#great great great scene

[zipadeea]

Would love to know what was going through Poseidon's head when the third word he ever hears his son speak is literally father in ancient greek

[adventures-in-poor-planning]

On Saturday I hung out with my 84-year-old ecologist great uncle and he stopped in mid-conversation (abt the return of the whooping crane) and very seriously told me that "you can go one of two ways, as a naturalist"; either you keep sight of the hopeful possibilities, or you don't. I'm one of nature's wretched little pessimists but when an old ecologist literally holds your hands in his and tells you, "don't despair," you have to try, I feel.

[milkhorns]

Quality bro time 🌱💅

[nosnexus]

I love Kristen Applebees.

[twilight-zoned-out]

The Ken dance is so magnificent because it’s reminiscent of the Golden Age of Musicals when there would just be artful dance sequences for no reason other than the director wanted to have one.

[karynslee]

christine, christine. c h r i s t i n e . . . 

instagram / twitter

[khalliys]

We're not so different, you and I. Part 1, Part 2

From Critical Role C2 E92: Home Is Where the Heart Is

[hypewinter]

In the middle of a Justice League meeting, Batman feels a tug on his cape. He looks down to see a little boy who could easily pass as one of his.

"Erm," the boy starts. "I frew up."

[turtleblogatlast]

AU where Leo is trapped in the Prison Dimension for months instead of minutes and the only way he gets by with his sanity intact is through recording himself talking to his wrist comm.

When they finally manage to get Leo back and make him rest up to heal, Donnie can’t help but listen to the recordings left behind.

He’s not sure what exactly he’s expecting, only that his subconscious is screaming at him that it has to be heartbreaking, that it has to be torturous.

Instead, what Donnie is subject to is a full thousand hours’ worth of Jupiter Jim and Lou Jitsu crossover fanfiction. More than one part in the series. Spanning well over a million words.

(The worst part is that it’s actually good.)

[poorly-drawn-mdzs]

An unbothered queen has entered, and subsequently left.

[First] Prev <–-> Next

[sculkshrieking]

redrew my favorite Saw IV scene

[cronchy-baguette]

Very late but here’s my annual piece for mulan’s anniversary :D always loved this scene in the movie

[lottie-emie]

Saw Puss in Boots the other day and it was SO good!! Obviously had to draw the Stabby Tabby himself

[stevenrogered]

Alaqua Cox & Charlie Cox as Maya Lopez/Echo & Matt Murdock/Daredevil ECHO, 1x01 “Chafa”

[horang-07]

FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!

i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.

i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.

in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.

this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable

it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.

then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.

he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.

finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.

it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.

in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.

[hazel-callahan]

are you gonna tell isabel?