#most unsurprisingly

[void-within]

[mayhasopinions]

has this been done yet

[boltlightning]

pirates of the caribbean + moonlight

[miquella-everywhere]

"My loyal blade. And champion of the festival. Both your deeds will ever be praised in song."

Yeah this is absolutely Miquellas voice, no doubt about it. I would say that it's obvious, but Miquella is clearly addressing Malenia, his loyal blade of his own name, and us, the Tarnished, the champion of the Radahn Festival.

He clearly holds us both in high regard and praises us so.

The Stars needed to be freed and so too Miquellas fate. He sent Malenia with the hopes that it would be done by her blade, but ultimately we were the one to finish the job. Radahn is dead and fate moves once more, and so too shall Miquella.

"Promise me you'll be my consort."

Oooooh my sweet child I would slay every Outer God in the stars for you 😭

When I said that I hold Miquella in the same regard as Ranni this is what I meant. The whole idea of "Lord" is something that is reserved solely for the Tarnished, the story of Elden Ring revolves around us and our journey to become Elden Lord, and to become Lord we must become a consort in some capacity. Whether it be Marika or Ranni, and now Miquella...

All we can do is wait and then finally arrive to the Realm of Shadow so that we may find Miquella the Unalloyed.

Also a third Godwyn has hit the Pentagon lmaoooo 😂

[pad-paper-pen]

BEHOLD MY FIRST (second but we don't talk about that one) MERMAY PROJECT (feat. Colentine)!!!🫧🐇🐐

tho the "mer" part was barely even featured hehe oop <<,:

[peachmario]

The Super Mario Bros. Movie

[omegalomania]

fall out boy live performances i think about Often

the reunion show medley. how many goats do i have to sacrifice for you guys to do this one again.

disloyal order of water buffaloes, specifically the version that opens with the piano and the rest of the band comes crashing in at the second verse. my GOD man what do i have to do to make you do this version again

death valley live. thats all.

the time they did their stayin out all night remix live with wiz khalifa

the thriller aol sessions version is so good that i thought it was the studio version with mild reinstrumentation at first lol

the medley they did in 2015 where they mashed up all their hits and even managed to sneak in the uma thurman riffs at the end

can i link the entirety of the knights of columbus set? i'm gonna do that. go watch it. it's glorious.

i feel like not enough people talked about how good church sounded live. i actually kinda like it a little better than the studio version. patrick drops down an octave for some bits of the final chorus and i always love hearing his chest voice.

obviously i have to link one of the few times they've played headfirst slide into cooperstown on a bad bet live. they did (coffee's for closers) at this show too and i think about it always.

they didnt do where did the party go live that often because it is MERCILESSLY heard to sing live but my GOD. when they did it. my god.

that one performance of the kids aren't alright where pete screams alongside patrick for the entire last part of the chorus ruined me in ways i have difficulty articulating.

the way way early version of sugar we're goin down they played live in 2004 before they changed all the verses

anytime they'd do just one yesterday live and patrick would do the bridge and kill it every time

the acoustic version of sophomore slump or comeback of the year they did for a private show in 2007. (they did this acoustic again in 2013 and i love that version too)

that one time they segued seamlessly from the chorus of alone together to my songs know what you did in the dark

MISS MISSING YOU LIVE YOU ARE EVERYTHING TO ME

any of those rare rare times they would do yule shoot your eye out live

when they did patron saints of liars and fakes at one of the reunion shows. don't touch me.

the acoustic session of tttyg songs (grenade jumper, chicago is so two years ago, saturday) they did that's on the my heart will always be the b side to my tongue dvd. they are so so so SO small!!!!!

save rock and roll live is like. so important to me personally it never fails to bring me to my knees. but specifically the time they did it for the mda telethon in 2014. joes backing vocals come through sO clearly and its SOOOOO AAAAAA

also the time they did save rock and roll live for vevo. BIG ouchie.

okay also the time they dedicated save rock and roll to bowie after he passed because pete gets VERY VISIBLY EMOTIONAL OVER THIS and i can't handle it.

we don't take hits we write them literally Only exists in live format so i have to give a special mention to that. what i would give for a studio version though...

it's hard for me to pick a favorite moment of the time they played wrigley field during mania tour. i was lucky enough to catch a livestream of most of the show and it was frankly magic. someathing has to be said for the energy in the way the show began...and for the way it ended.

im incapable of not bringing up the immortals acoustic version they did during boys of zummer. i cant NOT. joe and patrick sound sO GOOD TOGETHER VOCALLY, OKAY

i'm like a lawyer with the way i'm always trying to get you off, acoustic sessions.....im okay.

remember when they opened some of the monumentour shows with THIS IS THE TAKE OVER, THE MOTHERFUCKING BREAK'S OVER cause. i do.

if youve never seen the stripped-down piano version of young and menace and only heard the studio instrumental i beseech you to watch the live version. i will never forget hearing this live. the whole stadium got so, so quiet in what i could only describe as reverence.

you know that one text post that talks about patrick getting all emotional during a performance of what a catch, donnie and then just sniffs a little and says "i'm a loss for words...which is a good thing i have a microphone, right? so i can keep talking." well this is that exact performance.

[foolishlyzephyrus]

talking about doctor who is so humbling. i’m doing numbers on here with you nerds liking my silly little posts. i mention doctor who irl, they do not care and think i am autistic

[etherealnoir]

Selena Gomez making herself the victim? Must be a day ending in Y.

[suffercerebral]

i think doctors prescribing ozempic to people who don't need it should lose their license and also be publicly tarred and feathered

[yrsonpurpose]

random charles leclerc gifs until the 2023 season ♕ [5/?]

[sysig]

Anime good :) (Patreon)

[news4dzhozhar]

The statement above ^^^ was shared by Shaun King on his Telegram channel (he has been permanently banned from all Meta platforms as well as TikTok for his posts on the Palestinian genocide)

TRIGGER WARNING: The video below starts with Aaron Bushnell casually walking into position while recording himself on his cell phone talking about his reasons for doing what he's about to do. He seems oddly calm. He then pours liquid on himself as law enforcement begin to approach him. While the fire is blurred, the audio can be heard clearly.

A short time ago, the family of Aaron Bushnell confirmed that he has succumbed to his injuries.

Aaron live streamed his act on Twitch

[activatebutterflyshield]

Something something the album Coyote Stories by The Crane Wives is about the current objectively horrid state of the world and also a call to action on changing that.

Okay. Starting with “Keep You Safe”. Here, the singer starts out as a young adventuring child who is afraid of joining their friends in slightly dangerous games. They never joined in, too afraid to face the consequences. As they grow up, they get more and more scared of the world as they see more and more slightly dangerous things happening around them. The refrain is a mantra that “Time is not your friend / Time is not your remedy / No amount of waiting will make you, make you brave / No amount of fear will keep you / No amount of fear will keep you safe”. The singer in this song is symbolic of the current state of the world, with so many people afraid of what is to come. The fears keep on piling up, from climate change to war to so many other things, and the people stay afraid, but they never grow any safer by being afraid. Time can and will march on, and, as the song says, “Come what may”.

Going on to “The Moon Will Sing”. The singer speaks of an unfulfilling relationship, with someone or something that keeps on leading them on but never fulfilling their promises. They mindlessly follow the something, and quietly ignored their neglected heart for a time. The chorus is “The moon will sing a song for me / I loved you like the sun / Bore the shadows that you made / With no light of my own”, in which the singer is lamenting their neglected state, but is also speaking of it in the past tense. They’ve moved on now, and are recalling the unhappy past. The singer in this case still represents the state of the world, but of a slightly altered state. They used to be in a bad place, but they’ve changed for the better, reflecting how the world has started to shift for the better. We’ve caught sight of our sorry state and are trying to remedy that.

Next is “Allies or Enemies”. This one is blunt and very personal. The singer immediately references “wildfires and weeds”, as well as an “awful damn disease”, all of which are rather familiar to 21st century Homo sapiens as omnipresent news headlines in the backgrounds and foregrounds of our lives. We are intertwined with these tragedies just as the singer is intertwined with the subject of their song, to the point that neither can conceive of a world without the tragedy or the subject. Anything and everything may or may not happen, as “All is fair in love and war”, but if this dynamic keeps up, it will be “the death of me”.

“Unraveling” is mostly a heaping pile of metaphors and symbolism. The singer is lamenting their lost loves, people who seemed to care for them before disappearing without a word. Though these men were kind and seemed to help, each and every one would eventually disappear and leave the singer worse for wear. Perhaps the best line to be applied to the world’s current state is the one about the carpenter: “Sanded my rough edges, crafted new and lovely things / But now my love is gone / And I can’t help the fracturing”. The carpenter represents the groups and people who have shepherded the world into its current state, keeping the population complacent by plying them with pretty little gifts and things to distract them while profiting all they can. But as soon as the carpenter has gotten what they wanted, they leave the world to its own devices to deal with the consequences of their profiteering. These profiteers are partially the ones at fault for the current state of the world.

“Hard Sell” does, in fact, hit hard. The singer is clearly going through something rough, holding themself together through sheer will to live. They’re trying so hard to get better, but it’s so hard to improve that it seems that they’re “working with barbed wire and moth wings”. To go on a tangent, the decision to specifically say “moth wings” and not bird or fly wings evokes (in my biology-addled brain) the image of salt and pepper moths. These are moths that rapidly evolved to have darker coloration thanks to the sooty, polluted conditions of the Industrial Revolution. The singer is using the only things they have: a metal material designed to harm and keep out and the wings of an animal greatly impacted by human-spurred climate change, and they’re lamenting that it seems that everyone might be going through the same thing. And its true; we’re all facing the same consequences of the state of the world in one form or another, and the only difference is how we present ourselves to the rest of the victims out there. We’re all affected, and we all need to “stop pretending now” and get something done.

Finally made it to “Rockslide”, the song that got me down this track in the first place. It has a runaway rhythm with a singer that speaks of feeling the “wild weather” that’s “got the mountain shaking weak”, and of the “quaking” of “rocks … a’tumblin while the people are asleep”. That wild weather is all the rapid and negative changes rocking the world, or the mountain. And the rocks are the consequences crashing towards the people so ignorant they might as well be asleep. Though the singer prays that they might keep their soul and that “you”, whom they’re singing to, wants to settle down, they also acknowledge that they must run or “the devil we will meet”. The people of the world must run, or make changes, else they’ll face the horrible consequences, or the devil. The devil, or “monster”, is coming and does not care what it hits.

On to “Metaphor”. Oh boy, “Metaphor”. The singer here is someone broken, jaded, the sort of person who’s been hurt ten too many times. They are a liar, a scavenger, a (metaphorical) killer. “You can’t trust a single thing I say”, they sing, because they’ve been lied to and forced to survive in the corners and the margins of the world. They are loud, they are hurt, and by goodness do they not want to go through that again. I really shouldn’t have to say why this is all to real to so many people in this world. They’re the ugly, hard to look at truth of the world, the headline you’re afraid to finish reading, the words just a little too raw to be fake. “I’ve gotten good at making up metaphors”, they sing, because that truth is too hard to bear without at least a little bit of sugarcoating.

Now comes “The Hand That Feeds”. Do I really need to explain this one? “I’ve seen good men spoiled / Chained to their jobs like hounds / They work and sleep, and work again / In the darkest nights they howl”. The people of the world, those who by all measures should not suffer, are chained and bound, deprived of freedom beyond their desperate laments. This is the fate the singer’s father wants his child to avoid, the snare he wishes them to see and remain free of. They sing of how “He taught me that the hand that feeds / Deserves to be bitten when it beats”. No matter how good it looks, you should never take the deal. Never shake the hand of the devil, despite his honeyed words, and remain your own self. That hand only wants to drag you down deeper.

Next is “Little Soldiers”. Okay when I started writing this thing I had just finished All Quiet on the Western Front and so I had a lot of sad war metaphors about this one, but it’s been a while and most of them have vacated my brain in the meantime, so… here goes. “On the broken backs of all the words we spared” they sing, “Like little soldiers in the trenches / It was a march we made towards ruin and despair / but we held hands all the while”. The singer here is recovering from a horrible loss, of the ending of a relationship they thought was good and healthy, but in reality was false to both parties. Both the singer and their former partner are representative of the common suffering of the common people, of their past struggles and strife, and how, in the end, they banded together to fight for each other. The refrain reflects this bittersweet dynamic, switching between “I swear that I loved you” and “I swear that you loved me”. The common love was the only good thing in the lives of the partners, and is all they can look back to in the end.

Following is “Sleeping Giants”, with a return to a feel similar to that of “Rockslide”, as forces beyond mortal comprehension threaten to wake. “I feel the mountains / Shifting under me / The sleeping giants are finally waking”. The singer is hyper aware that they are in danger, and said danger is something so alien, so powerful, and as unexpected as the land itself was shifting beneath their feet. Their pulse is racing, they are in fight-or-flight as all those prophecies from the previous songs in the album begin to come true. “The moon is humming / Lovely melodies / The forest echos, the trees are crowing / Hungry, hungry harmonies”. Natural keystones as far separated as the trees on the Earth and the moon in the sky are calling out in tandem, something is wrong. Something is terribly, horribly wrong.

A rather abrupt tone shift as “Of Everlong” follows. It’s a very short song, barely more than a minute, and its poetry is perhaps the strongest. I’ll just write the whole thing here.

“Out of the ocean / Over the harbor / Lay no sons and / Lay no daughters / Among the mountains of everlong / Twas there I wrote me / A sad, sad song / And if my lover / Will not hear it / Take my voice and / Take my spirit / Leave me weakened / And dig my hole / Only my lover not I can keep my soul / Only my lover not I can keep my soul”.

The singer, a lover much like the one mentioned in “Little Soldiers”, is singing a lament that they are alone, here in the mountains of everlong, beyond all reach of other people. Here they sing of what they have lost, or perhaps never had, a tune that can only echo about those mountains and never reach beyond the ocean. They declare that they’d rather die than never see their beloved again, consigning themself to eternal loneliness rather than risk breaking their heart all over again. Theirs is a song of what was and what will never be, of a world of memories that was long taken by the mists and will never emerge from the horizon with the breaking dawn.

It stays melancholy with “Never Love an Anchor”, with a rocking rhythm like a ship in a calm sea, and a singer who laments that they were never enough for their beloved. They were unable to care for their child, their spark of light impossibly kindled in a life made of sorrow, and feel that it is all their fault. “And I tried to do the best that I could / But try as I might I couldn’t bring myself to hold you”, they cry, a gentle, quiet admittance of defeat. They knew that they could never be enough, and so gave a chance to their beloved in exchange for defying their own selfish desires. This singer acted for the good of the many rather than the good of the few, giving what hope they did have to the little one so that they may rise just a bit higher. “On some level, I think I always understood / That a ship could never really love an anchor”, they sing, an admittance of their own failings, and a declaration that their beloved will be better, will have some brighter future, some breaking dawn at the horizon to look forward to.

The final song of the album is “New Discovery”. It’s a final declaration of the singer’s hope for a brighter future, of some true and real goal that they might strive for. It may not be real, it may be a mirage, but by goodness will they bite and claw and fight for it. “I want to believe / There’s something left for me / A new discovery”. It’s a hope, a faraway paradise, an impossible pipe dream, but it’s something. And to a person at the very end of their rope, to those who might sing of their trials and tribulations and torments and tragedies, something can be everything. It doesn’t need to be grand, or golden, or even great. It just needs to be better. And that is something everyone should be able to get behind.

Hope is famously that thing with feathers, the creature at the bottom of Pandora’s box, the last feeling humanity will ever have. It will drive us on through the deep, dark night, be our guiding lantern in the shadow of the dragon, and when we see the light of the sun shatter over the eastern horizon, we’ll think, yes. One more day. One more day to live and to learn, one more chance at making things better. There will always be nights; times of death and destruction will come again and again for the foreseeable future. But the night is always followed by the day, by hope and a new chance to take another step towards a better future.

Never stop fighting to see that next dawn, to once again behold the sun declaring that a new day has risen.

Never stop working to make things better.

[adamantine]

Marsyas before and after his flaying: the twin statues of the Hanging Marsyas and the Red Marsyas face each other across this passage in the Uffizzi Gallery in Florence. Marsyas, punished by art itself for daring to challenge it, with his mad rictus of pain.

[aingeal98]

Honestly I think whoever your favourite Robin is defines how you view the entire Batman canon and narrative. They don't have to be your favourite character but it's funny how most people who favour a certain Robin will have similar opinions on Bruce and Gotham and DC, which are often completely different to the rest of the Robin stans. At any given time there's around six or seven different groups of fans talking about the same comics but they might as well have read completely different stories.