#what else would you expect from me

[druidshollow]

i NEEDED a break from the rivulet poster so i louied

[colesterstrudel]

Anyways y’all know how I said I matched with that one baseball player? And he never answered my message lmaoooooooo WELL he was at the game yesterday obvs and we were sitting right in front of his team’s dugout dksksksksksk rip what could’ve been *the one that got away plays softly in the distance*

[youngpettyqueen]

I need to talk about Julian's whole thing with Sloan in Extreme Measures cause it does actually make me feel a certain kind of rabid

Extreme Measures is a great episode for the Julian/Miles dynamic and has a lot of great moments with them but I think an underrated element of the episode is how it very plainly shows just how much the Dominion War has changed Julian, and how his morals have shifted into a much greyer area

Julian in this episode is very callous towards Sloan even as he's literally dying. he has no issues violating Sloan's mind, and when Sloan dies, the only reason he actually cares is because the answers and secrets Sloan has will die with him. truly cannot emphasize enough just how deeply Julian fucking hates Sloan, and sheer hatred isnt something we really see all that much from Julian, especially not to the degree he was with Sloan

even with that, though, Julian has never been like that with another patient. Julian doesnt let his personal feelings get in the way of being a doctor, and always treats his patients with the utmost care and his best work. Julian was willing to find a cure for the Jem'Hadar's addiction, simply because they asked for help, even if it meant potentially making them into a much bigger threat than they already were. Julian treated Tain in Camp 371. and, sure, Julian does treat Sloan, but he does so explicitly because Sloan has information they need, not because he has any care for Sloan's life

and I think that- his willingness to violate Sloan's mind to get what they need, and how he didn't particularly care that Sloan died- is a really bleak look at just how much the war has changed Julian and how much it's shifted his moral compass. throughout the war, Julian has been ordered time and time again to compromise his morals. add to that several traumatic events- multiple of which are orchestrated by Sloan- and a slide into deep depression, and it's no wonder he gets to a point where he can do the things he does in this episode

and I dont think it hits him until much later. I think one day, long after the war has ended and theyre still rebuilding everything that was broken, Julian lays awake at night and remembers how bad it got and what he became willing to do, and it makes him sick to his stomach

[uhbasicallyjustmilex]

x

[sciderman]

What is your favourite thing to draw?

that goddamn red latex suit

[honeydots]

And your heart goes ring-a-ding-ding! ☎✨

[lmanburgseulogy]

May I have some C!Tubbo or C!Wilbur head canons?

OFC ANON! SORRY FOR THE WAIT!!

c!Tubbo

Got punched in the face by sapnap during the war and it knocked out a tooth, so he has a very slight lisp. He also likes to whistle through it

His boots are scuffed in the front, so his toes stick out a little.

Wilbur taught Tubbo how to shave, but he still does it really poorly because he wasn’t paying attention. The whole time he was freaking out because he didn’t know how to act around Wilbur yet, especially in a one on one scenario

He likes to do shadow puppets and things. They also help him fall asleep, so Tommy will (very badly) put shows on for him, and vice versa.

Since he’s the main material gatherer for L’manburg, he has to go mining a lot. He’s constantly covered in grime from it.

Plays the banjo sometimes!

He’s really proud of the L’manburg space program, and is constantly thinking up new ideas. That’s where he gets his first redstone/engineering experience!

One time he was helping prepare the soup at a campfire, and burnt 2 of his fingers really bad. Most of the L’manburg war they’re bandaged up, so he has trouble using bows.

Whenever Tommy would wanna do stupid stuff, he was always on lookout duty. He liked to pretend he was a spy on a mission. Was never the same in Manburg.

He’s still a little salty about Tommy stealing his blaze rods to start a drug empire

c!Wilbur

oh my gosh wait why am i blanking out. what. CWILBUR IS ALL I EVER THINK ABOUT WHY CAN I NOT THINK OF ANYTHING!!!!?????

His glasses are taped up in 3 different places, because he’s so extremely clumsy with them

i actually. can’t think of what to say. help???

[carnivalcarriondiscarded]

I'm surprised you haven't posted any Welcome home stuff recently! Honestly kinda makes me sad since I love your WH art and stuff

yea y'all are gonna have to be Patient w/ me bc

a) i have like. a week left to pack all of my stuff before i need to shove everything into a uhaul and leave, so its crunch time! leaving little to no energy/interest in anything else

b) to be honest my mental health is the worst its been in years - which is fine, its whatever, i can deal. it's not as bad as it could be and im handling it! like a champ, even! but also its leaving little to no energy/interest in anything else

c) had a minor crisis over my art and how i interact w/ WH, and i realized im not scribbling enough of what I want. ive mostly been trying to please people and do as asked and thats! not good! so i want to temper expectation & reassert that im Not a WH art blog - its just a hyperfixation / something i love rn. i draw what i enjoy & what i want in the moment.

[j0ypatron]

[matches-only-burn]

AU where kyber crystals get their power from channeling mighty force users that have passed on. Anakin connects to his on Ilum and starts seeing the ghost of the man that partially inhabits his blade.

All of the masters are like, 'oh yes the highly disturbed child we just saved from slavery has an imaginary friend that tracks this is fine' and then they look a little closer and see that a goddamn dyad has formed just from their force signature meeting and it very quickly becomes 'OH SHIT THE HIGHLY DISTURBED CHILD WE JUST SAVED FROM SLAVERY IS ACTUALLY SEEING GHOSTS'

shenanigans ensue

[mashmouths]

so i started this show and it just gets worse and worseeeee not only did it lift the romance subplot directly from twilight (and not well) but they also are trying to play the forbidden love angle hard in the fantasy racism vein except it's a "cross-species" relationship between the two whitest people i've ever seen in my life and there are three people of color in the whole (first season of the) show who aren't villains and it seems that every other episode (and sometimes ebery episode and sometimes twice an episode!) there is a man physically or magically subjugating a woman and i keep waiting for the big reveal at the end to be stolen from fucking rainbow rowell

[marcsnuffy]

I don't think that differently about Kaiser now

[teamcavota]

heres an untranslated duck comic I have saved if anyone wants to do the honors or wants to look at the pretty little pictures

[optimistic-autistic]

i speedran this woohoo

[dye-it-rouge-et-noir]

"For particularly important things, it's always more reassuring to write them down like this." - Zhang Beihai

[ID in alt text]

[iirulancorrino]

Movies that attempt something different, that recognize that less can indeed be more, are thus easily taken to task. “It’s so subjective!” and “It omits a crucial P.O.V.!” are assumed to be substantive criticisms rather than essentially value-neutral statements. We are sometimes told, in matters of art and storytelling, that depiction is not endorsement; we are not reminded nearly as often that omission is not erasure. But because viewers of course cannot be trusted to know any history or muster any empathy on their own — and if anything unites those who criticize “Oppenheimer” on representational grounds, it’s their reflexive assumption of the audience’s stupidity — anything that isn’t explicitly shown onscreen is denigrated as a dodge or an oversight, rather than a carefully considered decision. A film like “Oppenheimer” offers a welcome challenge to these assumptions. Like nearly all Nolan’s movies, from “Memento” to “Dunkirk,” it’s a crafty exercise in radical subjectivity and narrative misdirection, in which the most significant subjects — lost memories, lost time, lost loves — often are invisible and all the more powerful for it. We can certainly imagine a version of “Oppenheimer” that tossed in a few startling but desultory minutes of Japanese destruction footage. Such a version might have flirted with kitsch, but it might well have satisfied the representational completists in the audience. It also would have reduced Hiroshima and Nagasaki to a piddling afterthought; Nolan treats them instead as a profound absence, an indictment by silence. That’s true even in one of the movie’s most powerful and contested sequences. Not long after news of Hiroshima’s destruction arrives, Oppenheimer gives a would-be-triumphant speech to a euphoric Los Alamos crowd, only for his words to turn to dust in his mouth. For a moment, Nolan abandons realism altogether — but not, crucially, Oppenheimer’s perspective — to embrace a hallucinatory horror-movie expressionism. A piercing scream erupts in the crowd; a woman’s face crumples and flutters, like a paper mask about to disintegrate. The crowd is there and then suddenly, with much sonic rumbling, image blurring and an obliterating flash of white light, it is not. For “Oppenheimer’s” detractors, this sequence constitutes its most grievous act of erasure: Even in the movie’s one evocation of nuclear disaster, the true victims have been obscured and whitewashed. The absence of Japanese faces and bodies in these visions is indeed striking. It’s also consistent with Nolan’s strict representational parameters, and it produces a tension, even a contradiction, that the movie wants us to recognize and wrestle with. Is Oppenheimer trying (and failing) to imagine the hundreds of thousands of Japanese civilians murdered by the weapon he devised? Or is he envisioning some hypothetical doomsday scenario still to come? I think the answer is a blur of both, and also something more: In this moment, one of the movie’s most abstract, Nolan advances a longer view of his protagonist’s history and his future. Oppenheimer’s blindness to Japanese victims and survivors foreshadows his own stubborn inability to confront the consequences of his actions in years to come. He will speak out against nuclear weaponry, but he will never apologize for the atomic bombings of Japan — not even when he visits Tokyo and Osaka in 1960 and is questioned by a reporter about his perspective now. “I do not think coming to Japan changed my sense of anguish about my part in this whole piece of history,” he will respond. “Nor has it fully made me regret my responsibility for the technical success of the enterprise.” Talk about compartmentalization. That episode, by the way, doesn’t find its way into “Oppenheimer,” which knows better than to offer itself up as the last word on anything. To the end, Nolan trusts us to seek out and think about history for ourselves. If we elect not to, that’s on us.