#no that’s exactly what I’m saying

[chronically-unlucky]

Listen all I’m saying is it’s weird that Adam would name his kingdom after Princess Aurora that’s all. Like I get they couldn’t use France but AURAdon? Could’ve been Belladon after his wife and as a reference to the plant which is used for headaches like how “Auradon” was created to get rid of the headache of dealing with villains

(Belladonna is primarily a poison though which still works because the Isle of the Lost was a bad thing to make since the people there are forced to live in squalor even if they were not directly villainous I.e. the sidekicks and offspring)

[trickstar5654]

Rewatched Thor 1 the other day and man. Does anyone else ever think about how Thor used to act before he got banished to Earth because Jesus Christ

[lavendervalleyexpress]

Disney: you can make your movie R-rated but their relationship can’t be explicitly gay

Ryan: oh don’t worry this is a totally platonic road trip buddy comedy

The movie: The poster says, “best friends come together”, there’s a meet cute ugly at a bar and Logan immediately assumes Wade is there to hook up with him (so does the bartender), Wade calls him honey badger, and angel baby, their road trip song is a rock ballad about being lonely and wanting to meet someone, the second act has the classic romcom miscommunication/fight, they’re having a heated fight to one of the most iconic love song duets ever, Wade says, “the Honda Odyssey fucks hard too bad you don’t” and Logan says, “oh we’re just getting started”, after that there’s a shot where car they're in is rocking back and forth for hours and then it cuts to them asleep the next morning, there’s a line about Wade having Logan’s dick in his mouth (spoken by Ryan’s daughter), there’s a scene where they’re looking at each other longingly through a window because they think Wade is about to die (even though Logan hated him yesterday), Wade is very clearly staring at Logan’s abs after his shirt explodes then makes him put on a shirt after he sees other people also looking, they save each others lives by holding hands to a Madonna song about blowjobs, Logan starts walking away until Wade calls after him and he stops like he’s about to turn around and run back and kiss him but the camera cuts off before he does, Wade introduces Logan to Al like a nervous teenager introducing his girlfriend to his mom, and the last shot is their masks sitting next to each other in their ONE BEDROOM APARTMENT

Disney: ok we have notes

Ryan: no.

The movie: *makes $1,000,000,000*

[theminecraftbee]

also I know it’s been half an hour but I am still dying that gem went “I know what I should joke about. ethubs and scarian making babies together.” if we ever needed proof she is here in the walls watching us,

[javelinbk]

Paul McCartney singing Kansas City/Hey-Hey-Hey-Hey at the Beatles appearance on Shindig!, 3rd October 1964 - part 1 (part 2)

[wigglebox]

Supernatural September - Day 2 | Identity

[doctorsiren]

Drew Trucy in some outfits I’ve worn in the last couple weeks

[puppyeared]

personal character design headcanons + brainrot

Note: the re-bound!au does NOT belong to me, it belongs to @chipper-smol I’m just not normal about it lol

[mynxk]

Crows: Kaz, remember when you said you weren’t going to interfere with my love life?

Kaz: No, that doesn’t sound like me at all.

[empyrangel]

A little late but I made Natlan edits

Anyone can use them for whatever if they want

[rooolt]

the thing to me about Demetri in season 6 is that it very much feels like he’s still clinging to the old version of Eli like just a little bit. Like he accepts that his hair is different and he dresses different and he likes karate now, but Demetri never calls him hawk and is still talking for him and still expects the two of them to go to MIT like nothing has changed. We as an audience can understand that Eli has hated every version of himself until around like season 4 or season 5, including who he was before karate and before the show, but to Demetri that version of Eli was his best friend, he loved that version of Eli and I think to him the rejection of MIT really solidifies that Eli will never be that person again. Like, I think Demetri was like “well he’s not hawk anymore so now my best friend Eli is back” but to Eli, I think he’s trying to be someone new, not the kid who was bullied and not the person who hurt his best friend. I think that season 6 is a little bit about the two of them reckoning with the people they are now and the people they want to be in college

[giddlygoat]

TRADITIONAL TOAD GARB PEACH LETS GOOOOOOOO

[turtleblogatlast]

[ cw: violence mention / death mention / ]

Will never stop thinking about how Leo, all alone in an endless void and being beaten again and again and again by the only other living thing around, still finds comfort in that space. The situation he was in was completely hopeless, and in any other circumstances he would not have escaped, at least not fast enough to save him from permanent (or even fatal) damage, be it physical or mental.

And yet, despite the bleakness of his situation, despite the agony and helplessness, all he needs is one glance at a crumbled photograph, one glance to remember his family, and that’s enough of a reason for him to smile.

Maybe that’s why his powers center around manipulating space - because no matter how much space is between them, no matter how dire his own situation may be, just the thought of his family, alive and okay, is enough to give Leo hope.

[autism-alley]

hi originally posted this at the end of a long thread of back and forth, here’s the og post if you want full context but i feel like this needs to be its own post especially bc i keep seeing this argument being made—the argument that the kids (in this case it was annabeth) SHOULD just know the monsters are monsters and who they are and how to defeat them before ever encountering them, that it’s a problem if they don’t.

the problem is not if 12 year olds should recognize a trap when they see one, even if they’re smart 12 year olds, and if that’s realistic. that is entirely beside the point.

the problem is rick riordan wrote a book series whose formula is bringing myths to the modern age and he’s not sticking true to that in the show—percy jackson and the olympians’ Shtick is taking these classic, ancient threats and giving them a new face. these traps work because these kids are not walking into a cave marked with Get Out and getting ambushed by monsters—the monsters are disguised as harmless mortal human beings, in harmless mortal human being places (for the most part) and i think we—and more importantly, the show—are all forgetting the mist, the magic involved here. it’s not just that medusa is a “creepy lady with her eyes covered” it’s that there is ancient magic at work here, magic that, like the systems of abuse pjo exists to criticize, has been evolving and continuing its malevolence for millennia. it’s formulaic, that’s the point. it’s the same trap you’ve learned about all your childhood, the same trap a thousand children before you learned all their childhoods, and still, it works. you fall into the trap. because that’s how generational abuse works. it’s a trap. it isn’t enough to learn monsters exist, what they look like from a second hand story that originated thousands of years ago. if you want to escape alive, you have to adapt as quickly as they do, recognize their face, and ultimately, beyond any individual trap, the game itself has to change. real, generational change.

so. the problem is rick riordan wrote a series with a formula for action that perfectly captures the overarching, systemic conflicts he was commentating on, and then threw that formula out in the show because it was “unrealistic”. i don’t give a damn about realism when it works to the detriment of the story. this is a story about generational abuse, yes, but it’s told through ‘a tale as old as time’ and that’s why it works so fucking well. and when it comes to basic storytelling, if your characters know the threat before they even walk in and you do practically nothing to then make up for the stakes you have removed, that’s a flaw. now you’ve lost the entertainment value for your audience, on top of also lessening your themes.

something else that is so. honestly soul-crushing as a writer and a creative, is that to me this is reflective of the way we are now afraid to tell earnest stories. stories where we care not for listening to the people who want to pick apart fictional, mythical, fantasy stories for not being “realistic” instead of aligning with our target audience who acknowledges reality is not what makes a story. think of your favorite movie, show, book, comic, what have you—has the reason for your favoritism ever been because it is the most reasonable, the most grounded, the most practical out of any you’ve seen? or is it because of the emotion? the way it speaks to you, to your life and the person you are? the journey it takes you on? is the percy jackson and the olympians book series so good because it’s inherently realistic?

the secret to storytelling is, very simply, focus on your story. everything else is secondary. if it’s written well, it doesn’t matter to me that the characters walk into a trap that, to the audience, is obviously a trap. because i can understand how the characters don’t know it, and how the story falls apart if the narrative just tells the characters it’s a trap from the jump. that’s what dramatic irony is—first used in greek tragedies! this is literally a tale as old as time in every sense except for the end—where it’s happy. and it’s not earned if we don’t first see, over and over, the status quo as a tragic trap.

it’s not about if annabeth (or the other kids) is “smart enough” to not walk into a trap, or about if she’s just too prideful to not walk into what she knows is a trap (or any reason that could apply to the other characters), it’s that annabeth, at the end of the day, is a character. she is a storytelling tool for the messages of the narrative. that doesn’t make her any lesser. in fact ignoring it reduces her, because it reduces what she represents. it’s about how rick riordan, or whoever else at disney, has fumbled the storytelling bag so ridiculously hard that they can’t take the simple, effective formula outlined from start to finish (by good ol 2009 rick himself) and adapt it to the screen without answering the most unimportant, derailing, anti-story questions.

[purplepenntapus]

I love how many of us unanimously agree that Zoro would use Wado to kill Sanji. Kitetsu is too aggressive, Enma is too ambitious. Wado is Zoro’s heart. Wado represents all the softest parts of him. Wado is promises kept and undying loyalty. Killing Sanji wouldn’t be a conquest, it would be a mercy—an act of love done for a friend who’s suffering.

Truly, Sanji asking Zoro to kill him was placing his heart in Zoro’s hands and trusting him to do what no one else on the crew would be able to. What can Zoro do besides return that with his own heart?

[olasketches]

the fact that megumi was supposed to be the MC makes me giddy as hell. ITS ALL COMING TOGETHER GUYS