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My p!atd phase has transitioned into a petekey phase and I’m not happy about it

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I have some news for members of the united states armed forces who feel like they are pawns in a political game and their assignments being unnecessary.

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springtail eating a slime mold

by Andy Murray

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So which one is it, Catarina?

Or

I think that there's something to be said about Catarina flip-flopping in regards to how she feels about the possibility of Maria dating someone else:

Catarina is terrified of ending up like the OG Catarina Claes and part of her trying to avoid sharing her fate is that Catarina feels like she has to be supportive of Maria's possible romances with the capture targets.

Like, that, is an impossible stretch.

To the point that in vol. 8 of the light novels she loses her grip on reality for a sec:

It's a fact that Catarina views Maria falling in love with someone as her being stolen from her.

(Vol. 6)

(Vol. 9)

It's also a fact that she views falling for Maria as a sureway for her to interfere and become a villainess.

She's conflicted and repressing some things that she feels wrong for wanting, because considering how much she thinks about marrying Maria and about her being so pretty, hard-working and an angel, she's already fallen.

This could very well be Catarina suppressing her not-so-platonic feelings for Maria and that's why she randomly changed her opinion even though she usually is in favor of Maria dating someone else even if she feels tempted at times to be her capture target.

When she thinks Maria starts dating she's happy for her but can't help but feel sad too.

(Vol. 7)

(Vol. 11)

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Behold the greatest remix of AFYCSO that I've heard in the literal months that I've been listening to this album nonstop.

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The Madeleine ship set sail from Europe to Gaza, attempting to break the blockade. Swedish activist Greta Thunberg was on board. They set sail hoping to achieve even a little help for us, but unfortunately, the Nazi Zionist army kidnapped them from the territorial waters adjacent to the shores of Gaza. They will be handed over to the Israeli police immediately after their arrival, and they will be taken out and returned via Ben Gurion Airport to their countries. Their efforts will be in vain, and this will be met with silence and great international inaction, as every time.

@dirhwangdaseul @b0nkcreat @tamamita @chokulit @3000s @apas-95 @pitbolshevik @ot3 @punkitt-is-here @vampiricvenus @turtletoria @paper-mario-wiki @valtsv @omegaversereloaded @i-am-a-fish-stinks @catsgifsarefun @spongebobssquarepants @postanagramgenerator @feluka @nyancrimew @90-ghost @beserkerjewel @neechees @memingursa @certifiedsexed @afro-elf @11thsense @sawasawako @spacebeyonce @skipppppy @beetledrink @fools-and-perverts @dailyquests @evillesbianvillain @wolfertinger666 @taffybuns @ankle-beez @sabertoothwalrus @meshugenist @isuggestforcefem @hotvampireadjacent @marxism-transgenderism

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Broken Band (theory).

So, in the trailer for Zombies 4, I noticed that Zed was looking a little off at certain points, and found a specific clip in the trailer that interested me.

So while they are in the car, going to there destination, Zed zombies out for some reason(??) and the car crashes. Which forces the group to then look for help.

To Zombie out in a car, while your driving, seems to be a very dumb idea. Especially since whenever anyone zombies out, they lose a little control of themselves. So why on earth dose Zed zombie out here? I don’t think he meant to.

Much later (I think this may be near the climax) Zed’s veins are more pronounced, but not so much that he’s zombied out (also Addison looks concerned here).

(His eye bags also look more sunken/dark? Idk how to say it, but they are more darker here as well, but that might just be me).

The only times Zed has had his veins close to looking like this, is the first movie where he damaged his Z-Band for the first time (though he’s veins then looked darker).

So my theory:

For whatever reason, Zed’s Z-band is damaged, or, shutting down. While I do not have a reason for this, I’m thinking with the years of tampering and damage that Zed has done to his Z-Band is finally starting to show. While most of the time he’s fine, his Z-band is slowly starting to become unstable, and could go offline.

I’ll update this theory when more clips come out, and add anything that changes or adds to my theory, but this is all I have for now.

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It is a tragedy we all face eventually… many condolences, fellow soldier :��(

Watched the Disney channel original movie zombies for the first time and I gotta say it was cuter than I expected BUT!!! I am so upset Addison threw away perfectly good eggs like in THIS ECONOMY???? Like sure yeah don’t egg Zed’s house but KEEP THE EGGS???? OR GIVE THEM TO ZED????? Like man arg perfectly good eggs gone to waste smh

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DESCENDANTS REDRAW!!!!🍎✨

I'm making an AU while I have free time 😼👍

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Last entry for my Descendants redesigns! Finally here’s Audrey! I wanted her look to feel like it was trying a little too hard and extreme towards sweetness. I also wanted to give a nod to her being the antagonist later in the series by giving her a cape that resembled the classic Disney villain collar. I also wanted her crown to look like it could probably be used as a weapon if she really wanted to, and mimic horns.

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My friends showed me the Descendants movie for the first time, and I am very clearly not the target audience for this franchise and that's fine lol.

But for fun, I wanted to do this redesign if I were tasked with imagining the Descendants characters. I personally don't dig the modern setting, so I would've leaned towards a fantasy aesthetic closer to something like The School for Good and Evil.

I knew I wanted Mal to have her mother's (and father's) unnatural complexion, and yellow eyes from both. I also wanted to give another small nod to Hades with the blue flame (if she were to use ger spellbook, the magic from it would manifest in blue flames). I gave her little purple baby horns that would turn black as she got older. I also put hints of red in her outfit, which I wanted to be her main color (especially for her coronation look at the end of the story) later on instead of just purple and black like Maleficent, to reflect her slowly coming into her own. Overall, my goal was to push her look to be a lot more witchy and supernatural looking.

I'll likely redesign the other villain kids as well. Let me know if you'd like to see them too!

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Following my redesign of Mal, here’s my take on Evie from Descendants! 👑 I wanted her look to be contrast Mal and be a lot more polished since she’s royalty. I also leaned more into prim and princess-like based on her personality in the movie, but still maintaining dark elements in her aesthetic. I gave her a little skull makeup bag as a nod to the skull in her mother’s dungeon from the original film!

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Check out more of my work on other platforms or buy prints!

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core four icons

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Fuck it, I didn't want to make a post on this but it's bugging the hell out of me so let's exorcize the thought.

Lilo and Stitch is an extremely good children's movie. I've been working at a daycare for over five years now, and out of all the children's movies I've shown to an auidence of twenty or so school-age kids (i.e. between the ages of 5 and 12), the only movie that's held their attention as well as Lilo and Stitch is The Emperor's New Groove, and the only one that's held it better is An American Tail. Of those three, Lilo and Stitch has won the vote of "what movie we will watch" the most. It not only entertains kids, but emotionally captivates them from start to finish, because it very thoroughly understands how to engage children on their level. It's a smart, tightly written children's movie.

The feat of story-telling genius it pulls of lies in its ability to reach both where children's imaginations want to go and where their lived real-world experiences lie - most children's movies focus on one or the other, but Lilo and Stitch dives deep into both. On the imagination side, there's Stitch's whole plotline of being a little alien monster being chased by other weirdo aliens onto earth because they want to stop him from running amok and causing havoc (which, of course, happens anyway in fun cartoony comedy/action spectacle). On the real-world side, you have Lilo's plotline of being a troubled little girl who has an abundance of very real problems that, like an actual child, she struggles to comprehend and deal with, as well as the many adults in her life that care about her to some degree but all struggle to fully understand her. Kids want to be Stitch and run amok and cause cartoony havoc. Kids, even the least-troubled kids, relate to Lilo, because all of them have been in a similar situation as her at least once in their lives.

Balancing these two very different stories, with very different tones and scopes to their respective conflicts, is a hard writing task, but Lilo and Stitch manages to do it in a way that seems effortless with one very powerful trick. The two plots are direct mirrors to each other, complete with the characters involved in each having foils in the respective plot. To break it down:

Stitch, the wild and destructive alien gremlin who everyone has labeled as a crime against existence, is Lilo, the troubled young girl who's viewed as a "problem child" by all the adults in her life. In both plotlines, Stitch and Lilo are facing the threat of being "taken away" from the life they know because they act out, and in both plotlines, we see that this is an unfathomably cruel thing to do to them and will not actually solve the problems they have.

Dr. Jumbaa, the mad scientist who made Stitch because making monsters is what mad scientists do, and who had no intentions of ever being nurturing or parental to anything or anyone in his life, is Nani, Lilo's older sister whose parents died when she was young and now is forced to act as a parental substitute despite not being mentally or emotionally prepared for that responsibility yet. Both Dr. Jumbaa and Nani are trying to get their respective wild children in line with what society wants them to be, and both are struggling hard with it because they in turn have a lot of growing to do before they can actually accomplish that.

Pleakley, the nebbish alien bureaucrat who ends up being assigned to help Dr. Jumbaa despite being mostly uninvolved in creating the whole Stitch situation, is David, the nice but mostly ineffectual guy who's crushing on Nani and wants to help her but doesn't really have much he can provide except emotional support. Ultimately Pleakley and David prove that said emotional support is a lot more helpful than it seems on the surface, as they give Jumbaa and Nani respectively a lot of the pushes they need to become better in their parental roles.

The Grand Councilwoman, who runs the society of aliens that is trying to banish Stitch forever for his crime of existing, is Cobra Bubbles, the Child Protective Services agent who is in charge of deciding whether or not Lilo needs to be taken away from her home forever for, ostensibly, her own good. Both are well-intentioned and stern, with a desire to follow the rules of society and do what procedure says is the most humane thing to do in this situation, but both lack the understanding of Stitch/Lilo's situation to actually help until the end of the movie.

Finally, we have Captain Gantu, the enforcer of the Galactic Council who is a mean, aggressive, sadistic brute but is viewed as a "good guy" by society because he plays by its rules (well, when he knows can't get away with breaking them, anyway), who is the counterpart of Myrtle, the mean, aggressive, sadistic schoolyard bully who is viewed as a "good kid" by other adults because she plays by the rules they established (well, when she knows she can't get away with breaking them, anyway). Both Gantu and Myrtle are, in truth, much nastier in temperament than Stitch and Lilo, but are better at hiding it in front of others and so get away with it, and often make Stitch and Lilo look worse in the eyes of others by provoking them to violence and then playing the victim about it - in fact, both even have the same line, "Does this look infected to you?", which they say after goading their respective wild-child victims into biting them.

The symmetry of these two plotlines allows them to actually feed into each other and build each other up instead of fighting each other for screentime. The fantastical nature of Stitch's plot adds whimsy to the far more realistic problems that Lilo faces so they don't get too heavy for the children in the audience, while the very real struggles of Lilo in her plotline bleed over into Stitch's plot and make both very emotionally poignant. When both plotlines hit their shared climax, they reach children on a emotional level few other movies can match - the terror of Lilo being taken away from her family, and the emotional complexity of that problem (Cobra Bubbles pointing to Lilo's ruined house and shouting at Nani, "IS THIS WHAT LILO NEEDS?" is so starkly real and heart-breaking), is matched and echoed in the visual splendor and mania of the spectacular no-way-this-is-going-to-work chase scene where Stitch, Nani, Jumbaa, and Pleakley all team up to rescue Lilo from Gantu.

The arcs of the characters all more or less line up. Nani confronts her own failures to be a guardian and parent to Lilo and resolves to do better and learn from her mistakes. Jumbaa, who through most of the movie protests to be evil and uncaring, nonetheless comes to not only care for Pleakley, but more importantly for Stitch too, and ends up assuming the role he never wanted but nonetheless forced himself into from the start: he is Stitch's family. Hell, the moment that reveals this is really clever - Stitch goes out into the wilderness to try and re-enact a scene from a storybook of The Ugly Duckling, hoping, in a very childish way, that his family will show up and love him. Jumbaa arrives and, coldly but not particularly cruelly, tells Stitch that he has no family - that Stitch wasn't born, but created in a lab by Jumbaa himself. But in that moment Jumbaa is proving himself wrong - because Stitch's creator, his parent, DID show up, and did exactly what happens in the story by telling Stitch the truth of what he is. It can't be a surprise, then, that later in the movie Jumbaa ends up deciding to side with Stitch, to help him save Lilo, and to stay on Earth with his child.

David and Pleakley go from being pushed away by Nani and Jumbaa respectively to essentially becoming their partners in the family. The Grand Councilwoman and Cobra Bubbles finally see how cruel their initial solution of isolating Stitch and Lilo from their family would be, and bend the rules they are supposed to enforce to protect and support this weird found family instead of breaking it apart. Gantu and Myrtle are recognized for the assholes they are and face comeuppance in the form of comedic slapstick pratfalls. And most importantly, Stitch and Lilo both get the emotional support and understanding they need to thrive and live happy lives as children should be allowed to do. It's like poetry, it rhymes.

It's a very precise, smartly written movie. It's a delicate balancing act of tone and emotions, with a very strong theme about the need for family and understanding that hits children in their hearts and imaginations. It's extremely well structured.

...

So it'd be kind of colossally fucking stupid to remake it and start fucking around with the core structure of it, chopping out pieces and completely altering others, with no real purpose beyond "Well, the executives thought it might be better if we did this."