I hope Emmet's eyes glow just like Ingo's. Could be a hereditary thing, or because they're Train Dudes.
just imagine
you're on the doubles train. it's dark. there's an ominous feeling in the air. you can't quite place it. can't quite pin it down. but it sends a chill down your spine. nevertheless, you continue on to the next car.
and that's when you see it.
that's when you see...
him.
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rick riordan you became the thing you swore so much to destroy. why change some of these things in the show??? the thing im most angry about is that the changes are either purely nonsensical or just done poorly
theyve completely eliminated the books sense of urgency, like theres no stakes on anything. you can miss the deadline and everythings fixed with a little talk with zeus. you recognize medusa and crusty and the lotus hotel right out of the gate, and obviously the only conclusion is that kronos is behind everything even though hes supposed to be locked in the deepest part of tartarus and youre a 12yo who just got thrown into this life and is just learning that monsters are real. fights are over in 30 seconds and theres no injuries or consequences except for an off screen comment on how you lost your bag or maybe a new stain on your shirt. theyre 12 but also they know everything there is to know about the greek myths.
in the books they learn and realize things as they go! its the experiences that change percy and grover and annabeth and things are supposed to be HARD because theyre kids!!! and they were sent on a mission they shouldnt have been sent on, but they get through it with each other and with a sense of comedy because theyre fucking kids! yea theyre gonna almost die and then say hello to gladiola the pink poodle, and play hacky sack on the bus stop, and stuff themselves with cheeseburgers every chance they get bc kids arent supposed all knowing and mature all the time
you cant promise a faithful adaptation of a book and then change the basic things that made the book be loved in the first place
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A while later, Vincent checked on the boys and Harvey was still awake. He did his best to comfort Harvey and then sat down on the rocking chair to tell a bedtime story. Vincent fell asleep with his little boy in his arms, thinking back on his own childhood...
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rue is, i think, in love with the idea of love.
they set a wager. the lords of the wing will find true love in this romantic, ephemeral bloom, if they only seek it. they can win it, as though it’s a game.
they long to abolish the courts. their own court has never held any love for them - why would any other court be different? a court stifles, a court smothers, a court suffocates love. the courts must be abolished, so that love can bloom. true love, love that is unfettered by politics, or station, or duty.
they are the architect of the bloom. the hunt, the heart. the dance. the potions. they will pour love into a cup and the guests will drink their fill. fae from across the realms will fall in beautiful, perfect love at rue’s hand.
they have become the arbiter of love. when an engagement between a cruel prince and a wild goblin is set, what else can they do but judge it unfit? it was not love, it was not true.
they share a moment in a forest with a venerated captain. he is tall, as they are. he is clawed, as they are. he is a beast, as they are, and so beautiful for it. they fall fast, and hard, and heavy. and perhaps it is only the nature of queerness, of a life lived behind a mask, yearning for the faintest spark, that causes them to love so fast.
or perhaps they did not truly fall in love with hob at all. for they did not see him.
they fell in love with a reflection of themself.
except, of course, that hob is not a reflection of rue. hob is his own person, and like any real person, he cannot live up to an idea. and while rue is on a wonderful journey of revelation and self acceptance, it is baffling to them that someone else’s love does not always mirror their own.
rue, in an act of bravery and vulnerability and hope, removed their mask. and they long so very much to remove hob’s - but he has never worn a mask. he has always been exactly as he is - a soldier, devoted and dutiful. an outsider, used and abused by his court. rue’s true form was hidden by their court, while hob’s otherness has always been mercilessly exposed.
rue loves hob for the idea of who he could be, if he could simply unmask as they did. but hob needs, just as rue does, to be loved for who he is.
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calling harry a “can opener” was SUCH a good play for so many reasons i think about it every day.
in the context of his work, it makes him a tool. as many people have pointed out, including martin luiga, part of the hdb tragedy is that he simply cannot leave the force, and his superiors know that and are using it to their advantage. no matter what happens, even if harry hated every nanosecond of every bit of the work and wanted to leave, he can’t and won’t leave. they can leverage anything they want against him and then reel him back in with a facade of kindness when they “allow” him to keep his job, as long as he does what they want him to. the 41st knows he has this inexplicable talent with people and they use him for it. he’s a cop: that talent can be used in so many awful ways, to push so many different agendas. and they won’t even be his own. a can opener has no particular desire to open a can, aside from maybe the satisfaction of fulfilling a purpose. a can opener has no agency, it’s just a tool for someone else to use to get what they want. and he’s learned to be okay with being used as long as it means he gets to stay. his complacency with this system makes him guilty even if he’s also being harmed by it.
but in the context of his personal life you kind of... flip it. the people around him are going to be opened up whether they want to be or not, and it’s terrible for his relationships. it’s shown that the questions, the prying- the can-opening- it’s become inextricable from who he is as a person. it’s like he doesn’t know how else to communicate, except it’s hardly communication when you’re just ripping people open. he’s invasive as all hell, although whether he means to be is debatable. he’s the kind of person that wants to take things apart to see what makes them tick. he dissects people, but really that’s too delicate of a word for what he does; if he doesn’t get what he wants right up front, he’ll abandon all subtlety and go for brute force. if he can’t get your screws loose he’ll just smash you on the ground and pick through your pieces until he’s satisfied, and if what he did to you isn’t fixable? oh well, there are other cans to open.
and he’ll use it for personal gain: we already know he is (was?) manipulative. once he knows how you operate, he knows how to make you keep him. he can yell or he can cry; he can threaten you or he can threaten himself; he can be completely suffocating or he can withdraw completely; he can be an incorrigible liar or brutally honest; he can present himself as a threat or a joke or a talent. he’s a chimera- that’s why he’s got this inexplicable magnetism, even when people know they shouldn’t like or trust him. fidelity of character means nothing to him. he’ll be whatever he needs to be as long as it gets him what he wants. the can-opening is just his way in.
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The room starts to spin and he’s glad he’s lying down. He shuts his eyes and turns his external imaging devices and motion sensors inward, cocooning himself in the darkness and warm hum of his machines.
The only part of himself that he allows himself to interface with is the blades in his shoulder copters turning slowly in time with the slight draft in the room. He drapes his mind around them, giving the spinning, dizzy feeling a place to exist that isn’t his stomach. His louvres flutter like gills, directing his exhaust-filled breaths away from his fuel lines and processors.
You Can't Save Everyone, But You Can Try
by JustAnotherGuest.
watched generator rex for the body horror, stayed for the giant robots, decided that there could have been MORE body horror and giant robots, and here we are.
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