Why do you think Naruto didn’t change anything in the shinobi world? I’ve been thinking about this for the past few days and I’m sad about it

i’m going to be very frank with you. it’s literally because shonen jump wanted to make boruto. i think ive said this before but yeah like… it’s clearly obvious that nothing was changed not because naruto was a liar who deceived people for power (which is a take i sadly see a lot and it’s laughable sorry) but because it’s Obvious shonen jump wasn’t going to make the sequel to the biggest battle shonen ever about the children of the world’s most famous ninjas going through puberty and like fucking going to elementary school and worrying about school crushes. i also see a lot of people say how it’s a realistic look on how adult life is disillusioning and i’m like dude stfu it’s so disgustingly obvious they just needed the next gen go through classic shonen adventures just like their parents did. i don’t think naruto as a character didnt change anything because he didnt want to or because he was like yeah this is ok i guess i won’t do shit about all the promises i made even when all my personality is about not breaking my promises.. but because the societal change didn’t make ANY sense for the sequel. if they didn’t still have child soldiers then ask yourself what tf would it be about?

JRR Tolkien, writing The Hobbit: The passages there were crossed and tangled in all directions, but the goblins knew their way, as well as you do to the nearest post-office…

Me, a child, reading it: Oh dear. I’m not sure I do know the way to the nearest post-office. It sounds as if that’s absolutely something I’m supposed to know. I can’t know less than a goblin. The book will be disappointed in me.

Me, a little while later, figuring out the location of a nearby post-office: oh thank goodness

Me for the rest of my life: feeling vaguely comforted and affirmed by knowing the location of the nearest post-office, a facility I almost never use, because I am at least the navigational equal of a goblin

the thing about "callout/cancel culture" that convinced me it's rotten to the core is the dehumanisation you face once you become the subject of a campaign like that. a lot of criticisms of callout/cancellation attempts appeal to the humanity of the subject, pointing out that it's unfair and unproductive to treat a person, a fellow human being, regardless of how much harm they've caused and how genuinely unlikable they are, like that. but unfortunately the reality of being the target of a mob mentality often means facing the very isolating and traumatising experience of realising that you've ceased to exist as a person in their eyes. you're a representation of your transgressions, an embodiment of harm that needs to be erased like a blemish, a spectacle for entertainment, a means of earning social approval by publicly condemning and humiliating you in what quickly becomes a competition to see who can strike the blow that knocks you down so you never get up again. nobody cares about who you are outside of what you did. people make mistakes and hurt one another, but there is always the capacity for change, for regret and reparations. you are an irredeemable monster. you can't change. the only way to make sure you can't cause harm ever again is to neutralise you entirely. to drive you off and hurt you so badly that you never consider coming back. and it often succeeds. but it doesn't make the world a better or safer place. it just tells everyone that certain behaviours will be punished, so you should conceal them, and harshly condemn them in others so that everyone knows where you stand; nobody will stand up for you if you're accused and brought out for judgement, so you shouldn't trust anyone, and always be on the lookout to take them down before they can do the same to you. you're not creating a safe, welcoming community. you're creating a panopticon built on fear and punishment.

You shouldn’t be allowed to have a band name like Violent Femmes or Barenaked Ladies or She Wants Revenge or Sisters of Mercy and then not even have a girl in your band

Based on a true story.

That's what happens when you cosplay a magic pilgrim...

First part - Previous part < >> Next Part

Philip might be a little attached to this outfit... just a little.. It's not like he kept it for 400 years...

You can find the pages as soon as they're done and some exclusive art on my Ko-fi!

sorry for dropping off the face of the earth with my art here’s an allura thingy

ava is so head over heels in love with beatrice it's ridiculous

lmao gay hedgehogs get grimaced

MERLIN | 4.05 His Father’s Son

I see a lot of posts about Danny seeing Jason and immediately thinking he’s a baby ghost and wanting to adopt him but what if it’s the other way around?

What if Jason sees Danny and is hit with oh my god that’s a baby, who left a baby unattended out on the street?? He needs help, gotta protect him, mine, yeah he’s mine now, I got u lil guy don’t worry

Meanwhile 15 yr old Danny is like um hi?? And promptly gets kidnapped. But he just lets it happen because he’s actually feeling the safest he’s ever felt in his life with this guy, and Danny’s core immediately recognizes Jason as parental figure and just relaxes Danny 100%

Jasons feeling like Danny is a helpless baby while Danny feels safe, protect, calm, safe, relax, and he just lets Jason take him home. Neither are really sure why or what is going on with them but they’re not gonna stop it.

I think it’s because Danny’s own parents kinda suck and any other ghost that he’s interacted with he’s had to fight in some capacity or has been spooked by them. Jason’s the only one who 1) wanted to parent him and 2) has good vibes. Danny’s usually waiting for fights to happen and he’s very stressed. Jason calms him down so much he probably falls asleep before they even get to Jason’s apartment, full trust that Jason will take care of him.

Meanwhile Jason never really connects with his pit side, but really wants to find some way to have a truce. Cue Danny, and both Jason and the Pit turn to protectiveness and so the rage becomes more protection and Jason yk, might be kinda lonely and wanting something to take care of. He was probably thinking about getting a cat and not a kid but he’s not complaining

I drew this in support of Pride Month, but also because even though it's 2023 I still, for some unknown reason, enjoy the hell out of the Klance ship.

These boys make me so happy sometimes it's stupid.

Hearing that Wish was supposed to have a Star Boy is so disappointing cause Disney could have taken advantage and made the next Jack Frost to take the internet by storm but all they wanted to do was focus on Star Plushies and the talking goat.

(Also making a Villainous couple would have been Really interesting but they’re So focused on playing it safe that they ended up shooting themselves in the foot to have one of the worst animated films of the year which is funny considering how against Nimona they were which ended up being super successful)

(Also dropping the ball So Badly that Trolls was able to surpass you is just hysterical to me)

Just sayin…

Ghosts’ Larry Rickard Explains Why They Chose the Captain’s First Name

Photo: Monumental,Guido Mandozzi

It couldn’t be a joke. That was one rule laid down by the Ghosts creators when it came to choosing a first name for Willbond’s character. Until series five, the WWII ghost had been known only as The Captain – a mystery seized upon by fans of the show.

“It was the question we got asked more than anything. His name,” actor and writer Larry Rickard tells Den of Geek. “Once we got to series three, you could see that we were deliberately cutting away and deliberately avoiding it. We were fuelling the fire because we knew at some point we’d tell them.”

In “Carpe Diem”, the episode written by Rickard and Ben Willbond that finally reveals The Captain’s death story, they did tell us. After years of guessing, clue-spotting and debate, Ghosts revealed that The Captain’s first name is James. At the same time, we also learned that James’ colleague Lieutenant Havers’ first name was Anthony.

The ordinariness of those two names, says Rickard, is the point.

“The only thing we were really clear about is that we didn’t want one of those names that only exists in tellyland. It shouldn’t be ‘Cormoran’ or ‘Endeavour’. They should just be some men’s names and they’re important to them. The point was that they were everyday.”

Choosing first names for The Captain and Havers was a long process not unlike naming a baby, Rickard agrees. “It almost comes down to looking at the faces of the characters and saying, what’s right?”

“We talked for ages. For a long time I kept thinking ‘Duncan and James’, and then I was like ah no! That would have turned it into a gag and been awful!” Inescapably in the minds of a certain generation, Duncan James is a member of noughties boyband Blue. “Maybe with Anthony I was thinking of Anthony Costa!” Rickard says in mock horror, referencing another member of the band.

Lieutenant Havers wasn’t just The Captain’s second in command while stationed at Button House; he was also the man James loved. Because homosexuality was criminalised in England during James’ lifetime, he was forced to hide his feelings for Anthony from society, and to some extent even from himself.

In “Carpe Diem”, the ghosts (mistakenly) prepare for the last day of their afterlives, prompting The Captain to finally tell his story. Though not explicit about his sexual identity, the others understand and accept what he tells them – and led by Lady Button, all agree that he’s a brave man.

Getting the balance right of what The Captain does and doesn’t say was key to the episode. “It wasn’t just a personal choice of his to go ‘I’m going to remain in the closet’,” explains Rickard. “There wasn’t an option there to explore the things that either of them felt. That couldn’t be done back then – there are so many stories which have come out since the War about the dangers of doing that.

“We wanted to tell his personal story but also try to ensure that there was a level at which you understood why they couldn’t be open, that even in this moment where he’s finally telling the other ghosts his story, he never comes out and says it overtly because that would be too much for him as a character from that time.

“He says enough for them to know, and enough for him to feel unburdened but it’s in the fact that they’re using their first names which militarily they would never have done, and in the literal passing of the baton”.

The baton is a bonus reveal when fans learned that The Captain’s military stick wasn’t a memento of his career, but of Havers. As James suffers a fatal heart attack during a VE day celebration at Button House, Anthony rushes to his side and the stick passes from one to the other as they share a moment of tragic understanding.

“From really early on, we had the idea that anything you’re holding [when you die] stays with you. So it wasn’t just your clothes you were wearing, we had the stuff with Thomas’ letter reappearing in his pocket and so on. And the assumption being that it was something The Captain couldn’t put down, it felt so nice to be able to say it was something he didn’t want to put down.”

Rickard lists “Carpe Diem”, co-written with Ben Willbond, among his series five highlights. He’s pleased with the end result, praises Willbond’s performance, and loved being on set to see Button House dressed for the 1940s. He’s particularly pleased that a checklist of moments they wanted to land with the audience all managed to be included. “Normally something’s fallen by the wayside just because of the way TV’s made, it’s always imperfect or it’s slightly rushed, but it feels like it’s all there.”

Rickard and Willbond also knew by this point in the show’s lifetime, that they could trust Ghosts fans to pick up on small details. “Nothing is missed,” he says. “Early on, you’re always thinking, is that going to get across? But once we got to series five, there are little tiny things within corners of shots and you know that’s going to be spotted. Particularly in that very short exchange between Havers and the Captain. We worried less about the minutiae of it because you go, that’s going to be rewound and rewatched, nothing will be missed.”

The team were also grateful they’d resisted the temptation to tell The Captain’s story sooner. “We’d talked about it every series since series two, whether or not now was the time, but because he’s such a hard and starchy character in a lot of ways you needed the time to understand his softer side I think before you had that final honest beat from him.”

“What a ridiculously normal name to have so much weight put on it for five years,” laughs Rickard fondly. “Good old James.”

From Den of Geek

i can't believe the show about characters being gay and problematic won't let the characters be gay and problematic

I didn't expect this movie to hit me this hard AT ALL 😭😭😭😭😭 Literally changed my brain chemistry for good 🙏🏻 thank you Pixar