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#ask for lilith. i-
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Imagine being Lucifer's older sibling
Like, you're a Cherubim (cause some Cherubs have different roles so you would be way stronger and better than the ones in Helluva Boss) who's been kinda kept from present-day news cause you've been chilling in the Garden of Eden protecting the Tree of Life and training other Cherubs
Then Emily invites you to Charlie's meeting as a council member and you go but you have no idea what this meeting is about so other council members have to constantly be keeping you up to date on what everyone is talking about DURING the meeting
"Ok, so that's Charlie Morningstar-"
"Morningstar?"
"And her girlfriend, Vaggie. An ex-exorcist-"
"An ex-exorc-What??"
"And they're here to prove sinners can be redeemed-"
"Ok...But why is everyone singing???"
"Well-"
"And is that the fucking first man????"
And you'd have to have Hell and Lucifer and Lilith and Eve and Adam all explained to you but all you really hear is that you have a niece that you never knew about
So you go down to Hell just to meet Charlie and see Lucifer. And Charlie gets all excited to have an unfallen angel on their side so she explains the hotel to you but Lucifer would be showing you all his ducks at the exact same time-
Even though you were kept from any news outside of the Garden of Eden to keep you from being unjust, I like to imagine that you have the most Deadpool personality of all time
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prince-liest · 3 months
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Some thoughts on Lucifer's mental health, relationships, and role as king of hell!
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Lucifer’s perception of himself as the king of hell is really interesting to me because he’s very blase about it in canon while totally using it when it suits him.
I think it’s really telling that the first time he actually brings it up himself is when it’s something he can leverage to help Charlie out. He reads to me like someone who objectively knows that he’s the hottest shit in town, but also just doesn’t really think that it matters most of the time because it's not relevant to his personal problems. Being Lucifer Morningstar did not allow him to achieve his goals in petitioning heaven. Being the most powerful person in hell didn’t even un-fuck his family life!
...Except for when suddenly it might in fact help un-fuck his relationship with his daughter.
It's the main thing he can desperately and dramatically showcase as a worthwhile reason for Charlie to maintain a relationship with him, because he as a person is depressed, half-functional, and barely has enough spoons to pay attention to a conversation he's having with her while he's actively having it, nevermind remembering their last one.
He wants to! And it doesn't start with his song at the hotel! It starts with him answering the phone, heavily fumbling actually connecting with Charlie despite clearly desperately wanting to, and then realizing she's asking him for something and promptly choking on his tea before excitedly telling her, "Yeah! Of course! Anything within my power is yours for the asking, you just name it." He knows that there is a great deal 'within his power,' and he's happy and relieved that he can offer her that!
Lilith has been gone for years but he's still wearing his wedding ring. His walls are still covered in family portraits. He's just been sitting in his room making thousands of rubber ducks he thinks suck instead of ruling hell, because his daughter liked that one duck he made one time.
Charlie needed him to support her in her mission, but damn did Lucifer also need Charlie to get him out and moving and actually doing things again.
Anyway, someone get this man on an SSRI.
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appleciders · 1 year
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Psalms 116:15
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gathoscorner · 1 year
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Luz’s quinceañera party🎉
You just know as soon as the photographer was done she spent the rest of the night in shorts
Another upload from my twitter. Drawn back in july 22
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thistleation · 7 months
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Warrior Nun Inktober - Day 9
Wings
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justarandomart · 1 year
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Even more Owl Crossing!  
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femmeetart · 1 year
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A mom helping her kids beat a hard level in Super Mario Land, 1990s.
edit: omg wha tha fak thanks for all the notes <33
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f1shart · 8 months
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pl easantview ?
please has it really been almost a month oh my godddddddddddddd
anyway YES I KNOW I CALLED PV BORING AND. YES I REGRET IT. so to make up for it takemyshart
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tagging @fridaydevils while i hate being unoriginal i was soooo inspired by her designs for the twins I'M SORRY 😣😣💗 THEY'RE SO GOOD I COULDN'T NOT
so friday you can consider this fanartshit i guess it was already fanart
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comradekatara · 1 month
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What do you think of Ozai as a villain? 👀 i'm seeing people saying the live action Ozai is better and i'm like "nah". They missed the point of the character
i mean i think a lot of people misunderstand ozai because people want a compelling character (especially a compelling villain) to be “layered and complex” in a very specifically emotional sense. but i do think ozai is layered and complex, simply in a different way that people expect. azula, for example, is a great villain because she is psychologically complex, and every action and motivated is entrenched in layers of nuance. but ozai is thematically complex, functionally layered. his underlying emotional motivations, however, are beside the point.
ozai’s narrative function is primarily to be metonymically figured as the embodiment of patriarchal and imperialist violence. ozai performs this function through interconnecting the domestic (his abuse of his wife and children) with the national (his role as sovereign of an empire). zuko’s disavowal of ozai in “the day of black sun” very explicitly ties his personal abuse to the logic of imperialism, and zuko denounces both logical tracks through acknowledging their interrelation. it’s hardly an uncommon character construction either: the domestic (specifically, the patriarchal nuclear family model) as microcosmic of the societal (specifically, patriarchal societies that are otherwise organized along unjust hierarchies) is prevalent across plenty of narratives, from the house of atreus to king lear to succession.
my personal favorite example of this trope as it is employed is in palace walk by naguib mahfouz, because al-sayyid does function as sovereign of his house, but he is also grappling with the consequences of being a colonized subject, and that colonial shame and humiliation both complicates his relationship to power but also reifies his patriarchal role within his family, his very real pain and disempowerment leading him to exacerbate his domestic abuse and tighten his control over his wife and children. al-sayyid is also, notably, not strict and controlling beyond the purview of his family, but within his own house, he very deliberately positions himself as an inviolable patriarchal authority.
however, unlike al-sayyid, ozai is a sovereign in every sense of the world, and even positions himself as akin to a god. but, as we can infer from “zuko alone,” ozai is not impervious to patriarchal abuse (or he wasn’t before ascending the throne), and thus has suffered his own shame and humiliation fostering his god complex due to compensation (and through the internalization of the logic of patriarchal abuse). ozai perpetuates the cycle of abuse as he, too, once suffered it (much like logan roy, to name another excellent example of this archetype). so while ozai is no longer a victim in any sense of the term, it is important to understand the psychology underlying his belief that he is ontologically deserving of the undivided respect and submission of the entire world due to his position of power.
ozai genuinely believes that he was teaching zuko respect, because respecting his authority is one of the values ozai holds most dear. because, of course, to speak out against ozai as an individual is to speak treasonously of the fire nation, and vice versa. and he expects his children to display their unquestioning loyalty to the Father(land) above all. the second they question him or confuse that priority in any way, they have irrevocably forsaken him and thus must be discarded. that is the logic of (to quote utena) a man who has made himself “end of the world.”
moreover, the other most crucial aspect of ozai’s character is how he is framed. until book 3, we never actually see his entire face. he is always a goatee, a spaulder, a disembodied smirk, a voice echoing through the flames, a crown. ozai as metonym goes both ways. and it serves to emphasize his ominous nature, as someone who is so powerful that we cannot truly view him head on. he’s framed in an almost godlike way.
and then, in “the awakening,” we see him without reservation. he is a tall, imposing man, but he is also, fundamentally, just a man. in “the headband” we see his face through a fire nation propaganda poster, as if to imply that his face is not more sacred than any other face. his poster is immediately followed up with aang’s recreation of his portrait with noodles. before book 3, holding ozai’s gaze is impossible, as he is merely a looming spectre. but book 3 immediately and ruthlessly undermines the notion they have been building up for two seasons, and through comedy, no less. ozai may be uniquely powerful and uniquely evil, but he is still just a man, and by the time he crowns himself phoenix king, destroyer of worlds, we are well-aware that he is not innately, divinely superior in any way, and his fascistic performance simply looks ridiculous.
unlike azula’s claim that “the divine right to rule is something you’re born with,” there is nothing unique or ontological about the role of the emperor. there is nothing ontologically superior about the colonizer’s relationship to the colonized besides the material dynamics of power informing their relationship. the father as head of his family is not ontologically necessitated any more than the structure of the nuclear family is predicated on innate anthropological roles rather than being socially constructed and maintained through systemic violence. ozai is not ontologically special, and his claim that he is seems even sillier as he goes up against the avatar, who actually truly is.
when ozai faces aang in the final battle, it is a significant fight because it represents the culmination of all the ideals aang has constantly fought for and asserted within ozai’s imperialist paradigm. and by refusing to submit to ozai’s logic of domination, aang disempowers ozai wholly. not because lack of firebending makes one totally powerless, but because lack of bending makes one powerless within ozai’s logic. aang renders ozai victim to his own ideology, playing his own imperialist dogma against him. instead of killing ozai in combat, as ozai expects, aang humiliates him by asserting his cultural values and their continued relevance over ozai’s values. the culminating battle against ozai, with the spiritual light that threatens to overtake aang, is a battle of one ideology winning out over another. it is the culmination of a century of genocide and colonialism by an imperialist power. it is the undermining of ozai’s entire worldview.
ultimately, we don’t need to see a lot of ozai to understand him. we can understand ozai perfectly through zuko and azula, because he positioned them as extensions of himself and thus their respective embodiments are simply their ways of performing him (azula is obviously a better actor). his complex psychology is beside the point, because his narrative function is to represent the imperialist forces that aang must battle. and they do this by establishing him as an ominous and terrible deified man, and then undermining him as little kore than a human being with an incorrect worldview. so he is interesting, not because he’s “complicated,” but because he reflects the central tension of the show in a satisfying way, and that’s what matters.
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onesidedradiostatic · 1 month
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[Phone rings]
Lilith: Hello?
Alastor: Lilith-
Lilith: Hah. No.
Alastor: Lilith, please-
Lilith: Nope.
Alastor: Your husband's gone insane-
Lilith: I'm aware. Answer's still no. I'm busy.
[Zoom out to show Lilith reclining on a beach chair with a pina colada in her hand.]
Lilith: Extremely busy.
Alastor: Can't you at least set your gnome of a husband straight and tell him we did not have an affair!?
Lilith: [Howls with laughter.]
Lilith: No.
(referenced ask)
HELP NOOOOOOOOKSDLGKGLLSLD
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nicktoonsunite · 1 year
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The Danny and Sponge dynamic is like a platonic Jessica/Roger Rabbit where anyone outside of the nicktoons unite crew is stumped as to why a relatively chill guy like Danny is hanging out with this completely off the wall Sponge but when asked about it Danny is just like "He makes me laugh"
EXACTLY ANON. YOU GET IT.
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itsnicsalad · 1 year
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if you squint and look at this for less than 5 seconds it looks pretty decent ngl
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jamnsketch · 10 months
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barbie trend (but it’s camlilith)
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alabasterpickles · 6 months
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Lover of the Moon
Experimental drawing of my OC Lilith from the novel I’m writing!
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jess-the-vampire · 1 year
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to be honest a friend of mine did point this out but, why didn't eda or lilith use their staffs more after losing their magic? they should still be able to use them if powerless people like luz, hunter, and caleb  all can use staffs.
I know part of it was wanting them to use glyphs, which is fine, but technically there's no reason they can't just continue to do powerful spells with their staffs given since the curse shouldn't affect that aspect? It’s never been shown to affect eda’s usage of it, just her internal magic.
And it’s shown that palisman have their own internal magic since magicless individuals can use them.
Like the scene with lilith and hooty in Seperate Tides is great, but really, lilith should logically just use her staff to get the firebee honey and it’s more unusual she doesn’t try it.
The show really never provides any reason why neither sister uses their staffs again outside of flight, it's very odd.
You get a lot of great scenes. like how eda gets her harpy form, which seems like the exchange given for her loss of magic. But she has owlbert, and the palisman are treated somewhat like disability aids, so it’s weird he never came up much again when eda had become entirely powerless.
You don't think about it in the moment but looking back, i think the crew overlooked this aspect cause it is a bit of a plothole.
It’s not something that ruins the show mind you, but when you think about it it means there were a lot of situations they could of still used staff magic to get out of and the show and characters just completely ignore the idea without giving us a reason for it.
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attackoneyebrows · 1 year
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you know i didn't have a choice.
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