azula as zuko’s evil advisor is so funny to me i actually fuck so hard w this concept. she gives zuko advice and then zuko looks across the room to sokka and sokka just discreetly gives him a thumbs up or thumbs down. one weekend sokka, aang, mai, toph, suki, katara, and anyone else who might have a modicum of common sense all go out of town for like. omashu coachella or smth. and when they come back the entire palace is in shambles, zuko’s just sitting on his throne shinji style, and he’s just like “i’m so sorry….. her advice seemed so cogent….. she made trickle down economics seem so reasonable……. why weren’t you there….. YOU SHOULD HAVE BEEN THERE, GODDAMMIT!!!!!!!” while azula slyly sips from a cunty chalice she had personally made just for moments like this.
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Picture this: the year is 1862, you’re young and gay and French and reading the latest spicy queer romance novel known as Les Miserables. You get to Chapter 23 and read the damned words “permets-tu” and realize too late that Monsieur Hugo has just pulled a hurt/no comfort on you. How the hell do you cope? How do you survive?
Like, did people get out their ink and parchment and write fluffy fix-it fics to pass around at the cafés? I bet they fucking did…
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i’m reading the traitor baru cormorant and the best way i can describe the experience is that it’s like if gideon the ninth was told from harrow’s pov. i do not know what’s happening. i need an unreliable jock narrator to gloss over all the political machinations and tell me how hot (or not) everyone is
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Years later and the Justice League are trying to figure out who this Phantom character is. Batman is doing some digging on his more recent past (ignoring that stuff from before y2k)
He finds some stuff about Amity Park and decides to pay a visit
Cut to Wes being interrogated by Batman about his on blogs claiming Danny Fenton is Danny Phantom
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i’ve never been as angry on behalf of a character as i am for sam winchester
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it’s kinda funny to me how that dumb scene in kiwami 1 of majima getting shot and left for dead in the harbor was basically just added as a half-assed way to explain majima not being around for a bit of the plot, but they accidentally(?) just made it seem like start of a chain reaction where majima ended up feeling slighted and heartbroken after being abandoned like that and then lashed out about it via smashing a big truck into the building kiryu was in. and yeah that isn’t inherently a romantic thing as-is but then they go and add the part where majima grabs a hostess and performatively hits on her as in-kiryu’s-face as possible, she says she’s already in love with someone, and majima lets her go immediately, no questions asked, making a big fucking point of it just to say see THAT kiryu? I appreciate when people are HONEST about their FEELINGS. people who won’t just BACKSTAB someone who CARES about them to save themselves. is that so crazy kiryu?? huh??? anyway make it up to me get down here and fight me right fucking now
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as true as the jokes about “everyone wants to rewrite ninjago” are i feel like smthn people forget when complaining about the inconsistencies of the show is that…. it wasn’t planned? it’s not like most other animated shows lately - it didn’t start with a deeply fleshed out world or a meticulously designed pitch bible with grandiose plans for a long-term story or character arcs. the ninja don’t originally get their powers from heredity because they weren’t hereditary powers yet. the magic system doesn’t make sense bc they literally just made it up as they went! they go back and forth on stuff like whether non-elementals can learn spinjitzu bc it’s a collaborative piece of media made by people with vastly different levels of control over the story, the animation, the sets, etc. that varied over the course of the series. it’s totally understandable and exciting to see so many people reworking the early stuff with the lore and logic later seasons introduced but i personally feel that… if you’re doing that. you need to understand why the show is like that instead of writing it off as being bad and shitty. it was working with what it had. it’s only what it is now because of that awkward troubleshooting phase, not in spite of it
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there is a hollowness inside of rich kids that truly terrifies me.
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(Explore) Why do I get stuck with a new narrator? Where’s the one for this story?
Hrng. The second time is somehow more startling than the first.
But hey, no need to snap at me. I’m just as confused as you are! I’ve no clue on the whereabouts of this story’s narrator, maybe they accidentally lost this story and I happened to find it thinking it was Stanley’s story.
Or maybe we both switched our assignments while bumping into each other in the Narrator Headquarters.
(Just to make it clear: this was a joke. There is no narrator headquarters, we all work independently from each other. Or, at least, I do. Hm. What if there is a Narrator Headquarters? Why haven’t I been invited to it then? No, no, there isn’t. I’d be invited if there was.)
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there’s a horrible sickness in me that makes me want to stop and replay da:i whenever i start a different game. how am i supposed to resist the story of my own unwilling apotheosis? especially as lavellan, who doesn’t believe in the maker and who has every right to hate and mistrust the chantry but chooses to use what power they have to try save people, to fix what’s broken, no matter how afraid they are or how careful they have to be. walking side by side with the great trickster god/adversary of your people without knowing, befriending him, changing his mind about this world but ultimately not his choice. he understands what’s happening to you because it happened to him once and he gives you his castle, built over the place where he sundered the world, and paints your story there in frescos that will last long after you’re gone and after the story has been retold and reshaped so many times that the truth of who you are and what you did is lost—just as he did his own story, which was lost and perverted by war and propaganda, and he shows all of this to you knowing you’ll understand because you’ve lived through something similar, grown into something larger than yourself and your true name, and it doesn’t change anything but. he wanted you to see him just for a moment, even if he can’t tell you everything (or almost anything) and you can’t save him—because he owes it to you as a someone who is a friend, almost an equal, and because there’s no one else left who knows: a direct result of what he did to your people and which he now seeks to undo at the cost of this world.
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late night cuddles
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Sorry, I still can’t get over “technically dead for 14 minutes & then wakes up the next day & is totally fine to go back to work almost immediately.”
I’m frustrated by a lot in the finale, but genuinely, what the fuck is that? Like, do they genuinely think we are SO stupid, that we wouldn’t have any questions about that? That none of us would find it odd, or unrealistic??
I get the suspension of disbelief for a TV show, but I don’t think I’m going to be getting over this anytime soon
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Feel like there’s a tragic irony in Q!Forever being so open and involved in the beginning and wanting to help but slowly getting more distant and lonely and feeling unappreciated by the others along with the weight of presidential responsibility, steadily isolating himself more but because it’s not so obvious when talking with others nobody picks up on it immediately
Vs.
Bad starting off isolating and closed off, lonely but too paranoid to get close to close to others, but slowly opening up as more people join and making connections, gaining close friendships he knows he can rely on, being so helpful to the point he becomes the most relied on member but in that slowly getting burnt out as he feels more like an object and slowly breaking under the strain. Barely noticed but also causing the others mild distress in his actions, enough to get some notice
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