#as i said i cba

[achilleslyre]

someone needs to make a video edit with obito with that song thats like “i’m untouchable, untouchable” or whatever it is

[avnasace]

(genshin impact 4.1 spoilers)

no but honestly these gave me similar vibes...

[neotomiccccc]

thank you emily for your 8 heart event and its impact on the shane community

[jurassiccraft]

lucinda…… are you free saturday night….

[seagull-scribbles]

This is more an allegory for what's wrong with my soul

[hephaestuscrew]

I want to talk about the significance of which characters defeats the different antagonists in the Wolf 359 finale: Kepler kills Rachel (and vice versa), Jacobi kills Riemann, Minkowski kills Cutter with the help of Lovelace, and Hera and Eiffel wipe Pryce's memories. As I'll argue below, none of those combinations are incidental.

Jacobi and Kepler each get to dispatch an adversary, but, since they've only recently and - perhaps reluctantly - aligned with our protagonists in their aims, they each deal with more minor antagonists. Rachel and Riemann are ultimately following orders rather than giving them, so their defeat - while important - doesn't have the same emotional weight as that of Pryce or Cutter. This is also why the confrontations with Riemann and Rachel each conclude significantly before the confrontations with Pryce and Cutter. (Cont. below cut)

I'd argue that Riemann is the least developed character in the show (of those that are voiced and appear in more than one episode). He's nothing more than a Goddard henchman, and that's deliberate. Jacobi’s investment in this fight is practical, rather than emotional. There's no personal antagonism between the two of them. And this works for Jacobi as a character - his job has always been to “make very big things blow up” and he's only recently started properly putting his own independent thought into who he wants to be blowing up. So Jacobi and Riemann face off against each other in a locked room, with a fistfight and then an explosion.

In contrast, Kepler and Rachel do have personal antagonism between them. It's clear that they have a history of professional dislike. In Kepler's backstory episode, Rachel clearly takes a great deal of glee in mocking Kepler about “Operation Gigantic, Humiliating Screw Up”, and Kepler certainly doesn't seem pleased to see Rachel when the Sol arrives at the Hephaestus in Ep55. Although there are obviously other motivations involved, their petty interpersonal hatred gives an interesting extra significance to them killing each other.

Another way to frame it is that Kepler and Rachel are two people at a similar middle-of-the-hierarchy level who've both been faced with a degree of undeniable evil even beyond what they've previously encountered from (and enacted on behalf of) their employer, and had to decide what they are willing to go along with. Their mutual killing of each other is the result of a conflict between two contrasting potential decisions in that situation. 

It's also notable that while the minor antagonists are each defeated by a single character on their own, the major villains could not have been defeated in this way. The two most significant confrontations in the finale each involve a pair of characters who care deeply about each other standing together against someone who has personally hurt them. 

After killing Cutter, Minkowski acknowledges she “couldn't... have done it... without you, Captain”. Similarly, the way Eiffel and Hera defeat Pryce required both Eiffel's sacrifice (it is important that wiping the mindspace is his idea) and Hera's abilities (it takes a lot of mental and emotional strength for her to enact that plan). The ethos of the show all comes back to that quote from Eiffel in Ep25 that needing help from others “is called being a part of a crew. You ever meet anyone that could get things done all on their lonesome?”

It's important that Hera confronts Pryce - she gets the chance to stand in defiance against a person who has caused her so much pain. Hera gets to assert herself as her own person against the first person not to treat her as one. While I certainly don't think anyone should feel responsible for confronting those who have personally hurt them in real life, it would have been narratively unsatisfying for Pryce to have been defeated without Hera playing a central role. That confrontation is necessary for catharsis and resolution of Hera's character arc. But it's important that Hera doesn't have to do it alone. It's important that she does it with Eiffel, the person she is closest to, by her side. And what's more, in that mindspace, he's by her side in a more literal direct way than he has ever has been before.

Terrifying as Pryce is, it's Cutter who has been our 'big bad' throughout the whole series, the one that we've been aware of since we became aware of larger sinister forces at work in this narrative. And so it's apt that he's defeated by Minkowski, the Commander, with the help of Lovelace. Our two protagonists who have at points been defined by their leadership positions defeat the villain who has been defined by his leadership over them. Our two Commanders defeat the person above them in the chain of Command. 

If Minkowski has a personal nemesis, it's Cutter (as I argued in my Minkowski harpoon essay). Now that Hilbert's gone, the same could probably be said of Lovelace. He's the one who recruited them (and their respective crews, assuming that he was involved in the recruitment of the other members of Lovelace's crew as well) into the hellscape that is the Hephaestus. He's the one basically all of their pain and turmoil ultimately comes back to.

Minkowski & Lovelace's confrontation against Cutter, and Hera & Eiffel's confrontation against Pryce, are both about the harm that's been done to them as individuals. And about the harm done or threatened to their loved ones (including the friend they each stand beside in this particular confrontation). And about their principles and themes around control, autonomy, personal agency, and identity. And about the desire to protect people in general on a larger, global or even galactic, scale.

And all of those resonances work particularly well because of the specific choices made about which protagonists should face off against which antagonists, in order to provide the most effective culmination of the character arcs that have been built over 61 episodes.

[iceman-soup]

autistic!gn!reader x gaz x soap

Talking to your boyfriends in Welsh as an alternative of going completely nonverbal, even though they don't speak the language. The first time you did it - moments away from full shutdown - neither of them understood you, instead sharing confused looks and trying to coax you into helping them figure it out. Eventually they managed it using a translator, and since then it's been a common occurrence whenever you're under or overstimulated.

It doesn't mean you're fully sociable again, of course - just single words to convey a need; usually comfort things like "ci" to go pet one of the K-9s or wrapping your arms around one of them and mumbling "cwtsh". Soap is a little faster to pick up on the repeated ones, responding quickly and often stealing Riley from Ghost for you to cuddle if you need her.

Gaz is sweet as ever, quietly informing Price whenever he notices you start to go into shutdown, and scouring out a dark, less noisy room if you can't get to the barracks. He hovers by you, holding out a hand and letting you decide if you want to take it, knowing you don't always want to be touched. Regardless of what you choose, he smiles and tells you "dewch," his off pronunciation making you laugh a bit.

Often you'll curl up with the two of them once you're in the safe place, fidgeting with their clothes or hair or hands to re-regulate your senses. Muttering to them to become more verbal again, quiet pet names like "fy cariad" followed by pecked kisses; whispering "dw i'n caru ti" to tell them you love them.

translations -

ci - dog

cwtsh - hug/cuddle

dewch - come (with)

fy cariad - my love

dw i'n caru ti - i love you (informal)

[dnpbeats]

i think the whole big fan accounts. it being a thing is kinda interesting cos they absolutely are a thing just in a different way. To me people like Nora and Bethanie are the phannies on tumblr. I’ve seen asks a few times that Bethanie answered where people have told her they’re parasocial about her, i also remember her posting about how many people recognised her at the wad recording shows. With Nora I see regularly people saying they aren’t even phannies anymore and haven’t been for years but they still follow her cos she’s pseudophan

We’ve shifted away from the fan accounts and the fics etc but the parasocial culture to some blogs is still very much in play

yeah I agree! that’s kinda what I meant when I was saying that well-known blogs still exist but it's not the same as Big Name Fans™ ten years ago. bc like sure there's X blog that everyone in the fandom knows, but there's not the culture there used to be where people would regularly identify themselves as fans of the fans yk? (at least not in a literal way)

[danieyells]

[effrvsnt107]

This probably isn’t that good but it’s my first AMV!! This song was mentioned on this really cool tentoorose discord server so I thought I’d take a crack at it.

Shoutout to naaer for mentioning the song, I hope I did you vision justice

[gwenboucharddidnothingwrong]

i think we can all agree that it’s not gonna be as simple as ‘arthur gets his daughter back, john and arthur get to live separately’ right? but what if it was? (well not quite but hear me out)

kayne has shown that he’s able to interact with faroe in other timelines, and also transport people (john and arthur atleast) between those timelines, but would he really be capable of creating a whole new faroe for arthur even if he is telling the truth? or of giving john his own body? i don’t think so.

i reckon that, for kayne to bring back faroe in the ‘middle c’ universe, he’d have to take her out of another timeline, which would cause all sorts of problems elswhere. (although tbh i wouldn’t put it past kayne. he doesn’t seem all that bothered as to what effects his actions have on other timelines). even if arthur got faroe back, would he just be forced to let her go/have her taken away from him because of some interdimentional reasons beyond his control?

also, what’s so special about the arthur in our timeline? i mean, kayne is most likely not even from the ‘middle c’ timeline, and the whole ‘darkthur’ thing shows he’s been following what’s been going on in the other timelines. who’s to say he’s not been making empty promises to every other arthur and john? AND IF HE HAS WHAT WOULD THAT MEAN (does he need the same thing from multiple timelines?? tbh i don’t think this point is particularly likely, but just putting it out there)

and as for john getting his own body - he wouldn’t be getting his own back. unless kayne is planning on reuniting him with the king in yellow, where the hell would he be getting that body from? would it be human? would it not? (OR HE COULD JUST PUT HIM IN PARKERS DEAD BODY SSJSJDJGJKFJGG)

the promises he made them are really vague which makes me think he’s definitely not giving them the full picture of the deal they’re making (i mean considering it’s kayne we’re talking about i guess that was a given but still).

also i get that, considering the threats that kayne has made, they don’t have much of a choice but to do what he’s told them to, but what about the repercussions of giving kayne what he wants? it’s clearly not gonna be anything good, and now i come to think of it we know next to nothing about his actual motives. so far he’s pretty much just showed up, killed people, and caused problems.

i’m gonna be real i wasn’t paying that much attention at this point in the episode so i can’t actually remember exactly what he wanted arthur and john to get, but considering the threats he made to make sure they didn’t have any option but to do what he wanted, it’s gotta be really important to him.

and tbh, i’ve got a feeling kayne is working for someone, or atleast being made to do this. he went to some pretty big lengths to prove to john and arthur not only how much power he had, but to make it clear what he was willing to do with that power. i don’t actually have much evidence to back this point up tbh but IVE GOT A FEELING ABOUT IT OK

and also why does he need arthur to do it? is it arthur specifically that he needs for whatever reason? i mean that would make sense, why else would kayne be forcing him to do it, and why else would he have gotten john to try and make arthur get that stone (was that what it was? again, i’m bad at following for the whole hour) in new york.

but has he made them do whatever it is because he knows something will happen? has he made all those promises to john and arthur knowing it won’t matter either way because they aren’t going to make it back?

tldr, even if kayne were to give john and arthur what he said he would, there’s no way it would be as simple as he says it is

(wow, didn’t expect this post to go on for so long, well done for reading if you got up to here, have an unrelated doodle i drew in my physics book below the cut and go drink some water or something)

(his name is jumbo!)

[racewinnerlandonorris]

when you remember it’s race week: 😁😍😊🥰😁

when you remember it’s sprint race week: 😩😭😤

[pissywiser]

im in an evil mood 😈

despicable who ! 😝😝😝

[hella1975]

Girl you need to try out retail or something other than catering 😭 Don't stand for shitty work places like that. A company is much more likely to be better managed than a resteraunt in my experience

just tell me to kill myself

[thedissociatives]

once again considering getting my eyebrow pierced

[galaxseacreature]

me, plotting: they will offer me step b which sucks. ultimately I would accept step c.... but d or e would obviously be preferable. it sounds outrageous but I think I should ask for f to lure them into meeting me in the middle

my boss: we are offering step c

me: ... well now you've thrown me off my rhythm