I loved how aggressively wholesome the new baymax shorts are I need more 😭😭😭❤️

Origami Around

Kiana Khansmith
ojovivo
noise dept.
Misplaced Lens Cap

shark vs the universe
Cosmic Funnies
Claire Keane
almost home

blake kathryn
"I'm Dorothy Gale from Kansas"
taylor price
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Today's Document
wallacepolsom
let's talk about Bridgerton tea, my ask is open

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I'd rather be in outer space 🛸

ellievsbear
untitled
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@gitabout
I loved how aggressively wholesome the new baymax shorts are I need more 😭😭😭❤️
Similarities between Achilles and David.
Achilles, the charismatic and indestructible leader of his commando-like Myrmidon soldiers, was part of the huge force aligned against Troy. But he was an unwilling partner in the coalition. Achilles was a mercurial free agent who chose when and where to fight. Following someone else's orders was not his thing.
Enormously skilled at warfare, Achilles killed many men, including Hector, a prince of Troy in a climactic duel. However, the young godlike Achilles was ultimately killed himself after a Trojan arrow severed his vulnerable heel tendon.
Homer declares that fate and the Greek gods were the driving forces in Achilles' life and career. Thetis, his mother, instead of cooling her son's ardor for war and gore, urged Achilles to pursue his destiny as a glorious warrior: "Doomed to a short life, you have so little time."
Achilles realized he would never father children or delight in being a grandfather. Instead, the gods -- fate -- have decreed a brief life. Achilles also knew he must ultimately die in the midst of battle. Whatever his personal misgivings about a life of warfare, Achilles was aware, as Homer writes, "... the will of Zeus will always overpower the will of men."
In the horrific Greek-Trojan clash, even the gods chose sides: Apollo for the Trojans and Athena for the Greeks. Throughout "The Iliad," and especially, in Achilles' case, the gods alone controlled human lives, actions and consequences. For Achilles, there was no escape from his fate.
Achilles bore no moral responsibility for his actions, whether cruel or kind. Homer even has Achilles' horse say: "But the day of death already hovers near ... the great god is the strong force of fate."
In sharp contrast to Homer and his Achilles character, is the Hebrew Bible and its account of another ancient superstar warrior of the Mediterranean area. David, king of Israel, lived about 250 years after Achilles, and at first glance, the two men had much in common.
Like the Greek warrior, David was charismatic, and attracted devoted soldiers and adoring women. David first gained fame as the 17-year-old slayer of Goliath, the Philistine Terminator, and the Bible records that David slew tens of thousands of enemies. David and Achilles each played the lyre, a stringed musical instrument that subdued the violent urges in both men.
Achilles' "soul mate" was his male cousin, Patroclus, and it is the battlefield death of Patroclus, and not politics that finally compelled Achilles to actively join the anti-Trojan coalition. The Bible describes the close friendship between David and Jonathan, King Saul's son. Like Patroclus, Jonathan was also killed in battle, and David deeply mourned the loss.
But there are enormous differences between Achilles and David, reflecting the dichotomy between classic Greek and Hebrew views of human behavior. "The Iliad" opens with the phrase "the will of Zeus," indicating that the gods control our destinies.
The Hebrew Bible has a different view. David's own great achievements are highlighted in Scripture including his military triumphs. His religious poetry is praised and David is credited with composing the well-known 23rd Psalm and many others.
David, unlike Achilles, lived a long life complete with multiple wives and disappointing rebellious children. However, David's errors and sins, and there are many, are not attributed to God or fate, but to the man himself. David, unlike Achilles, shaped his own destiny with acts of bravery and beauty, and with acts of cruelty and callousness. But the Hebrew monarch always had the ability to change his behavior.
At the end of David's life, there was a reckoning of the soul and a price paid for his sins. God prevented David from erecting the Holy Temple in Jerusalem because the king's hands were bloody and sinful. The honor of building the Temple was left to Solomon, David's son.
Young Achilles exited history in warfare, a victim of the gods. At his death, David was no victim of unchanging fate. Instead God rendered moral judgment upon Israel's king and the life of virtue and sin David chose for himself.
Similarities between Prometheus and Jesus
The man who gave us fire, the Greeks say, was Prometheus. Other critics say that he has a number of "similarities with the Christ character" -- but only 4 are named. Let's look at those:
He "descended from heaven as God incarnate to save mankind." Well, at least he wasn't virgin-born. Was he God? Not exactly. He was a demigod, a Titan, one of that mythical race that gave Zeus the whinnies. To say he was "incarnate" is incorrect -- unless we expand that definition to include the Greek deities and such coming down in human form (or in Zeus' case, swan form, or bull form, or...). In any event his "incarnation" was of no theological significance.
Save mankind? Not in a Christian sense. He provided fire. I guess you could call this "saving" in the sense of "making life easier and saving from drudgery and suffering," but your doctor does that too. Prometheus was man's protector and benefactor, but he didn't "save" as Christ saved.
He had a special friend, "'Petraeus' (Peter), the fisherman, who deserted him." We find that the only place a friend name Petraeus is mentioned is in this selection from the Robert Taylor, a cleric of the 19th century who did his research while in prison for blasphemy:
The majesty of his silence, whilst the ministers of an offended God were nailing him by the hands and feet to Mount Caucuses, could only be equaled by the modesty with which he relates, while hanging on the cross, his service to the human race, which had brought on him that horrible crucifixion:
'I will speak...See what, a god, I suffer from the gods! For mercy to mankind, I am not deemed worthy of mercy;...But in this uncouth appointment, am fixed here, a spectacle dishonoured by Jove!...On the throne of heaven scarce was he seated...On the powers of heaven He showered His various benefits, thereby confirming His sovereignty;...But for unhappy mortals had no regard, but all the present race willed to extirpate, and to form anew...None save myself, opposed His will...I dared, and boldly pleading, saved from the destruction--saved them from sinking to the realms of Night...For which offense, I bow beneath these pains...Dreadful to suffer, piteous to behold.'
All of this is suppoesedly from Prometheus Bound by Aeschylus, but there's a copy here and it all seems to be not there as Taylor quotes it. However, as for Petraeus, we are told:
In the catastrophe of the plot, his especially professed friend, Oceanus, the Fisherman, as his name Petraeus indicates, (Petraeus was an interchangeable synonym of the name Oceanus), being unable to prevail upon him to make his peace with Jupiter, by throwing the cause of human redemption out of the cause of his (own) hands, 'forsook him and fled.'
Oceanus is an "interchangeable synonym" of Petraeus? Where's that from? It's from Robert Taylor's imagination is where -- it certainly isn't from Greek mythology or linguistics. Other than that, in the play, Oceanus does make a brief cameo (as do other characters) but all he does is have a quickie talk with P offering to intercede with Zeus, apply a band-aid to his tummy, and then takes normal leave -- no sign of him being a special friend, no sign of a job fishing, no "forsaking" or "fleeing" much less "deserting". In reality Oceanus was a Titan associated with streams and rivers -- so I guess that means he passed by fish now and then; so he may have been a fisherman in the same sense that lemon sole in the cafeteria qualifies when the nice ladies in the hairnets pass by it with a lemon wedge. No match here.
"He was crucified, suffered and rose from the dead." Crucified? Taylor says so, but Zeus, we are told, "...had Hepheistos shackle Prometheus to the side of a crag, high in the Caucasus mountains. There Prometheus would hang until the fury of Zeus subsided...Each day, Prometheus would be tormented by Zeus’ eagle as it tore at his immortal flesh and tried to devour his liver. Each night, as the frost bit it’s way into his sleep, the torn flesh would mend so the eagle could begin anew at the first touch of Dawn." Prometheus Bound, despite Taylor, reports nothing different.
Timonthy Gentz in his book of Greek myths reports some depictions of Prometheus bound to a column, and there is one case where a column looks like a tree, and in some cases he is impaled to a column, though Gentz sees that as the result of the artists' misunderstanding what was written in an account by Hesiod, where Prometheus has a wedge impaled in his chest [159]. Crucified, no. Suffered, apparently, but who doesn't at some point? Died and rose from the dead? He couldn't have. Prometheus "was immortal. His torment would last forever." But as it happened, "Thirteen generations later, Herakles climbed the mountain, killed the eagle and freed Prometheus from his shackles." A centaur named Chiron took his place.
In Prometheus Bound it's a bit different; Prometheus falls into an abyss, and that's the end of the play as far as we know; much of Aeschylus' work on Prometheus is lost (and according to myth theorists, playing the usual counsel of despair, what is left has been mutilated by Christians to hide the truth).
"He was called the Logos or Word." If he was, no one in Greek mythology knows about it. Maybe they should ask Robert Taylor for help. The closest I have to this is that Plutarch apparently called Prometheus "reason" which is the word logos, but he used it in an entirely different sense than was applied to Jesus.
Reblog to give the person you reblogged this from a healthy sleep schedule
One thing I love and find really relatable about MCU Loki:
He rage-cries.
I don’t know very many men who do this, but I know a LOT of women and afab-nb folks who do– crying out of sheer anger and frustration, where the emotions and pain and fury all boil over and instead of shouting, we just fucking weep as we shiver with anger that our bodies can’t contain. And we get dismissed, called unhinged, called over-emotional, because of those tears that slip out as a substitute for flipping a fucking table.
Loki cries easily, particularly in the first Thor movie. We see him tear up repeatedly at moments of intense fear, anger, and devastation. When he finds out his heritage. When he confronts Thor on the bifrost. When he and Thor fight over Frigga’s death in TDW.
It’s something that’s not considered a traditionally masculine expression of emotion, and certainly not represented with frequency – men in media often let a stoic tear slide down, weeping quietly in times of grief, but not out of anger or fear or frustration. Those are presented to us as times for a gritted jaw or bellows of manly fury. Not tears.
But personally? I don’t often cry when I’m just sad. Yet I will have tears spilling over at times when I want to fucking murder someone and know I won’t be taken seriously. And seeing Loki do the same hits me in a very personal place. It might be considered feminine/queer coding (typical in depictions of a lot of male villains), but as someone female who does rage-cry… it’s relatable and frankly makes him more sympathetic for me on a visceral emotional level.
Naomie Harris & Lashana Lynch attend the “No Time To Die” world premiere
The job’s done. And the bitch is dead. CASINO ROYALE (2006) | dir. Martin Campbell
CAROL DANVERS / CAPTAIN MARVEL in - WHAT IF…? 1.07: What If… Thor Were An Only Child? - WHAT IF…? 1.08: What If… Ultron Won?
Two episodes of What if...? have individually done more with Captain Marvel than the entirety of Endgame.
CAROL DANVERS / CAPTAIN MARVEL in - WHAT IF…? 1.07: What If… Thor Were An Only Child? - WHAT IF…? 1.08: What If… Ultron Won?
The McKinnons, more an entity than a family in the HP fandom.
In order: Mr. Percival McKinnon and Mrs. Louise McKinnon, and their three kids - Myron, Marlene and Myles McKinnon.
Since I’m in a good mood, I drop one of my thoughts about DH’s inconsistencies (and why ff writers can feel comfortable changing timelines).
Keep reading
Ginny’s Pygmy Puff was named Arnold, which can be rearranged and spell Ronald. In HBP, Ginny said Ron had a Pygmy Puff tattoo. Funny coincidence
Hufflepuff: Are you mad?
Slytherin: No.
Hufflepuff: So sharpening knives at 2am is just a hobby?
Dumbledore: If you have any complaints about how I run this place, you can put them in the suggestion box.
Everyone in Hogwarts:
Harry: That's... a garbage can.
Dumbledore: Exactly.
other blogs: elaborate theories about their ships, make deep analysis on every single thing about a scene, find out parallels and meaning in song choices, color choices, object choices, etc.
me:
One mistake that I think the creators of His Dark Materials made, while is interesting to see, is the same as they made with the movie, which is putting Mrs Coulter and her daemon at odds with each other. And I think both version did it in different ways, in that the movie had them clashing over Lyra and had the monkey trying to pull her away from Lyra and Marisa lashing out, while the TV show has him as almost a cowering lackey that is occasionally violent and nasty but most often a kind of sympathetic pitiful creature. I genuinely think part of that comes from the type of monkey they "cast" him as, as the golden snub-nosed monkey is a lot more soft looking. Like his face is that soft blue and rounded muzzle and over all looks very loveable. I think, whether intentional or not, the writers ended up making him more sympathetic because of the look of him.
In the books, the monkey and Marisa are always in step with each other. They support each other and they are different sides of the same coin. They are both cruel, hers frosty and distant, her curiosity showing through watching children being separated "for science/the church" through a window, while the monkey is hot anger, his curiosity is actively pulling a wing off a bat inch by inch to see how it works. She is distant and he is immediate, but when he is violent it's never as if she's giving an order and the monkey following it like an attack dog. He is her rage and her desire to experiment, he acts on her feelings in a way she's trained out of herself, he doesn't hide his cruelty like she has to, and he follows her impulses while she has to appear distant from them. They're both beautiful but she maintains her composure by him acting on her impulses. She is the mind and he is her hands to get dirty.
Marisa struggles with her feelings for Lyra and I understand that visually having her fight with the monkey about it works, but I feel like it makes him seem like her whipping boy. In the book the closest to violent she is with him is gripping his fur tightly which i always took less as harming him and more like when someone is trying to stay calm and accidentally hold a fist so tight they cut their hand with their nails, or grit their teeth so tight their jaw hurts. They're trying so hard to hold their reactions back that it hurts, but it's not like a punishment to him. She's trying to stay calm so holds on to the monkey, but ends up gripping him tightly, maybe as an instinctual way of holding him back in case he lashes out because she's feeling so intensely about the conversation, but not because she's intentionally harming him/them.
If anything I would rather see them both together lashing out at something else (like how they mistreated the Sister in Bolvangar) in unison, rather than infighting and making them seem disconnected.