#because the driving is just too much

[timoswerner]

[uncanny-tranny]

This might seem like an "old man yells at cloud" situation, but it's just wild growing up and being told how dangerous distracted driving is - how, at highway speeds, you can traverse the length of a football field (100 yards, 91 meters) in a matter of seconds - how one split second sending a text while driving could result in a potential fatal crash, and then getting on the road as a driver and being surrounded by billboards. Their entire purpose is to catch one's attention, so they're lining major roads, which tend to be highways. How is it that you're told how important it is to never be distracted while driving, but still being advertised to?

At best, this type of advertising is an eyesore to pedestrians and motorists and a general waste of electricity to light it, and at worst, it is an active danger considering they are there to advertise and therefore, must catch people's attention.

I'm not even against advertising in theory, but this particular mode bothers me so much and I hate how pervasive it is - especially in large cities or highways.

[cavennmalore]

with the amount that the main series dunks on the forbidden cities i would just love for unraveled to be just an unabashed celebration of humanity. like yes there is poverty and pollution and crime but also there is dancing and music and rollercoasters and scary movies. let keefe discover the beauty here! the first book was all about the wonder of the lost cities but unraveled could be all about the wonder of the forbidden cities

[seiwas]

there is a very specific image in my head of early-mid 20’s iwaizumi hajime

[carolperkinsexgirlfriend]

Steddie Upside-Down AU Part 87

Part 1 Part 86

Mom’s hovering in front of the door, a knife in her hand, trying to get the rest of them to get away from the window. It’s not working. If anything, Max’s nose only presses more firmly to the glass with every request she makes.

Will’s hovering just behind her, desperate to keep Steve and Eddie in his line of sight. He can just barely see the wisp of a curl through the side window of the van, bouncing as Eddie moves around inside.

He squints, trying to keep the hair in sight as the movement becomes more erratic.

Will hears glass breaking just as he loses sight of Eddie entirely, wisps and all.

He rushes past his Mom, using the weight of his body to open the door, even as she stands in the way. It’s almost involuntary, a compulsion to follow the thread that Eddie’d pulled him by.

“Will, don’t!” she cries, but it’s too late. He’s out, and through.

Mike calls after him, too, and there’s the sound of tennis shoes stampeding out of the house behind him. Will only hopes he’s not leading them all to their impending doom.

Bodies slump into the driveway, none of them human. They’re like if the Demogorgon had followed a different evolutionary chain. Dustin would find it fascinating. Will just wants Eddie and Steve back.

Wayne’s still standing sentry, looking out across the street, waiting for more monsters to creep in from the darkness, Barbara by his side.

Shielding the entrance to the van, is El.

“El!” It’s Mike, because it always is. He sounds so genuinely elated that something curdles and dies in his throat. He swallows it down, hopes it decomposes in his stomach, so he never has to look directly at it. “You came!”

El smiles, happily at Mike, then around to all of them. “Of course.” She looks over at Max, and she’s frowning now, that way she does when she doesn’t understand something. It used to happen all the time. Now, it’s rare.

Will doesn’t care, can’t when Eddie’s too quiet in the van somewhere Will can’t see. He pushes past her, too.

There’s a misshapen, monstrous foot sticking out of the broken window. He stares at it for a second before swinging the door open. It wrenches the foot strangely, makes it crack and tear with the resistance of the door before it breaks free, black blood flowing like the thing’s still alive. 

It stays still. 

Will looks past it, and finds Eddie’s pale face.  

There’s glass in his hair, and his palms are bleeding where they’re held in front of him, but he’s breathing. Alive. And he’s looking up at El like she’s answered all his prayers. Will and Eddie have been sharing the same prayers from the same broken pews for so long that for a second, Will thinks Steve is back. 

He scrambles over the dead thing blocking his entrance. It’s cold against his palms, flesh barely giving as he crawls hand over feet atop it. But, Steve’s still just sitting there, blinking, Carol huddled into his side like he can protect her, even like this.

“Steve needs your help,” Eddie says, plaintive. Begging with both voice and unblinking eyes, gaze locked on El’s own until she breaks it to look at where Steve still sits, unbothered.

Her brow furrows, eyes squinting like she’s peeling off layers of skin and meat to get to whatever’s underneath. “He’s lost?” she asks.

Carol is squinting at El like the words aren’t clicking for her. She looks back to Steve, then back to El, brow furrowing with anger.

Eddie nods. Will clears his throat. “Not like last time,” he clarifies. “He’s here, but his mind isn’t.”

El nods, decisive. “I will help.”

“What the hell are you all talking about!” Carol demands, even as people scatter around her, setting up for El’s latest rescue mission. “He’s right there!”

She’s not looking at Will, though. She’s looking at Eddie like it’s all his fault. Still, when Steve doesn’t say anything, her lip wobbles as she turns and asks, “right Steve?”

He doesn’t answer, even as she calls again. Will looks away when she bites her lips, eyes wide.

It’s easier this time. They don’t have to break into the school, don’t have to find a pool. El just sits cross-legged in front of Steve on the carpet, careful to stay away from the broken glass and the dead thing. Mike covers her eyes with Wayne’s flannel while the man himself switches the radio dial until he finds one with enough white noise to satisfy.

He can’t quite tune out the murmured conversation between Eddie and Carol, though, no matter how hard he tries. Eddie explains, in clipped, emotionless words, that something, one of the monsters from the other place she’d just gotten a taste of, has taken over Steve. 

“But we’re getting him back?” she asks, voice shrill and breaking, contrasting with Eddie’s own even tone. A veteran to the newbie in the warzone. 

Will, suddenly, feels terribly old. 

“Quiet now,” El demands. 

Eddie looks away from Carol without answering. There is no answer to that question when they’re all subsisting off hope, and not much else.

“Tell him we’re coming, okay?” Eddie asks. He’s looking down at his own bloody palms now, like he can’t bear to look at their last bastion of hope and wait for it to flame and go out. 

“Ask ‘im how to stop the thing taking ‘im over,” Wayne interjects. 

Eddie’s lip wobbles. Will knows how he feels. He doesn’t want Steve to know, if he’s in there at all, that they don’t know what to do. Neither does Will. He wants to save Steve. He always wants to save Steve.

But, Eddie finally looks up, meeting Will’s eyes before nodding. The movement knocks a tear free, but his voice sounds clear when he says, “Ask him how we kill the fucker.”

El nods, shoulders settling as she reaches out to take Steve’s hand. The white noise blankets them all. Will settles down to wait. 

That’s what they always do, when Steve is dying: they wait. This time is no different. 

Part 88

Taglist: @deany-baby @estrellami-1 @altocumulustranslucidus @evillittleguy @carlprocastinator1000 @hallucinatedjosten @goodolefashionedloverboi @newtstabber @lunabyrd @cinnamon-mushroomabomination @manda-panda-monium @disrespectedgoatman @finntheehumaneater @ive-been-bamboozled @harringrieve @grimmfitzz @is-emily-real @dontstealmycake @angeldreamsoffanfic @a-couchpotato @5ammi90 @mac-attack19 @genderless-spoon @kas-eddie-munson @louismeds @imhereforthelolzdontyellatme @pansexuality-activated @ellietheasexylibrarian @nebulainajar @mightbeasleep @neonfruitbowl @beth--b @silenzioperso @best-selling-show @v3lv3tf0x @bookworm0690 @paintsplatteredandimperfect @wonderland-girl143-blog @nerdsconquerall @sharingisntkaren @canmargesimpson @bananahoneycomb

[milogoestogreendale]

god community has this way of writing character flaws that makes everyone so easy to connect with. annie is headstrong and uptight, troy is insecure and desperate to be loved, abed has trouble with people but desires connection, jeff uses sarcasm to mask his self-loathing, britta wants badly to make a difference but her activism is superficial, shirley defines her role in the group based on what she can give to others

and these are all supposed to be “bad” things, yet they’re the traits that make the study group so sympathetic and so human

[caspersscareschool]

he literally sews his kids stupid little outfits from scratch does anyone even fucking care

[rainedroptalks]

Everyday I think about Penelope Everpetal and feel like ripping my hair out

[nightgoodomens]

There’s something about duality of fandoms, on one hand there’s so many cool metas and gorgeous arts and you meet your friends… and at the same time so many shitty opinions and the fandom literally giving you creeps at certain points - to the point that you’re starting hating some ideas and they’re ruining your mood and you realise you need to step away because soon you won’t even be able to look at that tv show anymore.

[marrfixated]

Hi. Priya being adopted by Alejandro and Noah. Bye.

[vanellopes-mun]

Vanellope VS. Turbo: A Mini Analysis!

There are a million reasons why Turbo’s reveal in Disney’s Wreck-it Ralph is such an iconic and memorable scene. A scene that I and many others have replayed ever since 2012 and its impact has never left our minds. It solidified King Candy/Turbo as one of Disney's top villains ever created, surprising and shocking viewers with a plot twist that Disney hasn’t been able to overthrow with their other movies before they abandoned villains until King Magnifico but he sucks so. He WISHES he was as charismatic as King Candy plz-

But this analysis isn’t just about King Candy/Turbo, it’s also about Vanellope Von Schweetz. She’s the most important ingredient to making this scene work and play out the way it does and ultimately why it’s so fucking cathartic. ( More so than Ralph’s fight against Cy-Bug Turbo in my opinion) After watching how it was originally story boarded, the crew behind WiR perfected this scene with a specific detail that they changed. In the early storyboard, Vanellope causes King Candy’s vehicle to crash, causing him to glitch and transform into Turbo in front of the cameras. While I love love love the extended race between Vanellope and King Candy and sort of wished it could have been longer in the actual film, I am content that they didn’t go with the direction. In the movie, King Candy is revealed after trying to beat/kill Vanellope with his horn rod/pole thingy from his kart, she grabs it and glitches due to stress/adrenaline/her emotions, her blue glitch traveling through the cane and making contact with King Candy, finally putting down the facade he had on for 15 years and revealing him as Turbo to the characters in the film and the audience. It’s such a small detail, it only happens in a second, but it’s all it took for the start of his downfall and his eventual demise. 

And this is why it brings me catharsis every time I watch this scene. I could never put it into words before, but it’s beyond satisfying that the end of King Candy’s horrible reign starts with Vanellope and her glitch. The very same glitch that he caused trying to delete her code and remove her place from the game. The glitch that he used as an excuse to turn everyone in Sugar Rush against her. He usurped her throne and tried to ruin her life. Despite this, he still had the audacity to shout “Get off of MY track!” earlier. It brings his Roadblasters incident back up, it was his choice, trying to steal the thunder of another racing game that just got plugged in because he couldn’t stand the idea of anyone taking his place, only for Turbo Time and Roadblasters to be unplugged. All of this circling back and biting him in the ass. Vanellope was the key all along and he knew it, he feared her despite never really having a conversation with her as far as we know (Vanellope asking Turbo “What the-?! Who are you!?” leads me to believe that if they did converse in the past, it was not in his true form and he was most likely already King Candy. Plus it just goes to show how fast he hijacked Sugar Rush), but you can just tell by how desperate he was to keep her from racing, he didn’t want anyone to take his place ever again. 

So the scene continues and his famous line and breakdown goes as this: “I’m Turbo! The greatest racer ever! And I did not reprogram this world to let YOU and that halitosis riddled warthog TAKE IT AWAY FROM ME!” It’s just so ironic, unfair and hypocritical of him it makes my blood boil! And the way he’s raising his voice, jabbing his finger at her and Vanellope’s trying to shrink away from him as he yells at her face before he tries to murder her I just- So cruel, scary, wicked and disturbing! But Vanellope, this brave WARRIOR, is reminded of her glitch after Turbo calls her for what he believes is the last time. “End of the line, Glitch!” She takes a moment, everything slows down around her as she tries to control her glitch to escape Turbo. She glitches away, missing the wall and It ends up saving her life! I just cannot stress enough how beautiful that is! She used her disability, that everyone thought would simply doom her and the game, and embraced it when she needed it most. Her glitch, while it was suddenly given to her by circumstances she couldn’t control or prevent, she took control back. It’s her beautiful superpower and it’s empowering. After this scene, it’s the “end” of Turbo before he gets nom’d by a Cy-Bug. ( I want to note that he later says “I’m the most powerful VIRUS in the arcade”, part of me wants to believe he said that because clearly Vanellope bested him as the greatest racer ever but I doubt that was their intention lol)

They’re the embodiment of Selfishness vs. Selflessness. While Vanellope had everything taken away from her, she didn’t follow the same path as him. Turbo had everything taken from him, but it was his fault and he only ever thought about himself, never about the destruction he left behind. Hell, all she ever wanted was to be one of the racers, no matter how much they bullied her and ostracized her, she never ended up being evil like him even though it would be a perfect recipe to become a villain, this is also what makes her a mirror to Ralph.  (Remember in that one deleted scene where she said she wanted to break the racers’ legs but come on can you blame her!?!?! She was so real for saying that.) VANELLOPE IS MY FAVORITE CHARACTER EVER AAAA. 

Before I ramble any further, I will forever love the choices that the writers made for the climax and it just ends up being an absolutely perfect and brilliant scene and I will continue to rewatch for the millionth time. 

[taleweaver-ramblings]

"You Can't Kill Us" (You Can't Kill Us) || Icon for Hire

[milfcamilanoceda]

I feel like a lot of "Camila shouldnt have been a nerd, it should have been Manny and Camila should have been the neurotypical one." Criticism fail to take into account the inter generational trauma that exists in POC families especially POC neurodivergent families. Like the criticism boils down to this- "Luz comes across more of a jerk as she wasnt That lonely. Camila would have been more understanding of Luz if she was actually neurodivergent and would not have try and send her to the camp" and i am like no, no she wouldnt have. Neurodivergency in people of colour often goes undiagnosed especially if they are women of colour and especially if they are from older generation. And often times these older folks grow up to believe that the neurodivergent issues that they dealt with was a failure on their part rather than you know, them being neurodivergent. Which is how we get adult parents who say shit like, "Oh everybody has [a very specific symptom of a neurodivergent brain]. You just got to go through it [aka i did not get any support growing up and had to deal with this on my own]."

And this to me fits Camila and Luz. The way i interpret the problem was that it was never that Camila didnt understand Luz, but rather that she did understand her while not understanding herself. She saw her own self in Luz, her own isolation and years dealing with bullying and treated as an outcast but never stopped to examine WHY it happened to her. She didnt want Luz to go through what she went through so she turned to what worked for her, trying to change yourself to fit even if it meant hiding parts of herself. And this is ultimately what caused their relationship to falter. Add Manny's death and them being new in town further resulted in both of them, especially Luz being isolated and outcast, from the town and from each other. And ultimately them coming to an understanding, with Camila admitting her nerdy side to Luz and to herself was what helped their relationship and truly let Luz to discover what she truly want and thus hatching her palisman.

Should toh have had explored Luz's loneliness and isolation better? Absolutely! Did Camila try her best especially as a single mother? Yes! Has Camila contributed to said loneliness and isolation? Also yes! Camila to me is the opposite of Eda. Where Eda was the neurodivergent kid who grew up fighting the system to be herself, Camila was the neurodivergent kid who grew up to accept the system thus rejecting herself. Which was why Luz flourished much more and felt more accepted under Eda's tutelege than she did with Camila, and i wish this is the angle toh explored more.

And look i dont want to begrudge anyone who feels the other way and doesnt agree with me. They have the right to their own interpretation which are based on their own valid experiences. But i prefer this interpretation a lot more to theirs.

[uncanny-tranny]

It's so hard to fully encapsulate my rage at just how much people buy into the idea that capitalism will uniquely incentivize people to innovate when... it isn't about innovation. It is about profit, and those two things are not mutually inclusive ideas.

Maybe I'm getting too old, but all of these "new innovative" ideas were shit we had in ye olden days - movies, renting, delivery services, taxis, housing - we had all of those services, except now, it's exorbitantly more expensive because of price gouging.

You aren't witnessing innovation; you are witnessing the modern invention of the wheel behind a ludicrous pay wall.

[dancingfaces]

CEMETERY DRIVE (2004)

MCR Horror Movie Posters Day 1/∞

[thedawningofthehour]

Here, i just want to share this scripts from those episodes WE'RE robbed.

Like, shut up Draxum, who are You to Say what a witch can ride.

I love the subtle hilarity of Donnie giving Leo a driving test. Which has absolutely no point to it, but Donnie agreed to do it and actually seems to be taking it seriously. (this entire premise seems to hearken back to Leo driving the Shellraiser in 2012 because "he's the only one who can be trusted not to run into things for fun," when Rise Leo is the exact person who would do that)

And it totally tracks that Leo's an inexplicably a great parallel parker. Though I do object because Leo is obviously gay, and it's a well-known fact that gays cannot drive.

This is also a good example of the writers subtly informing the audience of the passage of time. Donnie and Leo were canonically fourteen at the beginning of Rise, and by explicitly stating Leo is old enough for a license it tells the audience that Leo and Donnie turned sixteen off-screen.

Which is kind of bullshit from Mikey's perspective. Donnie built the tank pretty early on in the show, when he was likely still fourteen, Raph was fifteen at the start of the show, and they're both seen operating the tank right away. Mikey's literally older than Donnie was when he started driving. I get why he's mad!