to earth and back again

sadposting turned shit-tier meme page

[beatriceoftheday]

Garden Wall fans as soon as September begins

[beatriceoftheday]

[to-earth-and-back-again]

I find it hilarious to think about how all of them are practically allergic to each other, but the moment someone so much as sneezes in Vi’s general direction, Jinx, Cait, Ekko, and probably even Warwick would give everything to gank the nose-having motherfucker who dared

[j4gm]

Obsidian lore thread!

Sharing this thread of lore, episode connections, and Easter eggs from Adventure Time: Distant Lands: Obsidian, originally written for my Twitter.

SPOILERS AHEAD, WATCH OBSIDIAN ON HBO MAX IF YOU HAVEN’T ALREADY

Keep reading for the full thread!

Keep reading

[raayllum]

rayllum & loneliness :: a rambling meta

i have been continually emo about this the past couple of days because like, god, sometimes it just hits me how lonely callum and rayla must’ve been before they met each other

like i was rewatching some of 1x01 and 1x02 yesterday for screencaps for a meta and like, callum is so often just flat out uncomfortable in his home, with his friends, with his family. we know from s2 that sarai died when he was little, around four or five, so harrow has been his primary parent for at least close to a decade, for most of his entire life that he can remember, and callum still doesn’t feel comfortable around him

soren knocks him around and puts him down (and thank you s3 for the apology scene, because it was important and good and gratifying). everyone stops and stares to watch hi get his ass kicked in the courtyard, which is already embarrassing enough, and then you have soren hit callum in a sore spot by talking about the thing the kid is already insecure enough in: his relationship with his stepfather and his failures as a prince, all in one go. 

even with claudia, who callum is closer to, his flustered nature verges into being vaguely uncomfortable too.

because claudia enjoys his crush on her, but doesn’t quite encourage him and/or go to lengths to make him comfortable about it. and we see in s2 that he considers them to be two of his oldest, closest friends: one a girl he can’t be fully open to (although that’s mostly on his side of things rather than something claudia can control, but we also see her fully willing to manipulate his trust, so…) and the other someone who is regularly a jerk to him.

Keep reading

[to-earth-and-back-again]

hit that thick juicy reblog button

[to-earth-and-back-again]

This post made by Who Is Spinel Gang

[to-earth-and-back-again]

Can’t believe no one’s made a gif of Spinel doing this

[pyreo]

oh god oh no there’s so many SU words I’m sorry

All great heroes and villains are supposed to be diametrically opposed on something and that’s why Steven and Spinel worked very well against each other, a really simple point of contention with a million complications

The movie started out with that recap of the series told as a storybook, open and closed, beginning to end. Steven is two years older, they’re building a peaceful hope for all gems on Earth, the Diamonds are now like his overbearing aunts who hug too long, the song “Here We Are In The Future” presents this stage as the endpoint - the future is here, this IS the ending, the story has finished. Steven repeatedly refers to his ‘happily ever after’ from now on, a state of harmony he put in the work to achieve, and now gets to enjoy.

And then Spinel comes in, and I could draw a villain comparison from her to Undertale’s Flowey - someone who knows you are the protagonist, who won’t let the story end because they still want to be included, and will ‘reset’ you to force the narrative to continue for their benefit.

Spinel resents that the story took place without her. Moreover, she’s opposed to Steven’s proclamation that the world is fixed now, forever, because the moment she heard that was the moment she realised how broken she was. She would’ve wanted to be in the story, and she would’ve been on the good guys’ side, but nobody included her so she’ll find them and erase their character development, so that she can redo the story and insert herself in it. Her villainy only extends as far as ‘you finished it wrong, you left me behind, start over and put me in the narrative’. After she resets the CGs and Steven’s gem she keeps laughing as Steven returns the blow and resets her too, implying maybe that it was her plan to force them back to stage one and erase her memories after making sure she was now present as the story repeats.

Then Steven has to recreate everything he’s learned about his family to bring back their true selves - from the connections they’ve made to their heartbreak. There’s a very consistent message that your ‘true self’ isn’t you without your bad experiences, unaffected by them, that you’re a whole person because of them.

But the funny thing about the clash over whether or not the story is finished is that Steven is wrong. When Steven says ‘this point of happily ever after is where the story stops’, Spinel hears ‘you’re stuck here and can’t develop past your trauma’. She sets out to prove him wrong because she hasn’t yet recovered. She hasn’t done her character arc yet. She’s missed everything. Steven’s side of the argument is essentially to deny that Steven Universe, the cartoon, will continue, and Spinel’s argument is that she’ll make it continue until she gets closure - and of course any continuation of their story will involve the character development that Spinel craves and that Steven explicitly says he’s done having.

The movie is a metanarrative about characters who are vaguely aware of their continued existence only when there are more problems to be solved, as recognised by the language they use, like the line “I’ve heard the story over and over again” referring to their own plot, and Peridot’s “but my character development” joke. When Steven laments that he still doesn’t have his powers back despite reliving every terrible thing that’s ever happened to him, he realises his mistake; that you can’t inhabit a preserved moment of reality forever, and things will continue to change, but the ability to do so is the entire reason he as a half-gem hybrid exists. And the change he embodies is why he infuriates Spinel and why she wants what he is - “When you change you change for the better, when I change, I change for the worse”. She wants to recover from abandonment and stop unhealthy ways of expressing her grief, and doesn’t think herself capable.

Which is why when Steven, still in denial, says she can shut down the drill and they’ll ‘forget it ever happened’, that triggers a relapse. Forgetting it ever happened was her unhealthy plan to get her memories wiped and plant herself in the story. Forgetting it ever happened means discarding the growth she was just able to make and reliving the realisation that nobody in the universe cared about her. In saying that, he reveals he hasn’t figured out that she needs the continuation to be able to heal past this. Spinel’s character development is opposed to Steven’s desire for an unchanging ending– and he realises he’s wrong and only then is able to assure Spinel in the final song, Change: “You can make it different, you can make it right / You can make an effort, starting with tonight” which effectively gives her permission, from the main character, to alter his world and his story, to have the time, starting now, to work on herself as part of the fiction he’s established - for someone who sees herself as a broken character, inflicting herself and her unfinished arc on someone who finished theirs, to be allowed to exist and told that her unhappiness is welcome among people who have adjusted better from theirs.

The tone of the ending is all about effort. Steven’s realisation is that he’ll always be putting in work towards making the universe safe and happy. Spinel’s realisation is that she CAN be a good person if she wants to, and that decision can only be made by her. Steven’s final act of renewing the life of the Earth from poison by going around kissing patches of it is a metaphor for the constant work one must put in to heal from toxicity. Spinel’s final act of leaving Steven, after seeing him affectionately greet his family, is a literal undertaking of the same task, as she says outright: “I’ve got work to do. Friendship isn’t going to be easy for me. I’m gonna have to work at it. You make me want to try.” She thought what she wanted was to take revenge on the owner of the gem that wronged her, but what she really needed was to stop fixating on the owner of that gem entirely. She recognises that she has a journey ahead and it would be better taken away from Steven, and she cannot insert herself into his life, which is already full of loved ones. She wasn’t there when they all bonded and she can’t reset that. All she can do now is take control of her future.

Which she does. If anything, this movie is about there being no single state of being a good, fair person. It’s an effort you undertake for life, and you can always try to be better at it. You’ll never be done growing. Happiness might be temporary, but anguish will be temporary too. That’s life for you.

[daethnotes]

the best les mis characters ranked

15. you

14. can’t

13. rank

12. them

11. because

10. they

9. are

8. all

7. good

6. and

5. generally

4. try

3. their

2. best

1. bishop myriel

[etheringtonbrothers]

The ONLY WAY to combat the lack of funding in arts education is for professionals to take a few hours a week to share their skills for FREE, to empower and encourage the next generation of artists. THIS IS WHAT THE INTERNET IS FOR. Here’s 200 tutorials:

How to draw ANGRY EXPRESSIONS How to draw BATTLE DAMAGE How to draw BIRD HEADS How to draw BOOKS How to draw BOTTLES and GLASSES How to draw BOXES How to draw BREAKING GLASS How to draw BRICKWORK How to draw CABLES and WIRES How to draw CAR CHASES How to draw CATERPILLAR TRACKS How to draw CAVES How to draw CHARACTERS (3-SHAPES) How to draw CHARACTERS (FLIPPED-SHAPES) How to draw CHARACTER SHAPES How to draw CITYSCAPES How to draw COMIC COVERS How to draw COMPOSITION   How to draw CONTRAST How to draw CONVERSATIONS How to draw CREATURE TEETH How to draw CROSS-CONTOURS How to draw DETAIL AT DISTANCE How to draw EARS How to draw FABRIC How to draw FEET & SHOES How to draw FEMALE HANDS PART ONE How to draw FEMALE HANDS PART TWO How to draw FLAGS How to draw FOOD TRUCKS How to draw FOREGROUND MIDGROUND BACKGROUND How to draw GAME BUILDINGS How to draw GEMS and CRYSTALS How to draw GHOSTS How to draw GIRL’S HAIR How to draw GOLD How to draw GRASS How to draw HAIR (1940s styles) How to draw HAIR IN MOTION How to draw HAPPY EXPRESSIONS How to draw HEAD ANGLES How to draw HOOVES How to draw HORNS How to draw HORSE HEADS How to draw IMPACT DEBRIS How to draw IN 3D How to draw INTEGRATING LOGOS How to draw INTERIOR BASICS How to draw IN-WORLD TYPOGRAPHY How to draw JUMPS How to draw JUNGLE PLANT CLUSTERS How to draw JUNK HOUSES How to draw LAMP POSTS How to draw LAVA How to draw LIGHTNING and ELECTRICITY How to draw MECHANICAL DETAILS How to draw MUSHROOMS and FUNGUS How to draw MONSTER HEADS How to draw MONSTER TENTACLES How to draw MONSTER TRUCKS How to draw MOUNTAINS How to draw NEGATIVE SPACE How to draw NEWSPAPERS How to draw NOSES How to draw OVERGROWN VEGETATION How to draw PEBBLES AND GRAVEL How to draw PERSPECTIVE BOXES How to draw PIGS How to draw PILLOWS and CUSHIONS How to draw POD HOUSES How to draw POURING LIQUID How to draw ROBOT ARMS How to draw ROCK FORMATIONS How to draw RUNNING FIGURES How to draw SAND How to draw SAUSAGE DOGS How to draw SEA WEED   How to draw SHADOW COMPOSITION How to draw SHOULDER ARMOUR How to draw SIEGE WEAPONS How to draw SILHOUETTE THUMBNAILS How to draw SMALL FLAMES How to draw SMALL, MEDIUM, LARGE How to draw SMOKE EFFECTS How to draw SNOW How to draw SPACE BIKES How to draw SQUIRRELS How to draw STICK FIGURES How to draw SWORD FIGHTS How to draw THE HORIZON How to draw TIKI STATUES How to draw TREASURE CHESTS How to draw TREE BARK How to draw TREE ROOTS How to draw USING THE SHATTER TECHNIQUE How to draw VEHICLE STANCE How to draw VINES How to draw VINTAGE PLANES How to draw WATER How to draw WOODEN HOUSES

[moringmark]

[to-earth-and-back-again]

you know they’re doing it on purpose

[to-earth-and-back-again]

I’ve just discovered a show with so much untapped meme potential

[beatriceoftheday]

Beatrice said fuck birds

[to-earth-and-back-again]

Pass it on

[thatdiabolicalfeminist]

I think the particular kind of “goodness” that my mother aspired to - that so many of our mothers aspired to - is not actually goodness at all.

Her concept of goodness was a person perpetually sacrificing everything important to her for the comfort of others, even with no acknowledgment or thanks.

The perfect person, to my mother, was gracious in the face of cruelty and had bottomless wells of love to give even if none was given back. Her only joy should be the knowledge that she had given and given and given, her only triumph over those who would hurt her should be a quiet, unspoken sureness that she Had Done Right.

This is not goodness. This is not something a real, living person can safely try to achieve, I think. This is what you attempt to become in order to survive brutality.

This is a recipe for the perfect victim, the victim who has made herself so small and given so much that there is now, finally, no reason to abuse her. This is the image cruel people would have us try endlessly to become, so they can more easily take and violate and control.

They want you to be not just meek, but the kind of person who strives always to be meeker. Someone they no longer have to bully into anticipating their wishes, because you have not just honed this skill but made it your life’s purpose. They want you to see your fury and bitterness and self-pity and desire to escape as faults to be overcome, instead of valid reactions to being hurt and controlled and taken advantage of.

It’s a way to survive what you can’t escape, and in that situation alone it has value. Even in that situation, though? This ideal can never be achieved, even if you somehow destroy every shred of self-respect (anger, desire to escape, etc.) you find in yourself. You can never be the perfect victim. There will always be a “reason” to abuse you, even if you are careful not to provoke, because the reason was never you. Abusers like to abuse.

Trying to be the perfect victim broke my mother, and it’s fucked me up pretty badly too. I wish I could go back in time and warn her. I wish I could tell her:

You cannot give endlessly; no human can, and you shouldn’t have to.  It is not a virtue to suffer endlessly. It is not proof of love to allow someone to destroy you.

You deserve someone who doesn’t expect your suffering as proof of love. You deserve someone who gives back joyously, who feels your pain as part of their own and hates to cause it. You deserve to be surrounded by people who value you and all you think and want and are. You have worth. You deserve respect. It doesn’t have to be like this.

[beatriceoftheday]

[to-earth-and-back-again]

I NEED IT

[to-earth-and-back-again]

After an exhausting day fighting at the Breach, Jaune decides to get the best sleep he can, with the help of a really soft old friend. But when Pyrrha shows up absolutely dead tired, he decides something must be done. Arkos, with less plot and more fluff.

I haven’t written anything in a while, so here’s something I came up with to refresh my writing (and appease the inner blazing fire that is my love for Arkos).

[to-earth-and-back-again]

why no, I’m not reposting this because I’m salty that the shitpost I put the most effort into got like 6 notes while the rest of my low-effort trash gets a hundred or more why do you ask (anyways, here’s how the JNPR vs BRNZ fight basically went)