#this scene makes no sense lol

[pippin-katz]

Lancelot? How’s Merlin?

Okay, but what the fuck is this scene?

It makes sense from a fun “TV show” perspective, but in the actual context of the show? Not a damn bit of logic for it.

So what? Lancelot and Merlin catch up to Arthur and the knights, and before they go meet up, one of them is like “hey I’ve got an idea” and they decide Lancelot is gonna go in first, make it seem like Merlin’s died while he hangs back behind the wall, and dramatically reveal himself on cue?

That makes so little sense in reality. I mean, imagine it from Merlin’s POV. He’s just standing against the wall, waiting as he hears Lancelot trick Arthur into thinking he’s dead? To have a fun “gotcha” moment? What??

Arthur was literally worried he was fucking dead. This isn’t a little “oh he didn’t want to come” or “something got left behind but surprise here it is” kind of joke. I’m honestly surprised Arthur didn’t get pissed off because that is a cruel joke to make. He was probably too relieved that Merlin was alive to even register what happened. If it was the other way around, Merlin would not have been happy.

I’m so confused as the actual character reasoning for this scene. Like, it’s a fun TV moment, but why on earth would Lancelot and Merlin think to do that?

This is literally just a set up to the “no homo” arm pat Arthur gives him because stars forbid he actually hugs Merlin. He puts his arm kind of around him when they walk off screen, but yeah the guy who spent two days in a guilt ridden depression? Yeah he’s not gonna hug his friend who narrowly escaped death really tight or anything. That would be gay!

(See my post “The No Homo Trap” for a deeper dive into that last paragraph.)

[soosoosoup]

treasure planet au, last of the batch (Poppy & Floyd)

[bloodymarymorstan]

So yesterday I watched all the historical scenes of Crowley and Aziraphale in chronological order and then feverishly came up with a new interpretation of the "you go too fast for me Crowley scene" so here it is:

Ok so now we know from season 2 that the Dirty Donkey pub where Crowley holds his heist-planning meeting is right across the street from Aziraphale's bookshop. This means that when Aziraphale goes to meet Crowley in his car he literally just walks across the street, but it also means that when Crowley offers to drive Aziraphale somewhere he isn't offering to take him home. The previous implication of that interaction was that Crowley was going to drive Aziraphale back to his bookshop, but Crowley knows that the bookshop is only a 30 second walk away so that's obviously not the case. In fact, Crowley doesn't actually ask Aziraphale if he wants to be driven home, what he actually says is "can I drop you anywhere?" and then "I'll give you a lift, anywhere you want to go".

So now we know that Crowley isn't trying to drive Aziraphale home, the conclusion we have to draw is that he's asking him if he wants to go somewhere else with Crowley. This is kind of a covert way of wording things, but Crowley is still testing the waters at this point in their relationship. He pulled this same tactic in 1941 when he said he would give Aziraphale a "lift home" and then ended up taking him somewhere else which led to them spending the entire evening together. "I'll give you a lift" has essentially become code for "let's hang out". This also explains why Crowley looks genuinely disappointed and upset when Aziraphale turns down his offer (and why Aziraphale acts apologetic about it).

But, considering that we know Aziraphale has fallen for Crowley by now AND that they went out together in 1941, why the "you go too fast for me Crowley" line? My explanation is this: in 1941, Crowley nearly got in big trouble with Hell simply for having been seen with Aziraphale, and not only did he not seem that bothered by it but he is now asking Aziraphale if he wants to go out again even though they've both been directly confronted with the risk this poses for him. I think it scares Aziraphale that Crowley is willing to risk so much just to spend time with him - he's not ready to confront the truth of what that means yet, and he's also not yet at the point where he'd be willing to take the same risk with Heaven. As usual, Crowley is a step ahead of him in terms of his commitment to their relationship, hence "you go too fast for me". Keep in mind that Aziraphale was very caught up in the moment in 1941 and has had a lot of time to reflect since then about the potential consequences of a relationship with Crowley, and he's just not ready yet even if he definitely wants it.

As a side note, I think it makes a lot of sense that this is the point when Aziraphale agrees to give Crowley the holy water (and why Crowley is more determinedly seeking it in the first place), because now both he and Crowley more fully understand the the danger Crowley will be in if Hell finds out what the two of them have been up to.

[petr1kov]

here's the scene i've mentioned before where nemesis and melinoë talk about hypnos, for those who wanted to see it!

[pygmypouter]

This place is a message... and part of a system of messages... pay attention to it!

[vrailaru]

direct

[gengwasted]

In which: kaveh doesn’t tell any of his friends when his birthday is

But that doesn't stop Alhaitham from collecting gifts for every year he passed with the architect.

[qcoded]

Redrew a panel of Makima and Denji w/ these two :P aghhh the blood on their clothes looks a bit weird 😭

[unproduciblesmackdown]

WAUGH!!!

[cametotheshowinsd]

THE ROARING TWENTIES (1929) | Written + Directed by Taylor Swift *ALL-TALKING PICTURE* Flapper Clara falls in love. With a Princeton sophomore. Every night they spend together feels like a dream. All the social occasions, the scent of wine she tasted on his lips, dance floor reflecting broken mirrorball lights, tossing pennies in the pool, sneaking in campus, night walks around the Nassau Hall, joking about school dorms, long dinner that seems never end and sophisticated conversations. His innocence and passion. Her wide-eyed gazes. Breathes that felt too close in the dark. Finally, one day, the kid went down on his knees and pulled that damned rock out of his pocket. Will Clara say "yes"?

[lord-squiggletits]

One of my favorite parts of phase 2 (and indeed one of the few moments I resonated with IDW Prowl) was when the neutrals were coming back to Cybertron and Prowl said that he refused to let Autobots be pushed aside and overruled after they were the ones who fought for freedom for 4 million years (the exact wording escapes me atm).

And I mean, that resentment still holds true even once the colonists come on bc like. As much as it's true that Cybertron's culture is fucked up, and as funny as it can be to paint Cybertronians as a bunch of weirdos who consider trying to kill someone as a common greeting not important enough to hold a grudge over.... The colonists POV kind of pissed me off a lot of times, as did the narrative tone/implications that Cybertronians are forever warlike and doomed to die by their own hands bc it just strikes me as an extremely judgemental and unsympathetic way to deal with a huge group of people with massive war PTSD and political/social tensions that were rampant even before the war?

Like, imagine living in a society rife with bigotry and discrimination where you get locked into certain occupations and social strata based on how you were born. The political tension is so bad there's a string of assassinations of politicians and leaders. The whole planet erupts into an outright war that leads (even unintentionally) to famine and chemical/biological warfare that destroys your planet. Both sides of the war are so entrenched in their pre-war sides and resentment for each other that this war lasts 4 million years and you don't even have a home planet any more. Then your home planet gets restored and a bunch of sheltered fucks come home and go "ewww why are you so violent?? You're a bunch of freaks just go live in the wilderness so that our home can belong to The Pure People Who Weren't Stupid And Evil Enough To Be Trapped In War" and then a bunch of colonists from places that know nothing about your history go "lol you people are so weird?? 🤣🤣 I don't get why y'all are fighting can't you just like, stop??? Oh okay you people are just fucked up and evil and stupid then" ((their planets are based on colonialism where their Primes wiped out the native populations btw whereas the Autobots and OP in particular fought to save organics. But that never gets brought up as a point in their favor)) as if the damage of a lifetime of war and a society that was broken even before the war can just magically go away now that the war is over.

Prowl fucking sucks but he was basically the only person that pointed out the injustice of that.

And then from then on out most of the characters from other colonies like Caminus and wherever else are going "i fucking hate you and your conflicts" w/ people like literal-nobody Slide and various Camiens getting to just sit there lecturing Optimus about how Cybertronians are too violent for their own good and how their conflicts are stupid, with only brief sympathetic moments where the Cybertronians get to be recognized as their own ppl who deserve sympathy before going right back to being lambasted.

Like I literally struggled to enjoy the story at multiple points because there was only so much I could take of the characters I knew and loved being raked over coals constantly while barely getting to defend themselves or be defended by the narrative so like. It was just fucking depressing and a little infuriating to read exRID/OP

[badasscoffeemug]

god i’ve said before how much i hate Doing Discourse but i can’t seem to help myself especially because i just saw a bddie say “a lot of bucktommy stans are weirdly conservative about queerness”

and sure, maybe some bucktommy fans are. but that accusation is rich coming from a group that got allll up in arms about some implied daddy kink, a little age gap between two adult men, or just a man being a bit bitchy. not to mention that one time someone started calling me names because i didn’t see a problem with the number of explicit bucktommy fics, lmao. because the bddies were writing soft romance, which is Good, instead of nasty gay sex, which is Bad.

[wereshrew-admirer]

15daysoffatt day 1; Departure

DRE (as CHINE): Duvall, can you take It?

ART (as DUVALL): Uh, yeah, but—you don’t have to—it doesn’t have to go like this.

DRE (as CHINE): Apparently it does.

AUSTIN: It looks up at Chine again. At you, Chine. A little sad, but mostly confused.

DRE (as CHINE): You need to go with Duvall.

AUSTIN: It like, headbutts your shin a little bit.

DRE (as CHINE): I know, I don’t like it either.

[intergalactic-garbage]

WAIT u mean abigail is dead dead? im only just now realizing she actually died right after mizumono. what the fuck. she was in europe with will what the fuck. what

[dangerpronebuddie]

There's something about "I'm worried about you" and "I can't fix it" that is making me insane. Buck knows Eddie's hurting. He doesn't know how to fix it, or even if he can. Eddie doesn't know how to fix it either. Buck is the guy who likes to fix things, and maybe this isn't something he can fix. Maybe it is. Neither of them know. But Buck's going to try. He made sure Eddie was actually free to talk about it all and didn't judge him for it. Love is stored in the kitchen and he made sure he stepped right into it for this. He made sure Eddie knows he's there for him. He broached the subject without accusing Eddie of anything. He was simply there for him, asking Eddie to let him in.

[meekusleekus]

Lost and Found- TF2 AU comic

ignore how I keep switching between four and five fingers lol

Geek Pauling officially joins the au!

Dude you have no idea how long I've been keeping this design in files for-