The whole movie, Mike is gonna be like “Oh no Abby is missing, the animatronics are trying to kill her!!!” and is probably hardcore panicking
Meanwhile Abby probably has them gathered around her like it’s storytime or something and is telling them all about how cool her big brother is like “yeah he takes care of me and makes good breakfast sometimes and he can’t get a date but he’s still pretty cool. He beat up a guy at his old security job to protect a kid one time. :)”
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Okay if no one is gonna talk about, I'M GOING TO FUCKING TALK ABOUT IT. *Loud ass sigh*
Auron with brass knuckles make him really hot & I'm fucking tired of sitting here & pretending that it's not. It makes me FEEL things.
I'M TALKING ABOUT A REPRESSED VICTORIAN MAN SEEING A WOMAN'S ANKLE EXPOSED‼️‼️
I'M GOING TO FUCKING LOSE IT. I'M GNAWING AT THE BARS OF MY ENCLOSURE. RELEASE MEEEEE LET ME BE FREEEEEE‼️‼️‼️
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Poison
Two new types of poison started being sold in Gotham's underworld; one is bright pink and the other a toxic green, both of which have caused the Batfamily a major headache because no one can find a cure or a reason why it suddenly started being sold.
Unfortunately, many of their Rogues have been using it for their attacks and this product has proven to be deadly.
It tends to act immediately on contact with an individual and cause extreme pain (some have commented that they feel like dying), as well as being effective on everyone it comes in contact with (including mutants, metas, and aliens) and not possessing an antidote. Bruce has tried to analyze it on many occasions but the batcomputer never comes up with results, as if the product is corrupted.
Strangely, it was recently discovered that Jason has immunity, and contrary to expectations, the poison seems to make him stronger? it even affects the influence of the pits!
This, of course, did not please the vigilante, the color of one of the poisons was too familiar for him to pass up so he decided to seek its source directly. Unlike Bruce, who was dedicated to the search for an antidote, Jason felt there was something darker about the whole situation, so he decided to track down the vendors and follow them.
Elsewhere, two halfas look at each other wearily as needles pierced their skin, it's a bit ironic that they let their guard down when the Fenton's declared they liked ghosts and forgot they had other enemies.
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ok gen question abt tma.
why the archives. like girl archival is such a lame job. no fucking wonder you got a wet cat of an Archivist, someone who works in archival is inherently gonna be a wet cat. ask stupid questions (who wants to work in my archives?) get stupid answers (the most pathetic Special Little Boy to ever work at your institute)
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new Nico non-English interview just dropped, so until it gets translated, enjoy the pictures.
From a very quick Google translate, I did get this gem tho...
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Raha Ajoudani is an Iranian 17 year old trans women and activist who has been arrested by the Islamic Republic for protesting for her basic human rights. Because she's still early in her transition, she will be tried as a gay man, which is punishable with execution.
The global LGBTQ community HAS to have her back now. Say her name to save her life. Blow her up on every social media platform you can thing of, make tweets, share on ig, anything. Make her viral.
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Haunted // Love Affair With A House 🏡💌
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It’s such a fucked up thought that people will be relieved when they get their periods not because of normal fear of becoming pregnant, but because they could LITERALLY BE CONVICTED OF MURDER IF THEY HAVE AN ABORTION
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… AF Infection AU.
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next up in my revamped kj designs: jet star!! 💫
she is so important to me… the space puppy tattoo is partially because of @eggbagelz’ headcanon which i saw and thought “oh definitely jet would LOVE laika” and the design is (with permission) one of my lovely friend @andpierres’ tattoo flash designs and tattoo tickets are available on his kofi if YOU would like to have a space puppy tattoo on your own skin! :)
as with the last two posts, untextured version under the cut for cleaner details and accurate colors!
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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.
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It’s the fact that this whole plot point could be turned into something soooo much more complex so easily if you were to really utilize Ray and Drex’s characters to their full extent. And this doesn’t mean that I’m disappointed with how they use these characters now (although I kinda am but for a number of reasons) and I don’t blame the show because it’s ultimately comedic and it has a different purpose, but the content is there and there’s so much potential.
We all know Ray’s ideal type, shown in a lot of different instances in the show: blonde, skinny women, often ditzy sure, models, but the one bit that surpasses everything is when they’re moms (I’ve actually written something separate on his mom obsession so lmk if you guys would like to hear about that sometime). It’s so common that it’s the first thing to come to mind when thinking about Ray’s interests. Now here’s the thing, Ray is shown to have such a “true connection” with Credenza, so much so that she seems to be portrayed as his perfect woman, beyond Henry’s mom even. They have random things in common that are stressed like they’re soulmates (idk if anyone likes this relationship, I personally hate the idea of Ray in a relationship), and she’s a mom.
Do you think they’d be together if she wasn’t a mom? It’s stressed so much as a clear bottom line to keep Ray’s interest for a number of reasons (again, I have written on this and i would love to fix up the work and post it if there’s interest). I do not believe that he would want this relationship if she wasn’t, just due to the basis of that being such an integral part of his character.
I bet you’re wondering how this plays into Drex at all, and this is where the potential gets truly astounding. Drex, all his life, has been led by revenge. He wants to prove himself, he wanted to take over as Captain Man and be better, better than Ray, to prove that he can. He wants to, and yet he never has. Time and time again he’s failed to do the one thing he wants; he just keeps losing.
But this here is new.
You see there a specific factor that now applies a new layer to this. Drex is the person who made Credenza a mother. He is the reason that she is Ray’s perfect woman. And that? That’s a win. No matter what he does, Drex has that. He won. And he didn’t even know that he’d done it.
I’d just like the see the absolute hatred in Ray’s entire being and, in turn, the feeling of victory and smugness that it brings forth in Drex. I want him to point out that Ray’s “perfect woman” liked him first. and I don’t mean this in some stupid fighting for her affections thing which I’m really really hoping the episode won’t do. Because it’s not about Credenza, and it’s not even about Buddy. It’s about Drex and Ray. It’s about the way Drex’s only romantic love interest in the whole show happens to be Ray’s perfect woman. It’s about how Drex modeled his only relationship (if it was even a relationship) after the interests of his father figure. Just for once, I want this show to go a little deeper than surface level jokes, it’s my one big wish before the show is over forever 😭🙏
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made a ninjago oc but all it wants to do is party
its name is WULFTRAX (all caps) and it’s playing this with zane extra info belooowww
pronouns: IT'S PRONOUNCED WOLF TRACKS LITTLE MAN (it/he/they)
species: WULFTRAX. digital? like, it HAS skin, and a skeleton, presumably, just… not a human head.
likes: game, rave
dislikes: no rave
wants: to party
character motivation: biggest loudest party
backstory: we think it came from prime empire, but that’s all we got. maybe an unused rhythm game dj…?
strengths: WULFTRAX does everything at 100%, and it doesn’t tend to stick around after a fight. it isn't fighting to win, it's fighting to go hogwild. on its back are one to six doc ock-like arms made of wire and interwoven with the stuff in season 9 that triggered everyone’s elemental powers.
weaknesses: can only attack on the beat, will only fight if there’s music. it’s actually not that strong, its robot arms and machinery do all the fighting. it prefers to fight/party using someone else — elementals party pretty hard, all their colors and glowing and exploding is its favorite.
alignment: very chaotic neutral. it does things on impulse and regardless of morals. he doesn’t seem to want to hurt anyone, just wants to party, and if hurting someone is how you gotta party, shrug! you can sway him pretty easily with the promise of a better rave. it’s not that clever, there is no scheming with this thing, but it does somehow get a lot of machinery and builds massive batteries and speakers and light shows
speech conventions: IT TALKS LIKE A FRAT BOY MET A CHRONICALLY ONLINE GAMER. NOT THE MOST COMPLICATED SENTENCES LMAO.
it also yells like everything it says due to the speakers in its mouth. its favorite people to mess with are kai, jay and lloyd. they have the shiniest explodiest powers, and are more split-second competitive.
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honestly if I were ever to throw the Suitehearts into any of my Killjoys stuff the dynamic would literally be the stupidest thing in the world. you do not want to have the Four and those guys together in any setting. it's a recipe for disaster. Jet and Benzedrine bitch and bicker like old ladies. telepathic warfare is waged via a complex language of glares and eyebrow movements between everyone in the room. Sandman makes a wholeheartedly joking comment to Ghoul like "I want to study you in a lab" and Kobra Kid gives him a black eye on the spot. Crab and Donnie end up playing hide n seek with the Girl until someone else who isn't aware of the game accidentally dumps a whole dude out of their hiding spot on accident and then gets elbowed for it. everyone hates each other but they're also kind of pals in the way that people who occasionally help each other out but don't see each other outside of that can be. that kind of thing
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Aerin x Raine for @oh-so-youre-a-nerd
Day One of the @choicesfandomappreciation Kindness event. Thank you Thia for being so generous in sharing your art with us (your use of shadow and light symbolism lives rent free in my head forever) and thank you for hosting and organizing the fandom gift exchange. You are a gem!
Warnings & A/N: None that aren’t canon compliant.
The tent is quiet, though beyond them the festival still goes on. Laughter and music muted and dampened by the canvas walls. He can almost imagine that there is no one else but the two of them in the ruins of that old temple.
Aerin is asleep. He can tell by the rhythmic rise and fall of his chest which he watches from where he rests against Aerin’s shoulder.
He’s the most peaceful he’s ever seen him. The worry in his face has relaxed to a soft hint of a smile. The tension in his body has drained out of his muscles.
It brings him a small sense of relief to see. For this one moment, it’s one less worry he has. It’s healing in some small way that he doesn’t quite understand but accepts nonetheless. He will take healing in whatever small does it is offered them.
His eyes are drawn to the large, raised, purple scar that mars his lover’s chest and he traces its patterns with delicate fingers. They are strange and twisted paths. He’s not sure if he’s thinking of the scars or the journey that led them to find comfort in each others arms.
Does it matter? he wonders.
He decides it does not. Not really. Both are ugly, damaging, twisted, and stained. Stained with countless bad decisions and actions made by themselves and by others.
Both are beautiful in their own way. Each of those actions and bad decisions led them to each other. If he’s being honest, there was no other way to reach each other. Not when worlds and traditions separated them.
Dangerous and deadly paths can be made beautiful if you only have a bit of hope. Scars can be healed and trust mended with a touch of hope.
So he clung to that hope. Wrapping his arms around his hope. Holding it tightly, brushing back its hair to kiss his temple.
Yet hope is a beautiful and dangerous thing to cling to.
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