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#theme: favorite episodes
hurricanejane · 10 months
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human wreckage
Under a cut because I became a bloodfreak for this week's @wincestwednesdays and also I couldn't wait.
Theme: Favorite episode, Theme: Blood
CW: for blood consumption (to be safe), purging, choking
Title: Human Wreckage (from MCR's song Blood)
Sam hit a breaking point in those six months. He’d been crazed and sick and obsessed, but he’d stopped crying. He didn’t need to cry. Dean would be back soon. Sam would find the trickster and get Dean back. He would be back. He was already there. He was there in the car. Sam couldn’t listen to the tapes, but he tried the radio and bit his lips to shreds. Dean was in every song. He drove in silence.
Dean was in the food Sam ordered for him. Every meal. More often than not, after tipping it into the trash can, he went to the toilet and purged his own meal. But he didn’t cry. He didn’t need to. Dean was there. He was in the Samulet. Sometimes Sam would put it on and choke himself with it, imagining it was Dean’s hands, punishing him. Sam couldn’t save Dean. But he would. Sam would get Dean back and let him punish Sam all he wanted. He didn’t have that now, so he punished himself. But Dean was there.
He was there in his clothes. Sometimes Sam would lay his clothes out on the other side of the bed. He would shove his face into the pits of Dean’s shirts, the only place where his smell still lingered after so many months. He chased the smell. The taste. He took Dean’s crusty, bloody shirts and sucked, hard, and he knew it was sick and unhealthy, but he needed to keep Dean alive. In his guts, in his veins, Dean was there. He could keep him there, get him there, get him back, if he tried hard enough, hurt hard enough, sucked hard enough. Dean would be back. He didn’t need to cry. Not when Dean would be back soon. Not when he was already there.
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yourhighness6 · 2 months
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I've been thinking a lot lately about how so many people miss the point of TSR completely. Like Katara did forgive Zuko because forgiveness is earned and no Katara didn't forgive Yon Rha because she can choose who to forgive/ who not to forgive and no Katara shouldn't have killed Yon Rha because the whole point of the episode is that you don't have to forgive someone to show them mercy. That's why Bryke insisting that Katara "forgave Yon Rha" after the fact is not only fucking stupid because she literally says something exactly to the contrary in the episode and it doesn't just remove her agency it removes the complicated moral theme
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bulkhummus · 11 months
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“And family history, after all, is just another kind of ghost story. So ten years ago, on a night just like tonight, when the fog lay heavy on the lowlands, a man drove his sister home. And eleven years on a night just like tonight, their mother died, and it didn’t –mean- anything, but it happened. And the sister stood by and watched it happen and the brother, talked on the radio and didn’t even know that it had happened until afterwards, and there was nothing that they could have done.”
day 3 of @cecilosweek — favorite episode > Ghost Stories <3333
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mangofanarts · 3 months
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I wanted to draw them playing with ponies so that I could ramble my headcanons in my tags
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melonpond · 9 months
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before getting into it I really thought welcome to night vale was like a super creepy horror podcast, I didn't realize it was basically twilight zone but funnier and with the added bonus of making me feel like a schoolgirl kicking her feet in the air listening to Cecil talk about Carlos
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flying-ham · 4 months
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criminal that there’s no new years episode of it’s always sunny
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carefulfears · 8 months
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the biggest thing about elegy is that it takes all of that unspoken isolation of this arc, and it slowly lets the audience in. the first thing that mulder says about the apparitions, is that they seem to be an "omen." an impending prophecy. and carefully, throughout the episode, both the audience and scully are waiting to see, not who the killer is, but what is being foretold. when they're going over records, and scully's nose starts bleeding, it's the one thing that they can't ignore. she wasn't even there in the previous episode. she was in the hospital. alone. they don't talk about it. she's "fine." she has "always been the strong one." just like in irresistible, years earlier, she does not want him to know how much she is struggling. but she doesn't have any control. it is dripping out of her. the sound of his voice when he says "oh, scully." and how quickly she responds "it's okay. i'm fine."
it's that kind of childlike grimace in him, the same man who flinches away from dead bodies and stares at the ground before his father. and she's so fast to try to restore order. it's okay. i'm fine. don't worry, i'll clean it up. i'll make it go away. when she disappears into the bathroom and sees an apparition there herself...i think she decides to go to the hospital because she just needs space, honestly. she's scared. he offers to drive her, to go with her, twice. asks, "you sure?" and she says, twice, "i'm fine."
elegy builds to two separate climaxes: the first, when mulder comes to scully's apartment. but before that, we see scully in karen kosseff's office, the same therapist that she had gone to in irresistible, and presumably has kept a relationship with in the years since. she tells karen that she's been diagnosed with inoperable untreatable cancer, and when karen asks, "you've kept working?" she answers, "yes. it's been important to me."
she's taken aback when karen asks why, is surprised at the question, and tells her "agent mulder has been concerned. he's been supportive, through this time."
KOSSEFF: Do you feel that you owe it to him to continue working?
SCULLY: (quickly) No. (pauses) I guess I never realized how much I rely on him before this...his passion...he's been a great source of strength that I've drawn on.
KOSSEFF: What happened last night, Dana?
SCULLY: I saw something. I, I don't know what to trust. If I saw it because of the stress, because the image had been suggested to me or if it was a suggestion of my own fears.
KOSSEFF: Your fear of failing him?
SCULLY: (exhales emotionally) Maybe.
this is such a rare admission from scully. first of all, she's being confronted. this is not normal. it is not normal to work to your death. it's like bill tells her, a couple of episodes later, "what are you doing at work, getting knocked down, beaten up? what are you trying to prove?"
(she hadn't even told bill about her cancer. she'd been sick for months. she thought she was going to die in memento mori, she knows she's going to die sooner than later. and she instructed her mom not to tell her brother. from the moment that mulder said "i refuse to believe that," it really was only going to go one way.)
she's being confronted. why are you working? (for mulder). do you feel you owe him? (no, i need him).
she's really alone. she's sick. like, she's really sick. she spent the last case in the hospital. she's having a hard time keeping up. she's thinning, and bleeding, and struggling. but there she goes, every day, at every hour. monster chasing. telling him she's fine.
(so much conflict comes from the way that mulder's ignorance perfectly enables scully's repression)
when he shows up, late, at her apartment, he comes in a mile-a-minute, about how he needs her "help" on the case, before asking her what her doctor said. (her answer, of course, being, "i'm fine.")
he tells her that everyone who has seen an apparition, was dying. every person who reported a premonition, was near death themselves.
SCULLY: Harold Spuller is dying too?
MULDER: Well, that's what I need your medical opinion on.
SCULLY: Well, what if he isn't?
MULDER: I would be very surprised. What is a death omen if not a vision of our own mortality? And who among us would most likely be able to see the dead? 
this is one of the most hauntingly isolating moments of the series...he has just told her that she is going to die. and he doesn't know, that that's what he said. she is forced to process it, completely by herself. and she doesn't believe in ghosts, or "premonitions," but she knows that he is right. (when is he not?)
("maybe harold is sicker than we thought he was.")
the second moment that this episode builds to, is the final confrontation between mulder and scully. after the murder is solved. after harold dies.
SCULLY: I saw something, Mulder.
MULDER: What?
SCULLY: The fourth victim. I saw her in the bathroom before you came to tell me.
MULDER: Why didn't you tell me?
SCULLY: Because I didn't want to believe it. Because I don't want to believe it.
MULDER: Is that why you came down here, to prove that it wasn't true?
SCULLY: No, I came down here because you asked me to.
MULDER: Why can't you be honest with me?
SCULLY: (defensively) What do you want me to say? That you're right, that, that I believe it even if I don't? I mean, is that what you want?
MULDER: Is that what you think I want to hear?
SCULLY: (softly) No.
they come really...close here? to talking about it? she almost baits him several times this season. she spends so much of this arc thinking...maybe, this will be it. maybe if she fucks off on assignment, gets a tattoo with another man, he'll say it. maybe if she calls him out for never celebrating her birthday, he'll acknowledge why this is the year he did. maybe if they spend a friday night with a bottle of wine, they'll talk. maybe if she tells him, those things you believe are death omens? i saw it. he'll know.
i can't remember which one of you said that all of their arguments are just how to love each other. she doesn't want to believe. but she's there, because he has asked her to be. even in all of their repressed denial, there is no escaping what's happening. it hangs over both of them.
i love the moments in this arc where she just snaps. in this scene when she says, what do you want from me? do you want me to just believe you? and her quiet resignation, when he makes her answer her own question. no. she knows that's not what he wants.
MULDER: (his voice softens) I know what you're afraid of. I'm afraid of the same thing.
SCULLY: The doctor said I was fine.
MULDER: I hope that's the truth.
SCULLY: (whispers) I'm going home.
"i know what you're afraid of. i'm afraid of the same thing."
except, no, he doesn't. and no, they are not.
but she knows what he's afraid of, just as her therapist had known what she's afraid of ("your fear of failing him?") and so she dodges his admittance with reassurance. she's fine.
that last scene, when she goes out and cries in her car, and she sees harold's ghost in the backseat. she is so alone. she's working on her deathbed. they don't talk about it. she's afraid, and she's not fine, and she is going to "fail" him because she cannot keep herself alive for him, and she can't avoid it. it's in the backseat. it's in the bathroom mirror. it's bleeding out of her.
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jauntilyplacedcaps · 7 months
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heritageposts · 2 years
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updated my desktop theme + tags page
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itsbinghebitch · 1 year
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it's forever kinnporsche and vegaspete parallels hours: both captive, both thrust outside of their respective social roles, both brought together by power dynamics fuckery and made equal by their chains. this is where both parties become mirror images of each other (ep6 for kinnporsche, ep11 for vegaspete) and where the romantic inflection point actually occurs. almost any romance between opposing worlds contains that upside down/role reversal beat in the story (think of nlmg where palm and nueng are forced out of bangkok), but kpts does it so well here in the shortest time frame with the simplest symbolism. and for both pairings!!! i will never get over this show
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volcanicsleep · 11 months
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we watched all* turtle media! here's our ranking list!
*we would watch shows from the beginning until we lost interest, then we'd jump ahead in the series and repeat until we had a good overall impression of the show (we mostly cared about characterization and relationship dynamics).
the rankings are not indicative of objective or subjective quality. it's just based on how much we enjoyed them
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the rise movie
rottmnt
tmnt (1990) + tmnt II: secret of the ooze [watch together. its a complete experience]
TMNT (2007)
tmnt (1987)
turtles forever
tmnt (2003)
tmnt batman movie
first bay movie
tmnt flash forward
tmnt III [nigh unwatchable]
tmnt (2012) [had to drop it after 4th episode for mental health safety]
honorable mention: turtle odyssey
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awakefor48hours · 1 year
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coconut530 · 4 months
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WHY DOES IT SAY MADE ON SATURDAY I WAS NOT NOTIFIED HUHHHHH
ALSO JUST DROPPED OUT OF NOWHERE *AND* IT’S THE PENULTIMATE EP OF S4 WHATTTTTTTTTTTAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
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llilli64 · 25 days
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My sister fullfilled my whim and made me a bluey duck cake that looks like giorno for my bday!!✧⁠\⁠(⁠>⁠o⁠<⁠)⁠ノ⁠✧
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magentagalaxies · 3 months
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HEY KIDS IN THE HALL FANS
as i've probably mentioned before scott thompson is going to be visiting my college the week of his boston show and has agreed to stop by and talk to a few of my comedy classes. one of these classes in particular is "theories of humor and laughter" - a class all about asking the question why do we laugh? looking at it from a scientific, philosophical, and literary perspective, and seeing how we can apply these theories in our own comedic creations.
the specific topic we'll be covering on february 6th (the day scott visits class) is "because of repression/anxiety" (all class topics are phrased like answers to that main question). we'll be reading some articles on jokes & the unconscious, doing a sketch workshop on amplifying awkward moments, and watching a few pieces of comedy that deal with these topics which the professor has already chosen
HOWEVER. he just asked me to pass along any examples of kids in the hall sketches that fit the theme of this class so i thought i'd pass that invitation along to all of you as well so i don't miss any great examples
so, kids in the hall fans, reblog or reply to this post with your favorite sketches that feature themes of repression, anxiety, and shame as grounds for comedy!!
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aangarchy · 1 year
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