#he could be great!

[residentmiddlechild]

okay you know what it is for me it's the fact that I'm worried they don't understand Reed's character based on Pedro Pascal's normal type of character. I like the rest of the cast. I'll be happy as long as they don't replace Reed's canonical personality with just Pedro Pascal or like the Mandalorian. Pedro just seems like the LAST person I would think of to cast as Reed.

[nerdpoe]

Danny is about to be kidnapped in Gotham This is not a good time.

He's studying for the SAT, he's already been kidnapped by Vlad like, four times that week and it was a fucking Tuesday, he forgot his wallet at his new apartment, locked himself out of said new apartment (he could phase through the door but that wasn't the point), he's just been informed that the grant he applied for was denied so he needs to ask his mom and dad for college funds when he'd already told them he had it covered, and just...it was shit.

It had been shit. The entire week had been awful and annoying and he was ready to either murder everyone on the planet or go find a corner to cry in for the next three days.

So when the band of wild goons working for whatever villain of the week pulled up and tried to kidnap him, he snapped.

He used them to vent.

Shouted about how terrible his day had been, how terrible his week had been, how he'd already been kidnapped by his creepy godfather who was way too into him, how college funding was shit and the grant system was rigged, and how he'd have to call a locksmith or break down the door to his own apartment if he wanted to go to bed-all of it. He unloaded all of his frustration.

The goons actually backed off.

One of them gave him an awkward side hug and told him it'd get better.

Danny wasn't paying attention to his surrounding. He doesn't realize that the whole thing was livestreamed.

So when he gets home to his apartment later that day, his door is opened for him by the vigilante Spoiler before he can even turn intangible.

She brought over BatBurger and kidnapped Bruce Wayne, Gotham's bumbling Prince, to talk about college grants.

[whetstonefires]

You know what I realize that people underestimate with Pride & Prejudice is the strategic importance of Jane.

Because like, I recently saw Charlotte and Elizabeth contrasted as the former being pragmatic and the latter holding out for a love match, because she's younger and prettier and thinks she can afford it, and that is very much not what's happening.

The Charlotte take is correct, but the Elizabeth is all wrong. Lizzie doesn't insist on a love match. That's serendipitous and rather unexpected. She wants, exactly as Mr. Bennet says, someone she can respect. Contempt won't do. Mr. Bennet puts it in weirdly sexist terms like he's trying to avoid acknowledging what he did to himself by marrying a self-absorbed idiot, but it's still true. That's what Elizabeth is shooting for: a marriage that won't make her unhappy.

She's grown up watching how miserable her parents make one another; she's not willing to sign up for a lifetime of being bitter and lonely in her own home.

I think she is very aware, in refusing Mr. Collins, that it's reasonably unlikely that anyone she actually respects is going to want her, with her few accomplishments and her lack of property. That she is turning down security and the chance keep the house she grew up in, and all she gets in return may be spinsterhood.

But, crucially, she has absolute faith in Jane.

The bit about teaching Jane's daughters to embroider badly? That's a joke, but it's also a serious potential life plan. Jane is the best creature in the world, and a beauty; there's no chance at all she won't get married to someone worthwhile.

(Bingley mucks this up by breaking Jane's heart, but her prospects remain reasonable if their mother would lay off!)

And if Elizabeth can't replicate that feat, then there's also no doubt in her mind that Jane will let her live in her house as a dependent as long as she likes, and never let it be made shameful or awful to be that impoverished spinster aunt. It will be okay never to be married at all, because she has her sister, whom she trusts absolutely to succeed and to protect her.

And if something eventually happens to Jane's family and they can't keep her anymore, she can throw herself upon the mercy of the Gardeners, who have money and like her very much, and are likewise good people. She has a support network--not a perfect or impregnable one, but it exists. It gives her realistic options.

Spinsterhood was a very dangerous choice; there are reasons you would go to considerable lengths not to risk it.

But Elizabeth has Jane, and her pride, and an understanding of what marrying someone who will make you miserable costs.

That's part of the thesis of the book, I would say! Recurring Austen thought. How important it is not to marry someone who will make you, specifically, unhappy.

She would rather be a dependent of people she likes and trusts than of someone she doesn't, even if the latter is formally considered more secure; she would rather live in a happy, reasonable household as an extra than be the mistress of her own home, but that home is full of Mr. Collins and her mother.

This is a calculation she's making consciously! She's not counting on a better marriage coming along. She just feels the most likely bad outcome from refusing Mr. Collins is still much better than the certain outcome of accepting him. Which is being stuck with Mr. Collins forever.

Elizabeth is also being pragmatic. Austen also endorses her choice, for the person she is and the concerns she has. She's just picking different trade-offs than Charlotte.

Elizabeth's flaw is not in her own priorities; she doesn't make a reckless choice and get lucky. But in being unable to accept that Charlotte's are different, and it doesn't mean there's anything wrong with Charlotte.

Because realistically, when your marriage is your whole family and career forever, and you only get to pick the ones that offer themselves to you, when you are legally bound to the status of dependent, you're always going to be making some trade-offs.

😂 Even the unrealistically ideal dream scenario of wealthy handsome clever ethical Mr. Darcy still asks you to undergo personal growth, accommodate someone else's communication style, and eat a little crow.

[ilovemesomevincentprice]

Vincent Price guest stars on

The Muppet Show (1977)

[portraitoflestatonfire]

In no universe should Louis de Pointe du Lac be lighting his own cigarettes❗️

[pyralart]

I've always thought he acted like a child...

Also killing him isn't enough, I want to see him break down and cry.

I made a part two!

[taeiris]

okeokeoke mike wheeler who is NOT paying attention to whatever lalalalalala will byers is saying because he’s too lost in his gaze

[hinata-boke]

Drawing a randomly generated Haikyuu character (almost) every day until I give up  

55. Kuroo Tetsurou

[nexusconjunx]

Listen. To me, one thing that makes a tumblr sexyman is their ubiquity. You are not searching for them. You are not looking into their tag. But you see them. Onceler. Sans. Reigen. Fandoms you are not into, but still they cross your dash. They are everywhere. You cannot escape. They are giants passing in the distance.

That is to say, Buggy the Clown may be the first state mandated tumblr sexyman.

[thepunkmuppet]

HAPPY GERARD DAY HELLSITE!!!!!!!

YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!! YIPPEE!!!!!!

[your-turn-to-role]

moment of appreciation again for what is possibly my favourite later game percy quote that everyone always forgets about

(said to vex, of course)

[decaffeinatedpartymuggoop]

Instead of the “Jason vs Percy” rivalry we should have gotten Annabeth vs. Jason but instead of a fight for power it’s them having a battle of autism cause their special interests were Greek myths vs Roman myths.

Jason calls a Greek god by their Roman name and Annabeth pops up out of nowhere and goes “erm, actually”

The 7 is talking about some landmark and Annabeth and Jason start arguing about which pantheon it was dedicated to.

“It’s amazing right? It was dedicated to Athena.” “Erm, it was actually built for Mars…”

[revvethasmythh]

On the topic of FCG potentially being reincarnated--it makes sense as an option the party might organically consider attempting, but, as we saw with Laudna's death (and even Percy's way back when), input from the player is a really operative aspect of whether a character will be resurrected. Marisha clearly did not want to let Laudna go, so they pursued a long road to bring her back. Alternatively, Taliesin was totally willing to let Percy go if he thought the ritual offerings wouldn't be enough (shoutout to Vex's nat 20 persuasion check for this one).

And Sam? Well, Sam, as a player, loves to fail. Because failing is interesting, usually far more interesting than succeeding. We're talking about a guy who openly derides luck points and fervently refused to use the halfling luck feature except in the ONE instance where succeeding the roll would have had a worse outcome than failing. Regardless of how I or anyone else feels about losing FCG and/or wanting them back, Sam does not strike me as the kind of player who would want to bring FCG back after going out like this, available reincarnation or not. I would both suspect and anticipate that this will be FCG's final showing, just based on what I know of Sam as a player

[ineffable-baker-street]

it's the fact that crowley became more protective of aziraphale after he thought he lost him in the fire.

he experienced what it would feel like to lose him and he knew he never wanted to go through that again, so in season two he does everything he can to keep him from harm.

he threatens and he fights and he leaves only to return just as quickly, and he makes the promise "i won't leave you on your own" because the last time he left in anger he came back to find that aziraphale was gone.

and if he has to experience that heartwrenching grief that had him sobbing on the floor of a flaming bookshop ever again then what would be the point of it all?

[sneez]

pathologic but it's a lost 1920s german expressionist film [id under cut]

[id:

image 1: a digital drawing of a fake poster, using bright colours and rough, painterly brushstrokes. the title, 'pest' (german for 'plague'), is written at the top in spiky black text. in the foreground a man dressed as a tragedian is staring intently at the viewer, his hands raised and splayed as if in horror. in the background, the town is framed against a red sky, with the polyhedron in yellow behind.

images 2 and 3: fake casting sheets for the film, with the names of the actors and the characters they are playing above a black-and-white portrait photograph of them. all the text is in german. in english it reads: 'Pest', a film by Robert Wiene Alfred Abel as Victor Kain Ernst Busch as Grief Lil Dagover as Katerina Saburova Ernst Deutsch as the Bachelor Carl de Vogt as Vlad the Younger Marlene Dietrich as the Inquisitor Willy Fritsch as Mark Immortell Alexander Granach as Andrey and Peter Stamatin Bernhard Goetzke as General Block Dolly Haas as the Changeling Ludwig Hartau as the Haruspex Brigitte Helm as Anna Angel Brigitte Horney as Maria Kaina Emil Jannings as Big Vlad Gerda Maurus as Yulia Lyuricheva Lothar Menhert as Georgiy Kain Asta Nielsen as Lara Ravel Ossi Oswalda as Eva Yan Fritz Rasp as Stanislas Rubin Conrad Veidt as Alexander Saburov and Tragedian Paul Wegener as Oyun Gertrud Welcker as Aspity

image 4: four digital sketches of set designs for various locations. all are strongly influenced by expressionist imagery, using extreme angles, warped perspective, and dramatic shapes. they are labelled 'street 1' (a street lined with houses), 'street 2' (a square with a lamppost and a set of steps), 'polyhedron exterior' (the polyhedron walkway), and 'cathedral interior' (the dais at the far end of the cathedral).

image 5: four digital drawings in a black-and-white watercolour style, showing fake stills from the film. all are similarly distorted and lit by dramatic lighting. the first shows katerina's bedroom, with katerina standing in the centre of the floor. the second shows the interior of an infected house. the third shows daniil staring out of the frame in horror, one hand on his head and the other raised as if to ward something off. the fourth shows an intertitle with jagged white text reading 'the first day' against a dark background.

end id.]

[ryssbelle]

Take it away penny!