#way too 2007

[castielsprostate]

bestie sjonnie... it is me isaac faithdeans... just here to say that i still haven't met you yet but boy do i miss you!!! okay byeeee

bff isaac, my beloved faithdeans, i am typing this as sjonnie, castiel his prostate, with literal tears in my eyes as i havent met you yet either but i miss you too???????? so much?????????? the heart works in ways i am not meant to understand. but i yearn for our cursed energy to collide in real life

[sirsmacks]

Artblock still beating my ass but I finally have an iPad! here’s my first doodle :]

[robertphilip]

There's an awkward "first date" silence between them, the kind that suggests there isn't going to be a "second". Giselle tries her best to keep the conversation going.

[abovetherainandroses]

Pete & Patrick + Grand Theft Autumn/Where Is Your Boy, through the years

2007 / 2008 / 2009 / 2013 / 2014 / 2015 / 2016 / 2017 / 2018 / 2019 / 2021 / 2022 / 2023

bonus: so much for (tour) dust staging ver. (2023)

(1) my video / (2) x

[thealieninhiding]

Katie McGrath - Damage (2007) gif pack

tip me on ko-fi

[matryoshkalex]

tmaynt day niiiiine!!!

i well,,, i did it with the leos and had a lot of fun so now i have to do it for all of them haha. 2007 and 2012 are the most short tempered i feel like (and thats saying something for raphs lol) n i feel like they would end up fighting,, 2007 called 2012 short stack one too many times or smthn

meme ref under cut!!

tmaynt masterpost

again dunno the creator n the watermark is so pixelated idk what it says :( if you know the og artist pls lmk!!

[doloneia]

odydio and boar parallels

good morning evening and night folks i have been pondering THIS for 12 hours straight and after writing what. appears to be a beautiful essay in my words doc i’ve just decided to throw all my thoughts at the wall instead. love that essay but it is becoming so very well-written academic work and i am so deeply unserious online.

anyways. on the subject of odysseus and diomedes and their shared boar vibes. the thing i kept coming back to was how boars were fucking TERRIFYING in ancient greece. to the point where the calydonian boar hunt (essentially just 30 dudes rocking up to kill a divine pig*) is a whole Event its a whole Heroic Tale. because you think 30 dudes can get that boar without a scratch WRONG two guys die and peleus stabs some other dude in the confusion. boars are ruthless and frankly overpowered as fuck little bastards in ancient greece and of the four i can think of with names at least TWO of them had divine origins somehow (calydonian and crommyonian).

and honestly? ruthless, terrifying as fuck, difficult for a horde of men to stop let alone some guy? got some nebulous relationship to the gods that give you strength? holy shit thats tydeus right there babey. he kills like 49 guys and sends the other one home as a warning. he literally gets married off of Boar Vibes dude. its his whole personality.

and so obviously diomedes, whose entire job for ten years is Bring Honor To Dead Father, is like well shit! time to adopt the whole boar vibe! i mean he’s literally compared to a boar in book V with unending strength truly he is the boar guy junior. he fights hordes of thebans/calydonians/trojans without resting, he cuts down hundreds of men without mercy, he gets athenas favor and despite how well he plays the part he is so tired. he’s ruthless, but does he want to be? he’s skilled in battle, but has he known anything else? he’s favored by the gods, but did he ever have a choice in that?

meanwhile odysseus. odysseus who is scarred by the boar he hunted as a child on his thigh. escaped what is otherwise certain death. marked so deeply by an animal so connected to divine rage that it transcends even athena’s disguise. it is this scar, that proved him equal in combat to that boar, that identifies him to his friends and family. that helps him retake his house and throne. just. the scar itself cements odysseus’ mortality but it also transcends any attempt at concealing who he is.

anyways putting all these thoughts together. i think that for diomedes the boar symbolism is something that doesn’t quite fit. its something that stretches and aches, like an old shirt thats too tight, because its not indicative of him its indicative of tydeus. but tydeus died at thebes, and diomedes has to live up to his legacy, so he tries regardless and it never quite feels right. meanwhile odysseus fights tooth and nail to survive, even when he’s surrounded like a boar by hunters and their dogs. sacks cities and kills hundreds of men and for all the help he gets from the immortal gods, odysseus remains wholly mortal. maybe the real disguise is how diomedes is the one scarred and odysseus is the boar, but neither of them look it.

[julesyoufool]

A Stardust AU

[batsplat]

akdjeklssj ‘bro why is being perceived such an ordeal’ is an all timer for that pic choice…pure misery in Casey’s eyes, Jorge clearly on an entirely different planet in his own mind, Valentino plottin & schemin all hours of the day every day of the week

from here. DELIGHTED to get this ask because I've been bravely resisting adding context notes to the text posts. feels against the spirit of the exercise somehow. but I LOVE this photo... not only is it just evocative in its right, but it also really fits the vibe of that presser and time period more generally. and your interpretation is pretty much spot on

the photo is from the pre-event press conference at sepang 2010. which was of course the race after motegi, where valentino put in a truly generational spite ride to deny jorge a spot on the podium. if anyone reading this for some reason hasn't watched that race, please go do that - just remember to shake your head the whole time to show everyone you don't approve of what you're watching. valentino had been heavily struggling in that stretch of the season with the nasty shoulder injury he should have already gotten surgery for. he's constantly in a lot of pain and he's also watching his irritating young teammate cruise to that year's title and he can't do anything about it... and jorge's closest championship challenger couldn't even start the race in motegi, which essentially ended the title fight then and there. annoying

so valentino does the only sensible thing you can do in that situation and decides he can at the very least least ensure jorge has a bad day. it is just so obvious that valentino would rather crash his teammate out than let him beat valentino in that race. it's some of the most aggressive riding of valentino's career, a duel that goes right to the last lap with quite a bit of contact between the pair of them. obviously it wasn't ever likely to actually cost jorge the title, but oddly enough the yamaha garage did not look thrilled by the show their riders were putting on. after the race in motegi, valentino is delighted as it's probably the most fun he's had in AGES ("was fun" he tells his mechanics the moment he gets off the bike), yamaha is furious at him for repeatedly almost knocking off their soon-to-be title winner... and jorge cannot quite avoid showing just how pissed off he is in the post-race interviews

except jorge's problem is that it doesn't take him long to realise he doesn't actually WANT to start this big drama with valentino - not when he's about to seal his first premier class title. it's effectively diverted all attention away from his first match point race... in the context of this dominant season, everyone's way more excited about this fresh bit of drama. valentino doesn't even really hit back at jorge's comments on this particular occasion. he did his talking on the track this time. quite a lot of talking, all things considered. so he can mostly get away with playing innocent and talking up how much he'd enjoyed that lovely fight with jorge. discussed more here, but these are his immediate post-race comments -

and of course valentino doesn't really NEED to say any more than that, because jorge's comments are enough to set things off. the media furore is such that by the time they land in sepang, jorge is very much in 'oh god please stop talking about this' mode. which leads to one of my all time fave presser moments: jorge straight up pretending like nothing happened at motegi. zero subtlety, beautifully awkward, not the finest moment for his acting abilities... but he commits to it, asks the moderator “what happened in japan?" - and then opts for an exaggerated "AH YES, I signed two more years with yamaha". and it's just. I suppose it does the trick in that he simply refuses to engage with the questions about it, but trust me when I say it's not the smoothest evasion of a question I've seen in my life

and while all this is happening, check out these all timer reaction shots courtesy of valentino and casey, kindly rendered in gif form by @/della46 (gifs here)

you can see jorge's little 'ahhh!!' in the second gif as if he's figured out what the moderator was referring to. I just. love both of their reactions so much. valentino's smirk as he does an exaggerated tip of the head to get a look at his teammate. casey's open grin as he likewise glances over at jorge. like it's just FUN... they both know exactly what jorge's doing and why... they both want to take a look at jorge's expression... they're both enjoying this bit of theatre. jorge is not enjoying this. he just wants to seal the title in peace

in the end, he does just that at sepang - though of course valentino has to steal the limelight once again by coming back from twelfth on the first lap to beat jorge and dovi. also just happens to be valentino's 46th win for yamaha, because of course it is. which leads to quality scenes in parc fermé, where the cordial congratulations between the pair of them gives way to them hamming it up with their celebrations a few feet away with each other. dovi's presence also adds a certain je ne sais quoi to proceedings, with him and valentino just ever so friendly with each other on the podium in a moment of anti-jorge solidarity. two men who simply refused to lose to jorge lorenzo on that particular day

and with that, back to the pre-event presser photo. following on from some proper fun press conference theatrics. features casey, who is at this point just waiting out the rest of his ducati career - he'd recently stumbled upon a rich vein of form, but ducati's decline was still ongoing and he just seemed sick of the whole thing. immediately crashes out of sepang too. valentino, who has been in severe pain since the second race of that season and really, really should be going off to get his shoulder fixed - but as least he's managed to make life just a little more unpleasant for jorge during what should be such a joyous time for him. and jorge, who is about to achieve his biggest dream. who has just spent a press conference trying to play down this stupid drama started by his stupid teammate. this stupid drama which is now the biggest topic of conversation. and will be for the foreseeable future. he just wants to be left alone... please leave him alone

[skitskatdacat63]

2009 Japanese Grand Prix - Sebastian Vettel

[the-2nd-random-kid]

i lost focus, like i ever had any in the first place, and made a jjk socmed au.

it is 3 am in the fucking morning. my sleep schedule is so fucked.

deets and stuff abt me making these are in the read more so have fun with that lmao

lmao i based the first two off a fanfic trope and prompt generator-- here they are

theyre just a bunch of kids who shouldnt have been forced to save and fix the world-- they shouldve been spending their childhoods being cringe in myspace and playing hooky instead of being trained like soldiers

this is how i fixed that

also lmao the last prompt it spat out and that i promptly ignored is this--

this is my socmed happy fix it au, i will not have geto go through that again :))

ooooooooor i just make them watch a scary movie and have them bitch about it online and how it wasnt scary at all, the story was trash, etc etc

maybe ill do it next time, idk

also please ignore the date on the first img-- i blanked out on a good date those could be and resorted to gonana day on the rest of the tweets KBSJDFNSG

i also tried giving them each their own online accent-- gojo is, obvi, an emoticons bitch. haibara i imagine is an emoji guy. shoko and geto are kind of similar, but i differentiate between them via the difference in grammar and punctuation. theyre both informal, but shoko is much more informal compared to geto, who uses more punctuation and capitalization and stuff lmao

the brainrot is too real man.

[the-mononoke-facade]

Alright, so there's been some talk about whether Shusu is actually a different medicine vendor from Ri Kusu (show Kusu), and at first that was my assumption (or my preference since I found the characterization in the book went all in on the detached, stoic side of things than any of the other things that make Kusu an interesting character). But the more I think about it, the more I'm like "is he though?"

And my wondering about it comes from two places, first being that the theme of disentangling harmful attachments is what the book is named after, and the other is the descriptions of the taima sword both sheathed and released, as well as the descriptions of Hyper/Shingi thoughout the book

(spoilers for Shu, since I've seen more people asking about it lately, as well as including suppositions based on recent lore drops and some minor spoilers for Karakasa based on trailers and the like)

Starting with the descriptions of the sword and Hyper, despite the sword being depicted on the cover being a now seemingly defunct design from older promotional material for Karakasa, the sword is described in the first story, Kama Itachi, as having the kinds of colored stones that are characteristic of the Ri taima sword when sheathed.

When released, it's described in multiple stories with some variation of being "an enormous, glimmering blade," which is also what we've seen throughout the show for the Ri sword. The Shingi of Shu is described with gold, serpentine patterns snaking all along his exposed skin (also tanned but given Shingi also has darker skin, that specific detail might just go with being a spirit of the sword), Kama Itachi mentions gold brocade (it's unclear from what I was ever able to translate of it if it was referring to the robe or the markings, so take that with a grain of salt), Toutetsu mentions the kumadori markings on Kusu's face becoming more elaborate from how they started (compared, again, to Kon Shingi and Kusu where their respective face markings don't seem to have a whole lot in common except maybe the eyebrow area), and then Tamamo no Mae outlines the crimson eyes and silver hair. All of that sounds an awful lot like Hyper and the Ri taima sword (and you know, I kinda figured Fuguruma Youbi would have a better description to pull on as well given how like half a page was Tamenaga just contemplating Kusu's beauty and like, me too man, me too, but ah well)

Could it be a matter of these characteristics being in line with how swords associated with any of the hexagrams with fire as a component seem to show up? It's definitely not impossible, and I certainly don't know enough about how I Ching works to make any certain statements on that, but if I were to speculate on a little bit I noticed poking around a hexagram lookup table, with the hexagrams that are composed of two different elements, it seems to be less about one element being dominant over the other so much as two elements meeting in a certain arrangement to create a new result (and even with two hexagrams composed of the same elements, which of the two elements is on top of the hexagram can drastically change the meaning). So then if each permutation creates a unique end result, wouldn't it also follow that the respective swords would all be pretty unique from each other? How would you even determine that "yes, this is the trigram element this sword is associated with"? By the top of the hexagram? The bottom? The yin/yang alignment of the sword? To my mind, it makes more sense for all the swords (and therefore the spirits attached to them) to be unique to their own hexagram (again, not an expert by any means, I'm open to other takes on how that could work, this is just my working idea of how it works)

So if the swords ARE all meant to be unique, then it's a safe assumption that the sword in Shu is the Ri sword. Does that necessarily mean it's the same medicine vendor wielding the sword? Not necessarily, we don't have any information on what happens to a sword should a medicine vendor fall trying to slay a mononoke; does it disappear? Does the sword spirit die alongside that medicine vendor (especially if it happens after the sword's been released)? And what happens to a medicine vendor if a particular sword doesn't need to be in play at that particular moment, given that it seems from the lore drop that the number of swords in play can go up or down? Does he disappear? Does he get stripped of the qualities that made him a medicine vendor and continue living on as a human? Some kind of unaffiliated ayakashi waiting in reserve for when the sword needs to come back into play? Enter the collective unconscious? Is it possible for this sword to show up the same as it is for a different wielder? All of that is the realm of theories and headcanons for now, but it's not impossible that it's a different hand wielding the same sword (and if it's a different entity, is it a reincarnation of the same soul or is a new one selected?)

With my second sticking point being the theming of letting go of harmful attachments that is the book's namesake, which is a common theme that also runs throughout the arcs of the show (Tamaki and the cat being stuck to haunt the Sakai manor without having gotten any justice for the atrocities commited by the family, the zashiki warashi letting go of being ripped away from the women they chose to be their mothers in this life as well as Shino's letting go of the exercise in futility that would have been using her body and sacrificing the baby she already has to try to right that wrong, Genkei's fixation on his guilt over Oyou's sacrifice, Ochou's futile attempts to meet her mother's selfish expectations, the todaiji feeding the greed and obsession of the suitors and its own obsession with being desired, Ishikawa's drive and tenacity to find the truth persisting even after her death)

From that angle, the various stories in Shu are pretty much in line with that theme as well: Tokuemon's deep-seated grudge against his abusive father, especially when that abuse was suffered in service to an ancient obsession of his family for riches and honors; Hori Mondo's obsession with his late master and the honor that should be able to be assumed with the ruling samurai class which is disproven by his master's successor, who himself is obsessed with proving himself capable of filling his father's massive shoes, Ishiuemon's obsession with increasing his own power at the expense of Zen, who becomes obsessed with becoming Ishiuemon's wife even as she was nothing more to him than a pawn; Kei's attachment to the notion that she's owed something going right for her after a life that's been filled with hardships, Hagino's obsession with her husband's all-but-confirmed infidelity even at the cost of her daughter, Takaharu's not being able to keep it in his pants for the sake of the family he already has, Koharu's obsession with gaining her mother's affection; Shunsui's obsession with being a popular author and narrator and tainting Ofumi with that obsession when he betrays her trust to help get her love letters over to a more accomplished author that Shunsui both reveres and is jealous of; Jinjirou's obsession with getting his family's sacrifice properly honored when everyone around him seems keen to shrug it off; Tadayoshi's obsession with getting his daughter Kaede safe behind the walls of the Ooku and Kaede's drive to meet his expectations even as they bear down on her

I had mused a while ago that the feminist theming, in contrast, seems to be missing, putting more focus on the woes of the men in the story often at the expense of the women around them, but in hindsight I almost wonder if that's actually the point (and I think I'll find a more solid answer to this in Oni, from what I've gleaned so far, so this might be another "put a pin in it" thought as well...but that pin's going to be in for a very long time at the pace I'm going through this book lol). Another common thread with Shu is the letting go of how things used to be with a lot of the expectations chaining these characters coming from the Sengoku era, which just don't work going into the "peaceful" Edo era. While women's rights prior to Edo weren't exactly robust, they were stripped down over the course of the Edo era.

It could be taken, then, that this comparatively larger focus on men at the expense of the women around them is another reflection of moving into and accepting Edo-era paradigms, and also giving a peek into the unintended (or maybe "unintended") consequences of putting safety and control over freedom. From that angle, a medicine vendor meant to embody not just a woman's desire but also what a woman wants to be would also then become gradually less considered over time (and while he never had the kind of involvement in Shu that he does in the show, there is a general trend over the course of the stories of his engagement falling off a little more with each story). Ending the book with Nuppera-hofu, with Kaede losing her face as her father lost sight of why he was fighting so hard to get her into the Ooku ("she'll be safe there and won't disappear like my wife and eldest daughter did"), where it's not even clear which sister is the one being sent to the Ooku by the end of the story but what does that matter when the goal of getting to the Ooku was achieved, then leads in very nicely to Karakasa, where so many women have lost their individuality in service to "the greater good" until it hits a tipping point, the karakasa becomes active and starts upending everything that the Ooku was built on, and possibly even projecting that outward to reflect what's happening in the rest of the country as well

So then to bring it back to whether Shu Kusu is Ri Kusu or not, if being more passive, or more "feminine" starts to fall in line with the increase of systemic oppression women face in this new era, then in order to reclaim some of his own power and agency, Kusu would need to start to be more active, not a spectator but an actor, and then that leads into Ayakashi Bakeneko, where he's at his most emotive, his most active, and pushing the hardest to be in control of the situation, before gradually over the course of the show relinquishing more control to start to shift back into more of a passive spectator role as women start to chafe under the abuses they're suffering in this restrictive period and fighting to get some of their power back, having the second Bakeneko arc happening somewhere in the 1920s (still obviously a lot of problems, both the old deep-rooted ones and the new ones coming from the reactionaries that don't care much for these seeds of more equality between men and women starting to grow, Moriya being the poster boy for that group and their trying to act like they're the victims in all this while they start running out of justifications for "putting women in their place"), but with more power being reclaimed, he then wouldn't need to be quite as active or "masculine" to be able to have the power or influence needed to get the truths from the humans he needs to perform his duty, so then the differences in characterization could be reflective of what is needed for the era in question. It could also be a matter of the Ri sword and the need to cut away attachments becoming less and less necessary over this general period of human emotion, to where the sword is taken out of play by the end of Shu and the wielder of Ri we see in the show is either a new medicine vendor, or the same one but with a mandatory vacation thrown in there to discombobulate him on how human emotion sphere looks by the time he gets back

Anyway, that's a lot of rambling to say there's a case for it being at least the same sword if not also the same medicine vendor as the show, and it's a matter of the framing and themes of Shu not doing any favors to him for highlighting the things that make him a cool character

[earlycuntsets]

gerard's "everybody tie your shoes clap clap" song

(warning audio starts terrible just at the beginning)

gerard: how fuckin awesome is that? we're gonna sing the shoe song ok? it goes like this: everybody tie your shoe clap clap *clap clap* x 2

everybody tie your shoe I don't care about you everybody tie your shoe clap clap. I wanna get my shoes tied right now. somebody tie my fuckin shoes. wait. ok.

anybody that wants to tie my shoes.. ok do you guys remember the song? ok 1. 2. 3. everybody tie your shoe clap clap *clap clap*x 6 possibly the stupidest fucking thing i've ever done up here.

(ghost of you starts)

03/22/2007 birmingham NIA academy, uk show

below you can see him conducting the song and giving mikey a high five? same show different video

flyer from theydrewblood.blogspot.com

[red-moon-at-night]

this is a kids show, by the way

[th3-c0ll3ct3r]

My Tumblr followers. If and when you see this. Just don't look at twitter man

This year is cooked

Sorry for the vent but omg this year man THIS YEAR UGHHHHHHHHHHHHHHHHHHHHH (read tags for context)

[femslashspuffy]

SHUT UP everyone SHUT UP. I just realized Venom is gonna be the first trilogy ever where I'll have watched every film in theaters during the original release. The first time EVER for me???

6 years. I was just finishing middle school and now I'm half way through college. And the whole time ive had the same interest in the world's most fuckable alien. There is not a single other thing that I have consistenty remained interested in in the past 6 years. And I get to watch 3/3 in theaters. How wonderful. How marvelous. Even if I DO have to sit between my straightest friend and my father. That's so crazy