really important themes present in its story, but its viewpoint is nihilism first and foremost. thats why its so fun and easy to play around with all the other messages, because no matter what fun or torment or awful things or righteous justice or absolute nothingness or sentimentality happens in between, there is always an end.

there is always the end.

[basicallykiyotaka]

The fact that I clocked All Might as a virgin and it turned out true means that everyone should just continue to trust me with character opinion.

I knew it, day fucking one I looked at that man and just knew he wasn't getting that dick wet. He doesn't flirt, he sits there thinking to himself "man it'd be so nice if we could catch up over dinner some time, aren't they just such a lovely person"

His fan boys and fan girls will forever be left dreaming because he's too busy imagining drinking tea and watching the sunset to even register that you want him to take his shirt off.

[wavesoutbeingtossed]

I know we skirt around and sometimes talk about the ~trauma~ of it all, but I think seeing how loudly Taylor and Travis support each other on main (while still carving out a private life together) really starts to illuminate to an even clearer degree how many of Taylor's choices and actions were a response to all of ~that~ in the last decade or so (and particularly since 2016).

Again, which is not to say it's all bad, and many of them were choices she needed to make at the time for her own health and I'm sure there are some things from the time period she's continued to keep with her, but it's just really striking that she's, like, in full bloom now. And as a lot of people here are saying, she's probably more like herself these days than she'd been in the last decade. It's getting to the point (at least for me) that sometimes I can't even imagine her the way she was in the last few years because she just seems soooooo much more comfortable in her own skin. Which is silly, because that was as much her as the person she is now, she is an amalgamation of all those parts of her (just like any other person is).

But you just see *how much* she just loves so freely -- not just romantically but in everything she does -- and it's even sadder to think about how she felt like she had to slice off all these parts of her and like she had to accept a certain way of living (and being loved) in order to survive and have a life of her own.

I'm just really happy for her that she seems to be healing every passing day and is just embracing everything coming her way.

ok gonna word vomit more in the tags

[wimbledonstrawberry]

if I had a coin for every time a NCT member went to see Novak playing tennis this year I'd have 2 coins which isn't much but its crazy it happened twice

[symbiotic-slime]

comparing malevolent and venom (or: why private eyes and symbrock are the same ship in different fonts)

spoilers ahead for the venom movies, various venom comics, and s1 of malevolent!!

Arthur is a PI, Eddie is an investigative journalist. Both of them ran into their body mates through their investigations (specifically movies!Eddie, comics!Eddie does not share this origin)

The Entity takes the name John through experiences with Arthur. When Arthur is in a coma for a month, the nurses don’t know his name and refer to him as John Doe. The Entity notices this and finds solace in it. When Arthur wakes, the Entity tells Arthur to refer to him as John. In the Venom comics, their collective name “Venom” came from Eddie being deranged about losing his job as a reporter. He tells Peter to call them Venom, because that’s what he’s paid to write at the shitty tabloids he’s employed at.

(from Amazing Spider-Man #300 [1963])

Though the Venom Symbiote has a name from its home world, many characters throughout the comics refer to it as Venom, implying they kept the name Eddie gave them.

In episode 9, John and Arthur argue until they give each other the silent treatment, leading to them getting caught by the police because John did not warn him there were officers. After realizing they need to work together, John and Arthur escape from the officers (and the supernatural lake monster). Towards the end of that episode, John tells Arthur that “you and I are one, and I need to begin to see us as one.” In Venom: Let There Be Carnage, Venom and Eddie have a rather dramatic break up that ends with them separating from each other. Eddie then gets arrested and brought in as a suspect in Cletus Kassidy’s escape. Venom, in Anne’s body, comes back and breaks Eddie out of police custody. After some apologies from Eddie (though if you ask me Venom also should’ve been apologizing but alas) they bond with each other again. Later through the power of love symbiosis, Venom and Eddie acting as one are able to defeat Carnage.

In episode 12, it’s revealed that John is a fragment of The King In Yellow. The cult gives the King the ability to fully realize itself and take over Arthur’s body, but the King is unable to. The part of itself, John, has become so entangled with Arthur that it cannot fully erase Arthur from itself. In the Venom 2018-2021 run (I know, I’m drawing on Cates. i cannot believe I’m using him to prove a point), the King in Black, Knull, is trying to take over Earth. It corrupts symbiotes, makes them nothing more than servants for it. Knull was unable to corrupt the Venom symbiote specifically because it could not burn the light (Eddie) out of it.

(from Venom 2018 issue 3; 5)

Other smaller similarities between Malevolent and Venom (some of which I only noticed because I’m insane):

guy named Eddie

Arthur chokes someone out while not in control of his left hand (episode 2); Venom chokes Dan after taking control of Eddie’s left hand (Venom 2018).

both John and Arthur and Eddie and Venom bicker like old married couples

Arthur and movies!Eddie are just,,,, such pathetic wet cats of men