#even though they are on opposite sides

[notmoreflippingelves]

Why is it that my rare pair tendencies are not limited strictly to my hyperfixations of the moment but in like 99% of media that I consume? It's not fair. I just get a tiny little urge for like a day to read a fic or see an art for a specific pairing before returning to my main interest. Only to find that particular pairing that my stewpid brain had convinced itself "must be huge in this fandom because how could it NOT BE?" barely exists--if it even exists at all and I have clowned on myself yet again.

[leftshiftwashere]

BOO!! First art post here

I can't stop thinking about them AAAA me when doomed couples

[my-name-is-apollo]

Zeus 🤝 Apollo : letting mortals make the extremely difficult decision of choosing between powerful gods.

Just imagine them approaching Apollo for this -

Athena: Well, Apollo. Since you are the ancestral deity of this city...

Poseidon: you should judge who the city must be named after.

Athena: so...who will it be? Your moody uncle or your capable, intelligent sister?

Poseidon: don't forget that I helped your mother when she was pregnant.

Athena: I escorted you back to Delphi after you got purified.

Poseidon: I gifted the entire Delphi to you.

Athena: I was actively rooting for you during your match against Marsyas.

Poseidon: We both served together as slaves for a year!

Athena: I voted in your favor during the trial of Orestes!!

Apollo, sweating profusely: you know what! I have the perfect solution for this situation!

[i-am-become-a-name]

anyway I think the holographic implants should be permanent and from now on Tegan, Ace, and Yaz should, at the most emotionally needed or hilariously inconvenient moments, be haunted by their best friend and actually have a chance to talk with them.

[lucystolethesky]

wild blue & orange yonder

[coquelicoq]

i haven't even tried to take a nap. i've just been staring at lists of hanzi radicals for hours, thinking to myself, wow, this would be a lot easier if you just memorized some hanzi radicals.

[goldensunset]

amazes me that people can remember information about routes in pokémon games. like ‘i loooove route 217 ❤️’ ‘route 209 has such a banger theme!!!’ ‘have you made it to route 225?’ ‘you can find this rare pokémon on route 210!’ bestie those are numbers. those are just numbers to me how do you remember which area is which. i think i have a general idea of most of them but i still have to look them up every time i need to refer to them in conversation

[chongoblog]

the universe is so adamant that you don't play vampire survivors that it fucking killed sonic THE hedgehog

Nice try universe. Sonic will still be just as dead tomorrow.

[wonder-worker]

Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.

Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].

The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.

[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."

-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"

[biceratops7]

So what is up with “Edward better watch his step”?

This post by @asneakyfox really forced me to actually put into words how I interpreted the implicit meaning of this line. Cause when you think about it, it can get real abstract, a one to one… well anything involving this line I think is too simplistic. Interpersonal interaction of any sort really boils down to a tangled web of intention, interpretation, past experiences, hidden fears, hidden desires, etc etc the list goes on.

Ed becoming the kraken is a result of trauma, and although as omniscient viewers we may see this an overreaction (I think we can at least mostly agree it’s maladaptive and he Should Not’ve Done It), Edward has literally every reason to believe the opposite. We know Ed is the protagonist of a romantic comedy. He does not. This man was reared in two very physically abusive environments, with peers that were all “in various stages of fucking each other over”. Any threat by someone capable was likely acknowledged and heeded in one way or another. As the original post pointed out, Izzy has already proven willing and capable with the whole navy stunt. It’s not that Ed is being overly paranoid, it’s that assuming safety is not the done thing.

And I think a lot of times people get caught up on the details of it, like what specifically Izzy would do, how he’d logically be able to execute it, etc. As if the actual logistics of it being mulled over and proven unrealistic (which again we can only know with audience clairvoyance) would immediately deem Ed irrational. I just don’t think that’s the point. The threat can be any number of thing, it doesn’t necessarily have to be physical violence enacted by Izzy, fuck, Ed doesn’t even need to have a clear idea of what it means. He’s already playing with uncharted territory, trying for the first time to concretely initiate a way of life he’s never known before. And while it makes him happy, it does naturally erode the only defenses he’s learned. Ed’s strange look up towards the deck while the crew shouts for another song? That’s fear of the unknown. If his own crew thinks of him as a silly novelty now… then how will the rest of the world see him? What does Ed think will happen to him in a vulnerable state without the bloodthirsty legend he’s carefully armed himself with piece by piece for decades?

I think we already know.

Izzy’s threat was probably not consciously interpreted as intent to hurt, definitely not to kill. But if Izzy’s idea of “loyalty” to Ed was getting the British to rip his closest loved one from him one way or another… yah man not a good look. If I was Ed I wouldn’t know what the fuck was about to happen, and I wouldn’t be in any state to fuck around and find out. In terms of what Izzy actually meant, I think he truly believes Ed needing to “watch his step” is a natural consequence of what’s taking place. We consistently see him in that toxic and self-centered mindset of “I need to hurt you to save you from a worse fate. I don’t want to, but you leave me no choice.” In an uncertain state where both men are trained in an environment of caution, I honestly don’t think either of them know what Izzy really intends, or what he’s trying to warn. Izzy just believes danger is either inevitable or necessary, and Ed has no reason to doubt him.

[rubysevens]

lupcretia really was it and will be it forever and ever amen

[6blackfilin9]

How can u make Odin so cute???? Ur artstyle is amazing

i had no choice i'm afraid

[empty-blog-for-lurking]

I wasn't able to talk about it because my internship went from 9 to 9 and i just got home..... But like y'all have no idea how much of a shitshow voting count today was. Nov 5 ass type of elections

[un-pearable]

i know very well why YJA is so popular and the dominant take on the dc universe for so many people (it’s a well made show! i sincerely enjoyed the first few seasons! i get what makes it popular) but it’s completely poisoned for me because of how much it’s completely fucked using the internet to look for actual young justice content. even the producers didn’t want to call it that i’m eternally going to be pissed that they successfully overwrote a fascinating segment of dc history with a blandass rework of the teen titans that had a grand total of one young justice member in it’s original lineup and they reduced him to a cardboard cutout. they don’t even call themselves young justice! ever!!

[the-eldritch-it-gay]

writing some bits of inspo for a piece I've wanted to work on for Wyll and Majexatli and sometimes I write smth and I just need to lie down. The piece is the one I'm writing set in act 2 set after the dance, where Wyll stumbles across Majexatli hunting and eating in wildshape and the kinda big reveal of all the stuff going on with Majexatli they've been hiding and typical Majexatli thinking they're a monster that Wyll should kill.

And I'm just writing random bits that come to my mind to get an idea of a story or everyone's frame of mind and I have this piece.

“I did this selfishly. I didn’t protect anyone. I became this to survive.” “Why do you see your survival as a sin?”