#still can't believe he did this

[thepunchingbag]

right in the motherfucking feels

[bloodydeanwinchester]

happy one year anniversary to jackles proving once and for all that he is thee most unhinged supernatural actorman and deangirl

[floccinaucinihilipilificationa]

[undertheredhood]

bruce 'tired single dad' wayne: *lecturing jason once again on something he did during a fight*

jason 'theatre kid extraodinare'' todd who immediately starts fake crying on the spot: do you just not love me anymore?

[beif0ngs]

Buggy the Clown || Anime vs. Live Action comparison shots 

[yoshiintheweb]

The Sun, The Stars, The Moon, The Tower AND THE FUCKIN DEVIL

[sapphic-agent]

I can't believe how mixed-up the fandom (and the LOK writers) get Katara and Zuko's characters.

I want to make this clear, just because she grew up during the war, doesn't mean Katara was forced to fight. I honestly don't know where people get this from. Her cultural norms very blatantly dictate for her not to. It was something she vehemently struggled against to be able to do. It was always her initiative and choice to fight because that's who Katara is; a warrior.

Hell, she's even reveled in dominating her opponents and showing off her skills in battle

But you know who was forced to fight? You know whose skewed concepts of honor dictated him to fight? You know whose society urged him towards participating in war? You know who was the most at-ease and relaxed working peacefully in his uncle's tea shop?

The entire concept of Zuko's character is that he doesn't easily thrive as a warrior and doesn't enjoy fighting if he can avoid it. One of the key things he learns post-redemption is that fire isn't just a force of destruction, it's also life and passion. And that's what allows him to be a better firebender later.

So it makes no sense that Katara gave up on fighting before Zuko. And don't misunderstand, both of them should have been still relatively active (because Zuko is a warrior too and the point of this post is not to claim he isn't). But between the two of them, Zuko would have been the one to embrace peace and retire

[arkiwii]

it's time

[just-french-me-up]

I was telling my partner how I was probably going to publish something on AO3 by the end of the day, and although he knows next to nothing about fandom spaces, he does know some things he learnt from me, so he went:

"Oh yeah, gotta pick the right tags, right?"

And then proceeded to look through the window with a very tortured poetic expression, unprompted:

"Hashtag anus, hashtag balls, hashtag deep inside"

I think he got the gist

[skrunksthatwunk]

thinking about how eiji's a pole vaulter and how ash talks about eiji "flying" and how eiji's associated with bird imagery and how eiji's free (unlike ash) and how eiji comes in on a plane and leaves on a plane and how ash cannot fly, ash cannot be free, how nyc is ash's prison, and how ash is the leopard who dies climbing the mountain, unable to live at such elevation, how he was trying to reach the sky and be free but was always stuck to the earth, how he chose to die instead of climbing back down, how he chose to die where he could see the sky and hope and freedom almost like a bird with eiji's letter right in front of him rather than letting everything go wrong and ruin it once again, how eiji's a failed pole vaulter anyway, how a bad fall ruined his career and grounded him (physically and emotionally), how it took flying to america and meeting ash and needing to save him and skip for him to try flying again, how he landed hard and harsh and still the thought of that escape compelled ash to protect eiji at all costs because if he could fly that means something to him, even if he doesn't think he can fly, how eiji is the manifestation of his hope and how when he breaks and asks eiji to stay with him a while he folds himself over his legs and weighs him down and traps him and grounds him, how ash fights like hell to keep eiji alive not because he thinks he can be like him (hopeful, flying, innocent), but because he makes him forget the gravity of his situation, and so he can see eiji fly again. how he wants to see him escape. how eiji is a bird and ash is a wildcat and how ash never once saw eiji as prey. how eiji never saw ash as a predator. how it is eiji's naivete that first endears ash to him, how it is his freedom and flight and removal from darkness and his ability to leave that darkness that really roots eiji in ash's blood as something essential to him keeping on living in this hell of nyc. how it is that distance from the violence and that hope for the future that ash chooses to surround himself in as he dies. how ash dies in a dream because he feels more than anything that he can't fly like eiji, that he can never leave. how his violence is a part of him and will be forever, how it weighs him down. how he wants to enjoy the view from the mountainside rather than looking up from the ground below. as if they can both fly. as if he is with him up there and not grounded. eye-to-eye with what he can't have, seeing eiji's homeland: the sky. how he dies trying to reach the top because he couldn't take retreating and trying again. how ash, tired and tired and tired and convinced it will go on forever if he crawls back down the mountain, chooses to close his life deluged in eiji, in eiji's insistence that they can fly together, in eiji's hope for him and for them, in eiji's beautiful dream. how ash dies without trying to realize that dream. how ash, in dying, destroys it.

[tritoch]

wild to me to see posts like "wow everything in the tempest is named after shakespeare...emet you melodramatic bitch you sure loved theater". because the prospero-emet thing gets played up so hard in the english script and you can carry it so far!

like prospero is an asshole magician who, after being deposed by his brother as duke of milan, settles himself and his daughter on a remote island, enslaves the local spirits using his magic, and bitterly plots to reclaim his past glories. he rules through violence and deceit, and only survives and is reconciled when his plots reach their fruition and his brother is taken to his remote island and plots ensue and everyone decides he was totally right all along and they were huge dicks to him and they're sooooo sorry and he gets to go back and be duke again wow! and it's okay because he's like "i was only doing mean magic to get my rightful spot back and now i'm giving it up because magic is evil. :)"

the tempest is what emet wants his life to be. prospero is not a villain in the text of the tempest. he is barely treated as antagonistic by the text and framing of the play itself. all his abuses, his neglect and control of his daughter, his enslavement of caliban and ariel (local spirits/monsters/people of the island), his deception and plots against his brother, his abuse of magical powers (not awesome, from the pov of the contemporary audience), all that ultimately gets swept aside in the rightness of his return to milan and the warm feeling of the world being set to rights. prospero can't undo the years he spent on the island but they are ultimately a blip in his life before he returns to the rightful state of affairs. his abuse and enslavement of caliban, easily the worst thing he does in the play, is totally set aside when caliban goes "wow now i see how truly benevolent my master is. i love him and see the ways of christian good and i'm so, so appreciative he chose not to kill or beat me even though he totally could have and would have been in the right. he's so just and intelligent." everyone loves and forgives him and they all agree both his management of the island and his ultimate return are so good and so wise and so right.

emet comparing himself to the tempest (or being compared to it, depending on how you want to read the diegetic status of the place names) is absolute wishcasting. it is an attempt to manifest the happy ending he will never, ever get because his sins cannot and would not be forgiven in the way he wants. he wants to imagine himself as the righteous returned duke whose crimes, including the enslavement, abuse, and exploitation of those he saw as his rightful inferiors, were totally worth it, i promise. and if emet is prospero, the warrior of light is his caliban.

[cerealbishh]

If the time is right and the time is tonight

Go on and kiss the girl

[tr4showl]

How it feels like being a Niki fan at this point

[blorbocedes]

there's something poetic that no matter how unflinching and cannot be toppled max domination seems right now, we also know it's ending in 2026. like getting to watch a star burn out in real time.

[canisalbus]

i like think about machete's death as a culmination of his paranoia and eventual cruelty and vasco as the single ray of light loving him up through the end. even through as terrible as he becomes, the thought of vasco's heart being with him even as he chokes on his own blood as the one thing that he could hold on to. what is it to love something you know is vile, and to mourn their loss regardless. i could drink the tragedy like wine

.

[mollysunder]

Time travel is pretty op in League, and doubly so in Arcane, the drawbacks might be devastating tho.

This exchange always comes to mind because it's so ironic, Ekko does that all the time with the Z-Drive he just doesn't have it right now. For the concept to then be straightforwardly called out as dangerous just screams dark foreshadowing to people (Ekko) who practice it.

Ekko even has a real voice line where he jokes about the after-effects of time travel.