#highway killing

[if-you-fan-a-fire]

“To Try Two Youths On Killing Charges,” Toronto Star. October 20, 1932. Page 12. ---- Girl Fatally Hurt in Motor Car Crash --- Special to The Star London, Ont., Oct. 19 - Two youths were committed for trial on manslaughter charges in the highway killing of Miss Olive Coonan of Stratford, fatally injured at Silvan, September. They are William John Johnson, 17, West Williams, and Grant Pickard, 23, of St. Mary’s.

Johnson is alleged to have admitted being the hit and run driver who off after his car crashed with that in which Miss Coonan was riding with Pickard at the wheel. Both Pickard and Johnson had been held on charges of criminal negligence.

Johnson’s bail of $3,000 was renewed. Pickard was required to post an additional $2,500.

[essektheylyss]

it's unrealistic that barbarians drop rage just because they haven't attacked or been attacked by anyone in 6 seconds, I sat in 40 minutes worth of traffic caused by government negligence and it's gonna take me another 40 minutes just to stop feeling like I could throw a car through DOT's front window with my bare hands

[mister-heart]

These two are actually so so special to me. Once again I fixate on antagonists.

[mogoce-nocoj]

so now we can all agree that he fucked all of them, right

[actual-changeling]

ellie learns how to draw, and, if she might say so herself, gets pretty damn good at it, especially faces. it helps her ground herself to see happy memories physically stare back at her from her sketch book, her walls, the fridge, and wherever else joel puts up her drawings. he loves all of them, even the very first ones that aren't much more than vaguely human scribbles.

the first year in jackson is a pain, and she spends most of it holed up in their house, drawing, painting (she has no idea where joel gets all the paint from and he refuses to tell her), and once they make it through their first winter together, she feels comfortable enough to show them to other people, too. mostly tommy and maria, and in a weak moment she even gifts them a drawing she made of them and their baby.

she's over at their house a lot, it's a lot more lived in and settled than theirs but they're working on it, and notices some actual pictures, the kind you take with a camera, decorating the living room. it's obvious that they're prized possessions, framed and front and center on the walls. a handful of them show maria and what must have been her family before the outbreak, others are newer. jackson does have some cameras saved for special events, and there are two pictures of them on their wedding day, and even one from a few days after the baby was born.

she doesn't think much of it until their second summer in jackson when she notices the way joel stares at the baby pictures and realizes that all he has to remember sarah by is the broken watch on his wrist. the only tangible memory and it's one of pain and death.

ellie mulls over it a lot, it keeps her up at night and while joel picks up on it, he doesn't press the issue when she refuses to talk about it, though she assures him she's fine.

it takes her another two weeks after her realization to catch tommy alone one afternoon with joel safely away on patrol, oddly nervous and unsure how to phrase what she wants to ask. eventually she manages to explain her idea and the positively soft, distantly heartbroken look he gives her makes her breath catch in her throat.

do you think he would be okay with it?

i think he would love it, sweetheart.

they sit together for hours in his kitchen, ellie is determined to make it look exactly right and urges tommy to not hold back his criticism if something isn't accurate, and by the end, they have missed dinner and her wrist hurts like hell, fingers stained with pencil lead and color, but her chest is brimming with a warm sense of accomplishment.

tommy gives her a frame and she wraps it as well as she knows how to. he insists that she gives it to him alone, but ellie draws him into an uncharacteristically tight hug before she leaves and hides her smile in his chest when he presses a hesitant kiss to her hair. family, she realizes, is pretty damn great.

the waiting is the hardest part. she puts her gift on the coffee table and paces the living room for at least half an hour while she waits for joel to return from his patrol, switching between chewing her lips and biting her nails. by the time he finally walks through the door, she has almost convinced herself to abandon the whole thing and just pretend it never happened, but then joel's there, gaze immediately softening when he sees her, and suddenly she can't wait to give it to him. it's a pretty big frame and the best paper she owns, rivaling some of her larger paintings on actual canvas, and joel has to sit down to open it without running the risk of accidentally dropping it.

i hope you like it.

the quiet tremor in her voice makes him stop halfway through unwrapping it, but she just gestures for him to continue, rocking on her feet.

tommy helped.

when the last of the paper falls away and joel sees her work for the very first time, they both hold their breath at once, even the summer breeze stilling, air brimming with something neither of them have the words for.

joel is looking at a vibrant water color painting of sarah, face at a soft angle as she wonders at a small purple butterfly resting on her finger, hand raised in front of her, eyes and smile shining brighter than the sun, hair a shimmering cloud of brown and gold. a frozen moment in time, sarah forever fourteen, capturing the love ellie feels pouring out of joel whenever he talks about her, a wave of affection and distilled joy that makes her miss a person she has never known.

i thought you might want a happy memory of her to look at, too.

ellie points at his watch, broken glass fracturing the light falling in, hand shaking.

i hope it's okay that i- if you don't want it-

joel's arms are around her before she can finish, cutting off her stuttered attempts, frame safe on the table as he hugs her so tightly her feet lift off the floor and she clings to his neck, relief bringing air back to her lungs. he holds her with his face buried in her hair, and ellie only notices he is crying when she can feel a few stray tears run down her neck. when he sets her down again, eyes glassy even after he dries his cheeks, her knees buckle under his gaze. they're both bad with feelings, bad with words, love shown through touch and gestures, through don't forget to eat, i'll stay with you until you fall asleep, fresh cups of coffee left on his nightstand before she leaves for school, hands searching for each other in the crowd again and again and again, never letting go.

love brought to life by a painting of the daughter that taught him how to be a father, made by the one that helped him find his way back to the light.

thank you, ellie.

they both know it means i love you, too, sarah immortalized on their living room wall where the morning sun illuminates her face with every sunrise.

more rambles in the tags

[zootopiathingz]

I know majority of people think “haha Nick does stupid shit and Judy has to keep him in control” which don’t get me wrong is a funny trope, but I like to think canonly it’s the opposite.

I’m not saying Judy does stupid shit on purpose or for no reason, but she is very case-focused and will stop at nothing to finish her job, even at the risk of her own safety. Girl puts her life on the line multiple times throughout the movie and arguably if it weren’t for Nick she would’ve ended up dead. He is much more concerned with their safety and making sure they both make it out okay from dangerous situations.

So yeah, Judy is just as capable of putting her life at risk, and Nick is the only one actively keeping her alive

[maibearcore]

Love & Home ❤️🌱🏡🌱💖

[ghost-bxrd]

I'm reading the whole Mockingjay fluffy/hilarious headcanons, but defaulting to horror...

Am I the only one who thinks Jason, himself very messed up, teaching a mini Bruce that killing is okay if it's a "bad guy" is going to end with a lot more bodies than even Red Hood would be okay with?

Yeah, Bruce is a smart kid, but he is an eight year old kid, and very traumatized. Kids tend towards binary good guys and bad guys thinking. Elite kid Bruce is... not that likely to get why some bad guys should be spared, or why he can't have fun with (torture) all the bad guys.

I'm picturing Mockingjay killing some teenaged would-be mugger in Crime Alley and being utterly puzzled why Jason thinks this bad guy didn't deserve death.

He was just hungry and desperate? He needed the money to live? Well, some bad guy who was hungry and desperate killed his mom and dad! Would Jason have helped Joe Chill escape if they had caught him?

In Antithesis of Magic Bruce is currently ten! (I think. I haven’t checked but he’s either ten or eleven)

Very young, I agree. But despite his age he has a good sense of right and wrong, and all Jason’s influence did was make him become more flexible in how to deal with the really bad people.

Right now we’re still at the very beginning of the story, and there’s a massive amount of world building and character development still ahead of us. However, Bruce does not kill people himself. And he doesn’t like Jason doing so, either. He understands why Jason does it, and he trusts him enough to only kill the people who truly deserve it, but at the core of it all Bruce would still opt to take the non-lethal route. Which means he probably won’t fall into the rabbit hole too deeply.

Jason and Bruce balance each other out like that. With Bruce’s insistence on keeping it to necessary kills only, and Jason’s refusal to stop killing. A fragile balance, yes. But also one that allows them to harmonize as well as they do.

[stvlti]

Jaime Reyes sucks at driving and here's why

... What's up, Jaime? Is that your girlfriend? Why don't you have a car?

His old man runs a garage and he doesn't have a car ...

(Panel from Blue Beetle (2006) #26)

Throughout the 2006 series we seldom see Jaime drive. He's always carpooled with Brenda and Paco to school, and even after he becomes Blue Beetle full-time it's Paco who drives him around on missions. Which makes sense, considering he got the scarab at 16, leaving him little incentive to learn to drive and drive well when he could just fly. In issue #26 we see him do exactly that: he commutes to a family gathering by flying in in his bugsuit.

So Jaime is not the best driver. He probably drove Once™ and is barred from the driver's seat by everyone from El Paso to his Titans friend group. But no, it's not what you're thinking. He can drive. He just drives like a grandpa. Three miles an hour below the speed limit at all times, uses his blinkers religiously, and waits way too long to make turns because he doesn't trust that the gap in traffic is long enough. He gets to a busy junction and starts sweating bullets. The Scarab is screaming in his head about imminent danger. He's trying to read signals and Khaji tells him to just floor it. Everytime Jaime gets into a car the scarab is screaming about the stupidity of right of way in traffic laws.

The first time Jaime borrows the family car after the scarab fuses to his spine it goes like this:

Khaji: IF I WERE DRIVING WE WOULD HAVE ARRIVED 22 MINUTES AGO

Jaime: If you were driving we wouldn't have enough car left to arrive in!!!! not to mention all the pedestrian casualties!!!!

Jaime can't even help navigate the road with the scarab's built-in GPS system because roads don't make sense to Khaji and it never maps drivable routes.

Khaji: turn right in 500 feet

Jaime: khaji theres no road in 500 feet

Khaji: turn right in 200 feet

Jaime: khaji theres no road, reroute!!!

Khaji: turn right in 15 feet

Jaime: KHAJI IM NOT DRIVING THIS CAR THROUGH A WALMART, REROUTE

(dialogues courtesy of @lemontongues )

In conclusion, Jaime absolutely sucks at driving, thanks for coming to our ted talk

[b4kuch1n]

tdov was like a week ago already but I just wanna say when I came over to vacation slash help my sworn brother move flat he told me, "ever since you said you wanted to get top surgery I've been thinking about it. it's straight up number two on my bucket list"

[todayisafridaynight]

like a dragon ishin, just a week away

[hautenoire]

Here is a list of my all time favorite films in no particular order.

A Clockwork Orange dir. Stanley Kubrick

The love Witch dir. Anna Biller

The Witch dir. Robert Eggers

The Shining dir. Stanley Kubrick

Donnie Darko dir. Richard Kelly

The Silence of the Lambs dir. Jonathan Demme

the Killing of a sacred Deer dir. Yorgos Lanthimos

Mulholland Drive dir. David Lynch

Lost highway dir. David Lynch

Girl interrupted dir. James Mangold

Black Swan dir. Darren Aronofsky

Everything Everywhere All at Once dir. The Daniels

Midsommar dir. Ari Aster

[yourfavrain]

I am badly in love with Vanessa from the fnaf movie.

[unkindhands]

Jojo ASBR: We're stating that Yuya and Keicho never met each other before the events of Diamond is Unbreakable.

Me: Aww that sucks, I was hoping they could have met each other before, like if Keicho had to bring his motorcycle in to the shop sometime or something like that.

Jojo ASBR: However, Yuya does engage in some Keicho apologia

Me: he WHAT

BRO HE'S CAUSED THE DEATHS OF AT LEAST FIVE PEOPLE

[poetriarchy]

interesting part of succession is the motif of transit. botched journeys, journeys that end nowhere—for all there is said about the haunted house stuff, there’s no one location you can call the epicenter of the haunting. the absence of an epicenter is almost the haunting itself. logan and ewan as children are left adrift in the atlantic when their boat’s engines give out, and have to stay silent. then logan builds a company literally named to be a kind of navigation—waystar—and sells cruises, a type of transit that has no goal but entertainment and that ends back where you started. the employees who die on the cruises mean nothing because they exist nowhere, because the journey they’re on and the location they find themselves in don’t really exist in a way that’s meaningful (in the same way that capitalism makes real things false, makes humans into bodies and numbers).

kendall's waiter dies in transit—no real people involved. then logan dies in the air, and even though he is repeatedly held up as the best example of what capital calls a "real person", his death is impossible for his children to believe, because it happened nowhere. and so logan succumbs to the very fate it's possible he was trying to avoid when creating waystar—that quiet, lonely, powerless thing in the hull of a ship that's floating nowhere. the absence of an epicenter is the haunting itself—no one is ever missing.

[shinelikethunder]

did i ever post about the bizarre canon divergence AU living rent-free in my head where fbi agent victor henriksen's interstate fraud + misc other crimes suspect suddenly turns up dead after 1x22 devil's trap, and henriksen somehow catches the murder case and has to follow dean winchester's trail through small-town america trying to piece together wtf was going on here through the people whose lives he touched in passing, all while trying to make sense of the mounting paranormal spookiness in the vicinity of the investigation and also having unsettlingly vivid dreams about meeting dean and/or his equally dead doppelgänger in the black lodge