#where i fix everything

[evebestt]

"Fuck me sideways." -Eve Best

What a way to go out like a queen, actress and character.

[yujateaandpi]

Thought Fiddlestan was a purely comedic ship for a while but now I get it, I see the light. It’s about a man who nurtures and cares for others to the point of heartbreak meeting a man who doesn’t remember what it’s like for anyone to care about him. It’s about them being warm together around the absence of someone they both love. It’s about Fiddleford’s innate domesticity comforting a man whose deepest desire was to come home. It’s about falling in love with the same face again but in a new context that heals your past trauma. It’s about Stan’s unbridled affection finally validating someone who desperately needed the recognition. It’s also about very funny old man yaoi.

[arcanegifs]

ARCANE LEAGUE OF LEGENDS: 2x02 - “Watch It All Burn”

[thewanderingmask]

so yea

1-2 months of on and off effort later IT'S MY FIRST EVER HERMITCRAFT (by which i mean exclusively tango tek) ANIMATIC

IN WHICH A MAN TALKS ABOUT BINARY FOR ALMOST 3 MINUTES (it's based actually. and was really fun to animate)

[cordiallyfuturedwight]

jamais vu line ♡ cr. namuspromised (original)

[little-pondhead]

Your Ancient History, Written In Wax

-

Danny knew he should have put better security around the Sarcophagus of Eternal Sleep. It wasn’t even Vlad who opened it this time! The fruitloop was too busy doing his actual mayor duties because for some godforsaken reason, the man got re-elected.

No, it wasn’t Vlad. And it wasn’t Fright Knight, either. Nor the Observants. Who opened the Sarcophagus, then? Danny didn’t have time to find out as Pariah Dark promptly tore open a hole in reality and started hunting Danny down.

The battle was longer this time. He didn’t have the Ecto-Skeleton, as that was the first thing Pariah had destroyed. The halfa had grown a lot over the past few years, and learned some new tricks, but apparently sleeping in a magic ghost box meant that Pariah had absorbed a lot of power. The bigger ghost acted like a one-man army!

Amity Park was caught in the middle of the battle, but the residents made sure it went no further than that. Vlad and the Fentons made a barrier around the town to keep the destruction from leaking. Sam, Tucker, and Dani did crowd control while Danny faced the king head-on.

Their battle shook the Zone and pulled them wildly between the mortal plane and the afterlife. Sometimes, residents noticed a blow from Pariah transported them to the age of the dinosaurs, and Phantom’s Wail brought them to an unknown future. Then they were in a desert. Then a blazing forest. Then underwater. It went on like that, but no one dared step foot outside of Amity. They couldn’t risk being left behind.

It took ages to beat him, but eventually, Danny stood above the old ghost king, encasing his symbols of power in ice so they couldn’t be used again. He refused to claim the title for himself. Tired as he was, Danny handed the objects off to Clockwork for safe keeping and started repairing the damage Pariah had done to the town. The tear he’d made was too big to fix, for now, so no one bothered. They just welcomed their new ghostly neighbors with open arms and worked together to restore Amity Park.

Finally, the day came to bring down the barrier. People were gathered around the giant device the Fentons had built to sustain it. Danny had brought Clockwork to Amity, to double check that they had returned to the right time and dimension.

Clockwork assured everyone that they were in the right spot, and only a small amount of time had passed, so the Fentons gave the signal to drop the shield.

Very quickly did they discover that something was wrong. The air smelled different. The noise of the nearby city, Elmerton, was louder and more chaotic. Something was there that wasn’t before, and it put everyone on edge.

Clockwork smiled, made a remark about the town fitting in better than before, and disappearing before Danny could catch him.

Frantic, Danny had a few of his ghost buds stay behind to protect the town while he investigated.

He flew far and wide, steadily growing horrified at the changes the world had undergone. Heroes, villains, rampant crime and alien invasions. The Earth was unrecognizable. There were people moving around the stars like it was second nature and others raising dead gods like the apocalypse was coming. Magic and ectoplasm was everywhere, rather than following the ley lines like they were supposed to.

Danny returned to Amity.

The fight with Pariah had taken them through space and time. Somewhere along the way, they had changed the course of history so badly that this now felt like an alien world.

How was he supposed to fix this?

-

In the Watchtower, The Flash was wrapping up monitor duty while Impulse buzzed around him, a little more jittery than usual. The boy was talking a mile a minute, when alarms started blaring an alarming green. Flash had never seen this alarm before, and its crackling whine was grating on his ears.

Flash returned to the monitor, frantically clicking around to find the issue, but nothing was popping up. No major disasters, no invasions, no declarations of war. Nothing! What was causing the alarm?

Impulse swore and zipped to a window, pressing his face against it and staring down at Earth. “Fuck! It’s today isn’t it? I forgot!”

“What’s today?” Flash asked. He shot off a text to Batman, asking if it was an error. The big Bat said it wasn’t, and that he would be there soon.

“The arrival of Amity Park. I learned about this in school; the alarm always gives me headaches.”

Flash turned to his grandson, getting his attention. “Bart,” he stressed. “What are you talking about?”

Impulse barely glanced over his shoulder. Now that Flash was facing him, he could see a strong glow coming from Earth. “The first villain, first anti-villain, and the first hero,” he said anxiously. “They all protect the town of the original metas. They’re all here.”

“Here? Now??”

“Yeah? They weren’t before, but they are now. The first hero said there was time stuff involved, which was what inspired me to start practicing time travel in the first place.”

“I’m not following.”

“It’s okay. We should probably go welcome them before they tear apart Illinois, though. The history I remember says that some of them freaked and destroyed a chunk of the Midwest during a fight with each other.”

“WHAT?”

[nekrosmos]

Decorated Army Captain John Price discovers what being a little spoon feels like late in life, and he loves it.

This is a little illustration for my own fic , go give it a read ! <3

[everysongineverykey]

as part of the getting-worse-before-it-gets-better portion of aziraphale and crowley's season 3 relationship arc we NEED a desperate "i love you" from aziraphale met with a hissed, spiteful, and quickly regretted "i forgive you" from crowley

[dykedvonte]

Curly not immediately punishing Jimmy for assaulting Anya is something I don’t think a lot of people are viewing in the complex context for Curly as the superior to both of them and closest confidante they had.

Like I am in no way saying he didn’t under react or fail Anya by not being harsh or direct with Jimmy but it really is the case that he really couldn’t. Imagine being stuck in such a confined space with very little areas to genuinely hold someone if they commit a crime. It’s not like this was an event that occurred before they departed or that they have easy communication with The Pony Express to ask for how to proceed when something like this arises. Not to mention, Jimmy’s relative power in relation to Anya as the co-pilot and second in command, he has the knowledge and access to do something to her had Curly directly punished him in this setting.

They were also Curly’s friends. It’s not just the case of him mediating something between his subordinates but people he is personally invested in don’t want to see spiral further in Anya’s case while also not wanting believe his friend go that bad in Jimmy’s actions. They were both suicidal and Curly putting Jimmy’s stability first is both out of bias but also the fact he’s aware at some level Jimmy is a danger to himself and others if not constantly placated. Combined with the fact he was in denial or just not piecing together what Anya said it’s hard to say what he buying time for and what he had treat as urgent. This isn’t even saying he doesn’t care about Anya but he’s not going jump to the worst conclusions about his friends even if part of him acknowledges the evidence saying so. It’s a complicated thing but he’s still human and needed to process it on top of trying to keep a ship that already took on a lot of water from further sinking, metaphorically.

I just personally think that while Curly failed Anya, it was a scenario where there wasn’t much he could do to the best thing by her safely and like Jimmy, we are underestimating what a good leader would do in a very fragile and tense situation like he was in. By the time he may have been ready and had a plan, things were much too late.

[leon-anna]

Here we have our dear commanders Fox and Thorn enjoying the perks of the job. They were out getting lunch and happened upon a few older ladies struggling to put their luggage in their speeder. Fox and Thorn took time out of their day to make sure that everything was put neatly inside the women's trunk. This earned them dessert at a nearby ice cream shop as a "thank you". Thorn is trying some Nectrose Freeze and Fox is indulging his addiction by eating highly caffeinated caf flavoured ice cream.

Aren't they cute 🥰🥺😍 Leon really captured their rain cloud(Fox)🌧️ and sunshine(Thorn)🌞 vibe!

[megamindsupremacy]

I need to marinate more thoughts for this but. okay so gravity falls au. partially inspired by this. fiddleford has the memory gun and he's This Close to using it on himself to erase what he saw in the portal. he pauses. he thinks, just because I forget doesn't mean stanford will stop building the portal. he thinks it's all or nothing. he goes to stanford's shack in the woods. he sneaks in through the side door and sees stanford sleeping on the couch. it's dark outside. the lights are out. fiddleford can barely make out the shape of his former-friend's body. fiddleford looks at Stanford one last time. he types into the memory gun, Stanford Pines. he points the gun. half a second before he fires, Stanford stirs, as if sensing the danger he is in. he manages to get out "who-" before fiddleford, panicking, pulls the trigger before he can chicken out completely.

stanley wakes up on a couch he doesn't remember falling asleep in, with a terrified looking man standing over him, holding a glowing gun, and thinks this is one hell of a situation i've gotten myself into

[autism-alley]

hi originally posted this at the end of a long thread of back and forth, here’s the og post if you want full context but i feel like this needs to be its own post especially bc i keep seeing this argument being made—the argument that the kids (in this case it was annabeth) SHOULD just know the monsters are monsters and who they are and how to defeat them before ever encountering them, that it’s a problem if they don’t.

the problem is not if 12 year olds should recognize a trap when they see one, even if they’re smart 12 year olds, and if that’s realistic. that is entirely beside the point.

the problem is rick riordan wrote a book series whose formula is bringing myths to the modern age and he’s not sticking true to that in the show—percy jackson and the olympians’ Shtick is taking these classic, ancient threats and giving them a new face. these traps work because these kids are not walking into a cave marked with Get Out and getting ambushed by monsters—the monsters are disguised as harmless mortal human beings, in harmless mortal human being places (for the most part) and i think we—and more importantly, the show—are all forgetting the mist, the magic involved here. it’s not just that medusa is a “creepy lady with her eyes covered” it’s that there is ancient magic at work here, magic that, like the systems of abuse pjo exists to criticize, has been evolving and continuing its malevolence for millennia. it’s formulaic, that’s the point. it’s the same trap you’ve learned about all your childhood, the same trap a thousand children before you learned all their childhoods, and still, it works. you fall into the trap. because that’s how generational abuse works. it’s a trap. it isn’t enough to learn monsters exist, what they look like from a second hand story that originated thousands of years ago. if you want to escape alive, you have to adapt as quickly as they do, recognize their face, and ultimately, beyond any individual trap, the game itself has to change. real, generational change.

so. the problem is rick riordan wrote a series with a formula for action that perfectly captures the overarching, systemic conflicts he was commentating on, and then threw that formula out in the show because it was “unrealistic”. i don’t give a damn about realism when it works to the detriment of the story. this is a story about generational abuse, yes, but it’s told through ‘a tale as old as time’ and that’s why it works so fucking well. and when it comes to basic storytelling, if your characters know the threat before they even walk in and you do practically nothing to then make up for the stakes you have removed, that’s a flaw. now you’ve lost the entertainment value for your audience, on top of also lessening your themes.

something else that is so. honestly soul-crushing as a writer and a creative, is that to me this is reflective of the way we are now afraid to tell earnest stories. stories where we care not for listening to the people who want to pick apart fictional, mythical, fantasy stories for not being “realistic” instead of aligning with our target audience who acknowledges reality is not what makes a story. think of your favorite movie, show, book, comic, what have you—has the reason for your favoritism ever been because it is the most reasonable, the most grounded, the most practical out of any you’ve seen? or is it because of the emotion? the way it speaks to you, to your life and the person you are? the journey it takes you on? is the percy jackson and the olympians book series so good because it’s inherently realistic?

the secret to storytelling is, very simply, focus on your story. everything else is secondary. if it’s written well, it doesn’t matter to me that the characters walk into a trap that, to the audience, is obviously a trap. because i can understand how the characters don’t know it, and how the story falls apart if the narrative just tells the characters it’s a trap from the jump. that’s what dramatic irony is—first used in greek tragedies! this is literally a tale as old as time in every sense except for the end—where it’s happy. and it’s not earned if we don’t first see, over and over, the status quo as a tragic trap.

it’s not about if annabeth (or the other kids) is “smart enough” to not walk into a trap, or about if she’s just too prideful to not walk into what she knows is a trap (or any reason that could apply to the other characters), it’s that annabeth, at the end of the day, is a character. she is a storytelling tool for the messages of the narrative. that doesn’t make her any lesser. in fact ignoring it reduces her, because it reduces what she represents. it’s about how rick riordan, or whoever else at disney, has fumbled the storytelling bag so ridiculously hard that they can’t take the simple, effective formula outlined from start to finish (by good ol 2009 rick himself) and adapt it to the screen without answering the most unimportant, derailing, anti-story questions.

[splatattackz]

a little bit of a ramon character analysis in all of this;

(from someone whos watched him basically since the start of the egg event)

let me preface this by saying BOTH sunny and ramon are very valid in how they feel right now, i just want to go through and explain how things are from ramons point of view.

lets start off. imagine youre a kid. its just you and your dad, because your other dad left you before you had really begun to speak. you're a kid, and youve never really gotten to have a childhood. from a mix of one of your dads leaving (and how he treated you before he left), to feeling isolated from every other egg (besides a few, a little), to feeling like you have to protect and save everyone else - youve never gotten to be a kid. you still remember that day, when the party exploded, and you were hailed a hero for saving all your siblings. you hadn't felt like a hero, you were scared you were going to die before you had done anything you deemed useful. the worlds loneliest hero. you are only 3 months old at this point. youve died already and live life on one life, a life that threatens to slip away every. single day. youve watched siblings die. youve watched worry swamp your dad, and youve heard his greatest secret. you are only a kid. this is not a childhood. youve never even had a sleepover.

and then enters the picture 3 new siblings. and you love them. you realize, youre now a big brother. and you take that with pride. you care for them. you protect them. youre trying to protect them from your own fate, of not having a childhood. and bad things happen. and you fail. and you fail. and you fail. and youre sorry, and it adds to emotional stress thats been building up for months with no escape hatch in sight.

and then something amazing happens! youve helped your dad find someone to love. you have a pai now. now neither you nor your dad are truly alone, you cant be. you feel amazing. you feel like you can be a kid now, your biggest worry gone. you feel like youve finally done something useful. you can be a kid now. ... except, you can't. not really. because one of the people you considered a big brother, alongside your little sister, are trying to ruin what youve accomplished. theyre trying to destroy your happiness, you think. everything youve worked for - theyre trying to make a rift between your dad and your pai. and your angry. so unbelievably angry. and you shouldn't be angry at your little sister, you know this. you shouldnt feel salty. your dad explained you cant be mad at the child for the parents' actions. but you cant find yourself to stop this anger. the emotional stress that has been building is breaking and being let out at someone you dont want to be mad at. but you cant bring yourself to face her and talk to them. you just want to be happy why cant they see that? why cant her dad see that?

you are finally being happy, you have such a big family now, and theyre trying to ruin it - and turn you and them both are beginning to lose family (eachother) but you cant help it. youre just a kid! youre just a kid seeing 2 peoole you love try to break up your dad and your pai! how are you supposed to feel? youre done being the grown up. after all these months you get to finally be a kid in a proper family. you just want to be a kid. why cant they let you be a kid?

tl;dr; ramons just a kid whos never gotten to be a kid and when he finally does get to be one he sees two of the people he loves the most try and ruin that. how can he NOT be salty and angry? he just wants to be a kid, is it too much to ask?

[lavellane]

thinking about how that solavellan ending actually Works for lavellans who want that hopeful ending but arent as forgiving abt the whole situation as veilguard presented it. and i do think in ashara's case, yes, she goes with him out of love, but more so out of duty. post trespasser she drops the name lavellan in favor of her family name, dhavise, since her place in the clan had already been cast into question and her allegiances with the chantry/solas are cause for doubt as to whether she's even welcome back anymore. but i think by the end of veilguard she's reaffirmed her identity as Lavellan no matter what, and truly does see herself as the Keeper of not just her own clan but of her whole modern people, and with that rekindled purpose she chooses to watch over them all by way of watching over fen'harel. protecting them by protecting him from himself. which ironically is the reason the dalish HAVE keepers in the first place

[ratbastarddotfuck]

I've never been truly able to get on board with "if you go far enough left, you get your guns back" because I genuinely just don't think we should be mass producing weapons that can facilitate mass murder at the scale we do. like, sure, I'm not against the principle of "marginalised people and activists should have the same access to weaponry that others do, especially for protection in a state of fascism" but I just. we only have these things as a result of the military industry, finding the most efficient ways to kill. these things should never have been made. we shouldn't be producing assault rifles for mass consumption, we shouldn't be producing them at all.

so like. sure. if you go far enough left you get your guns back, I guess. but I think that's a short-sighted and disingenuous way to phrase it, when I would assume that the more "radical" leftist stance is something more akin to global demilitarisation and the cessation of mass-production of weapons (alongside a lot of other garbage made for mass consumption under capitalism - we need to de-industrialise production on a major global scale).

(I don't necessarily mean getting rid of guns "completely" because people will always find ways to engineer them, but I think there is a massive difference between a gun designed for responsible hunting or sport vs a gun designed to kill people as fast as possible, or to be wielded as a threat the way cops do.)

idk. obviously this is a very future-focused perspective and I guess the "far enough left etc." crowd are usually talking more in the present. I just have concerns that this particular piece of rhetoric encourages some leftists to be less critical of the weaponry industry than perhaps we should be.

[mossypidder]

I’m so normal about them.

bonus below cut