With the Release of Tomb of Annihilation, and the Undead Dangers of the Chultan Jungles waiting, We give You a Great Selection of Traits, Abilities and Attacks and More to make Your Undead just a little bit deadlier…
Hi sorry i have a genuine question how does kiwi reference sex w underage girls??!! I really had no idea and now I feel queasy but thank u For calling it out lmao
Hard candy dripping on me ‘til my feet are wet And now she’s all over me, it’s like I paid for it It’s like I paid for it, I’m gonna pay for this
‘hard candy’ is a term used to refer to pre-teen to teen girls. a lot of people have been sourcing urban dictionary as it is the most accessible source which has lead to cries of “it’s just UD it means nothing, harry wouldn’t know, he didn’t write the song alone,” etc etc.
UD is not the source of the term. it’s a term that’s been in use for years and i believe entered the mainstream lexicon with this film:
which is specifically about hunting down pedophiles.
i’ve seen claims that he’s referring to a cocktail because it’s also the name of a cocktail, which first of all: there are millions of drink names that could be used. this is a specific choice, and if he wanted to be risque i can think of dozens of drink names off the bat that are explicit and/or suggestive. second of all, why is he talking about “paying for it” if it’s not something illegal or immoral or unethical? what is there to pay for if this is all good in the hood? third of all: he’s been emulating 70s icons who have all been known to partake in underage ~~“trysts”, so is it really so farfetched to see this as purposeful? there’s been no attempt to hide the sexism in any of his other lyrics or his actual behaviour. heck, even ‘carolina’s original backstory had her underage which was only changed when fans caused a ruckus, which suggests they didn’t think this would be a big deal.
contextually, it is clear to me that this is an intentional reference to underage girls that they probably didn’t think would register or cause an uproar (which… i guess they knew their audience since people are now jamming to it and want it released as a singe) and that it would fit into the 70s rockstar persona.
For the World’s Most Patient Anon: What if Sherlock is captured by Eurus (?) and the reader must solve her puzzle in order to save him - with whatever little she’s learned from being with him. She must decide who is the real Sherlock in a room with two; shoot one or die all together.
Thank you so much to this amazing Anon for this amazing idea and for holding me to task. I strayed a bit from the request, so I hope you don’t mind! And thank you to the gorgeous and talented @igottomuchfreetimeonmyhands who dropped everything to help me finish it!
Without further ado, I give you my first story in months: THE TWO SHERLOCKS
sometimes i think about how at 20 Laurent was an intelligent cunning cast iron bitch who ruled men and won battles meanwhile my roommate and i hid under blankets in our living room this evening waiting for our other roommate to come home to surprise her by pretending we were lumps
Lately I’ve been making up my own tier list in regards to how intelligent the Sonic cast is, as it’s an interesting thing to think about in my opinion. So now that it’s done, I’m gonna show my list to you guys and see what you think. Obviously not every character in the game universe is listed since that would take forever, and there were a few other characters who I wasn’t sure about.
What do you agree on? What do you disagree on? Or do you have your own intelligence tier list you would like to share? All responses are welcome. :)
GENIUS TIER Robotnik - Obviously.
Gerald - I realise that Ivo himself considered Gerald to be the greatest mind there ever was at the time of Adventure 2, and yeah, I can see why. However, I think the doctor’s own achievements - and the sheer amount of said achievements - have surpassed his grandaddy’s by THIS point in the series at least. (Also, Gerald’s dead, so it doesn’t matter either way.) All the same, Gerald was a very gifted man to have created a lifeform like Shadow, as well as other accomplishments like the Artificial Chaos and the Space Colony A.R.K. Especially when you remember that he lived during a time in which the world as a whole was much less advanced.
Tails - How many kids do you know who can create different types of highly advanced contraptions and vehicles like it’s nothing? Let alone fake Chaos Emeralds?
VERY HIGH TIER Wave - Her engineering prowess speaks for itself.
Rouge - Comes with the job. An expert in infiltration and hacking, a master of deception, and an expert treasure hunter. Given how she explained Soleanna’s monarchy system to Shadow at the drop of a hat, that would also indicate she’s well read and capable of remembering a large amount of info.
Blaze - More to do with implication, but she did once ask Tails if he can build a device that scans and analyses plasma and electromagnetic signals, in a tone that implied she knew what she was talking about.
HIGH TIER Sonic - Being able to avoid obstacles and fellow citizens with no issue at such insane speeds would imply that Sonic has a sharp mind and thought process. He’s also been shown on numerous occasions to adapt very quickly to unfamiliar situations, and his advice is usually profound in it’s simplicity.
Shadow - He doesn’t always have it right, but most of the time he’ll figure out what’s going on pretty quickly. And since the Black Arms incident, he’s also been wise to villainous trickery.
Erazor - Played his cards right from start to finish. Didn’t really make any especially stupid decisions, and made great use of what he had to work with.
Metal Sonic - Another one born out of implication, but given how he was created to be a match for Sonic in every way, I would assume Metal is just as clever as the real deal. He was pretty sharp in the OVA at least.
Merlina - She managed to keep Sonic distracted from her plan for long enough, all the while doing a competent job at portraying herself as a helpless bystander.
Zavok - He had a simple plan, but it was an effective one. He was also good at rolling with the punches whenever things didn’t go his way. Definitely the most intelligent of the Deadly Six. (Aside from maybe Master Zik, but that’s up for debate.)
Vector - Despite his occasionally bumbling attitude, he’s still the brains of the Chaotix at the end of the day, and his deduction skills have proven to be accurate most of the time. (Note how he correctly guessed that someone was pulling the Time Eater’s strings.)
AVERAGE TIER Knuckles - He may be incredibly gullible, but he also knows a lot about ancient history, and like Rouge, he’s a very skilled treasure hunter.
Espio - Maybe he should be higher, but we haven’t seen much to know for sure…
Amy - Can be ditzy at times, but generally has a good amount of common sense, and despite the lack of focus on it, her skill with tarot cards would add further evidence to her being far from stupid.
Marine - She was able to create a decent ship in spite of her boisterous personality.
Cream - Naturally her youthful innocence makes her a little naive, but she’s still prone to surprising moments of insightfulness.
Big - Some fans might think he should be lower, but one of the themes with Big is that he’s simple, not dumb (something Bioware clearly forgot, despite hyping their Big up as being more intelligent than SEGA’s Big). And given how we’ve seen him do things like piloting the Tornado - a plane he was unfamiliar with - without any obvious trouble, he may be more on-the-ball than most fans give him credit for.
LOW TIER Jet - He probably isn’t that stupid overall, but aside from his legitimate hoverboard skills, his arrogance makes him out to be a bit of a fool more often than not. Usually more bark than bite.
Silver - Despite his incredible powers and competence with using said powers, he’s proven to be very foolish, and doesn’t often plan things out that well.
Charmy - He has to be somewhat competent to still be working with the Chaotix, but he’s generally an airhead.
VERY LOW TIER Storm - Clueless individual in general. Mostly a yes-man through and through.
First off, Light being white can be explained that he is a member of the majority race and he does not know suffering. That makes sense to me. But the thing is, in America, what separates from the typical mass murderer that we are presented in media Light is that he is stupidly attractive. And before you say, “why does it matter?” okay, example: you remember when that picture floated around of the Leader of a Mexican Assassination Squad being a woman, a stupidly attractive woman. And she was being hailed as “goals” with her pink AK-47 and glossy looks and people conveniently forgot that she is a fucking hitman?
We do not associate attractive people with murderers. It is a subconsciously disassociate attractive people from heinous actions. Half of the time, Light got away with some shit because of how stupidly attractive he is. Light Yagami is the type of dude that you would not associate with “serial killer.” Making Light “white” kind of hurts because if you are a serial killer, you are probably white statistically. But you can negate that by making him stupidly attractive, right? Zach Effron? Justin Bieber? Any Sephiroth looking pretty boy motherfucker.
But who do they cast?
This mediocre white boy. Don’t get me wrong. Nat Wolff is not ugly. He is attractive. But, huge point, he ain’t Light Yagami. When I see him, I do not see Light. Matter of fact, when I look at him, I totally expect him to be on a killing spree. White boys like this are suspect #1 when mass killings go down.
Now you could have totally made Light Japanese American and it would work if he was stupidly attractive as well to negate Light ever had suffered, ordeal, since oppression and being a minority in your country is suffering.
Second, L….fuck.L is the modern day Sherlock Holmes. No fuck it. He is better. Sherlock could have never deduced Light was Kira because Sherlock deals with physical deduction. Sherlock would not be able to use his attention to detail to catch Light. He would not be able to handle something as abstract as the Death Note. So making L black? Dammit, man.Then again, was L Japanese to begin with?
“When asked about L’s ethnicity, creator of the series Ohba responded, “I think of him as a quarter Japanese, a quarter English, a quarter Russian, a quarter French or Italian, like that.”
Oh, so okay, I guess.
Okay, race aside, L is the polar opposite of Light. He looks like someone who does not take care of himself. He is sloppy, messy, malnourished, and creepy. You do not expect someone like L to be 1. extremely passionate about Justice and 2. extremely intelligent.
Who do they cast?
Nigga, you are too damn attractive to play L. I love Keith Stanfield and he is a terrific actor, but no. Fuck that.
And the films way of showing this is…fucking turn L into a generic hooded vigilante? No. no. no. This is wrong.
Death Note’s main aesthetic theme is that appearances do not denote purity. L and Light and Misa by extension play with this theme. And the casting for this film and also the writers of this film completely missed the point.
Finally, guess who is writing this? The motherfucker who write the last Fantastic Four movie. Can I get a “Hell no” up in here?
Yes. So don’t get your hopes up for this movie.
I have also seen people say, “It is not white washing, it’s Americanizing.” I am sorry….I thought there were Asian Americans in America. Hey Asian Americans…you aren’t really American, apparently. I just find it weird that they could not cast a Japanese person to play a medium derived from their nationality. And there is no excuse. It is based in Seattle Washington.
As a matter of fact, I am going back to watch Death Note anime.
Christopher Nolan is truly an entity unto himself in the current film landscape. Things have become increasingly divided into the two dramatically opposed positions of large tentpole blockbusters and tiny indies, and Nolan remains just about the only filmmaker who is able to defy both of these by having enough clout and experience to still get funding for $100 million movies that are totally original and not confined by studio meddling or any kind of franchise building mechanics. Whether you love him or hate him (or fall somewhere in between, as I do), a Christopher Nolan movie is an experience unlike any else that we’re getting at the cinema these days, and thus every one becomes an event on its own terms. I’ve had some highs and lows with the filmmaker, and his latest, the WWII intimately-scaled epic Dunkirk, falls somewhere in the middle. I certainly can’t agree with some of the claims out there that it’s his best film, and definitely not anywhere near the best of this year, but in terms of films with that level of budget I don’t think anything has been able to rival it this year.
Part of that comes with that refreshing feeling of seeing a movie on this scale that isn’t tied down by being part of another dull, overstretched Hollywood franchise, the way that basically every blockbuster is these days. We’ve gotten to a point where even the word “blockbuster” is essentially restricted to movies that are either a part of a franchise, or trying to be a part of one, as in the case of the deliriously failed Valerian and the City of a Thousand Planets that was released on the same day as Dunkirk. To see something this size, that genuinely demands to be seen on the big screen, that isn’t part of a franchise, is such a delight regardless of the quality of the film itself. Dunkirk just adds a lot of gravy to the mixture by being a very good picture in its own right. Nolan has made a movie that not only defies the conventional norm for what qualifies as a blockbuster these days, but one that also stands out among what anyone is expecting when they’re going to see a war movie. Rather than being a picture about bloody shootouts on the field of battle, about armies going head to head where good hopes to triumph over evil, with a clear point A to point B plot from start to finish, Dunkirk takes many different approaches that separate it both thematically, tonally, and structurally from other war movies.
For starters, the story of Dunkirk is one of adversity and bittersweet triumph. The entire event, in which hundreds of thousands of men were saved from certain death as they waited on a beach for transport away from enemy territory and back to the safety of home, is one of a defeat. These men were only in this position because they lost, and the enemy was making their best effort to wipe out the remaining soldiers in their sights before they could make their full retreat. However, the real story of Dunkirk is one filled with hope, of the courage and decency of not only those fighting on the frontlines, but of the every day civilian as well, as these boys were rescued due to the help of civilian boats that drove into danger in order to do the right thing. That’s what Dunkirk is all about, and that’s certainly not the usual story that you see in a war movie. It’s also not the only way that Dunkirk, the movie, defies the norm.
In a structural sense, Dunkirk is unlike anything you’ve ever seen before, not just in a war movie, but in any movie. The film focuses on three distinct storylines that intersperse throughout the course of the movie – one following the soldiers on the land (including Fionn Whitehead, Harry Styles, and Kenneth Branagh), one a civilian vessel (with Mark Rylance and Cillian Murphy) on the sea on their way to the beach, and one a pilot (Tom Hardy) in the air in the midst of a dogfight with the enemy, doing what he can to protect the soldiers down below. In order to follow each story in a realistic way while accomplishing everything he needs to, Nolan’s script sets each one over a different period of time, with the land scenes taking place over the course of a week, the ones on the water over the course of a day, and the ones in the air over a single hour. It’s an interesting gamble, and unfortunately it’s one that ultimately doesn’t pay off, marking the one big element that holds Dunkirk back. This technique quickly becomes incredibly clunky, particularly the further the film goes along as the storylines cross over with one another more and more, and the mechanics of the timelines become unnecessarily distracting more than anything else. If Nolan was going to approach things this way, perhaps he could have done better to not have the main characters themselves crossing over the way they do, as this is where things really start to get messy, and it simply proves to be a nuisance more than anything else.
I’ve always maintained that Nolan is a great director, but a relatively weak writer, and Dunkirk is quite possibly the most concrete example of that to date. Thankfully, it’s also a case of the filmmaker focusing almost entirely on his strengths. While the script is where the film runs into basically all of the problems that it has, the direction is among the finest of his career, and where he makes some of his smartest decisions. Nolan has become the kind of filmmaker, like a Scorsese or Paul Thomas Anderson, where you go into their movie expecting to be sitting through a nearly three hour experience every time, but wisely Dunkirk has been kept to running well under two hours. War movies in general tend to run pretty long, but with the intimacy of this picture compared to others of the genre, Nolan knew that things would quickly begin to bloat and drag if he ran it too much longer. That’s one of the reasons why Dunkirk ended up having one of his smallest scripts to date, but an even bigger reason is the fact that he kept the dialogue here to a bare minimum. This is one of the best decisions he made on the picture, as not only does it limit the amount of Nolan’s characteristically awful dialogue (of which there still is some glaring examples here), but the silence only adds to the tension and the morose feeling that drips over the entire movie.
Particularly in the case of the soldiers on the beach, this feeling of loss and defeat, of silent despair and terror, creeps over every scene from the very beginning of the movie, where we follow one of our main characters (Whitehead, who like all of the young cast in the movie, is a newcomer, a wise casting decision by Nolan), who doesn’t have his first line of dialogue until well into the movie. The lack of speech further highlights how important the sound work in the movie is in other areas, whether it’s the bombastic sound of the gunshots and bombs that rain down on the beach, the water, and through the skies, or the ticking clock of Hans Zimmer’s score, counting down to the enemy’s arrival. Like any movie based on a true event, Nolan had the difficult task of creating a film that is intended to capture the suspense and intensity that these men were experiencing, but everyone watching the film knows how it all ends – maybe not for each of these characters specifically, but the overall story in that the rescue mission is a success and they get off the beach. Nolan manages to pull it off, though, with a remarkable display of escalating tension that starts off with its grip already around us, and then slowly like a vice it becomes tighter and tighter without one even being actively aware of it, to the point where a later scene that poses the threat of one of the characters drowning genuinely had me feeling like I needed to start gasping for air.
In that way, Dunkirk is a visceral experience unlike many I’ve had in my life, as he so effectively puts us into the perspective of the characters in the film. This is one of the reasons why casting newcomers was a smart idea, as the audience doesn’t have a history with those actors (barring Styles of course, who nevertheless does a fine job) and can therefore place themselves more readily into their shoes. Even Hardy has his face covered by his pilot gear for almost the entire movie, thankfully stripped of his usual tic-laden macho posturing and forced to do much more subtle acting almost exclusively with his eyes, which he manages well. This also makes it more effective seeing actors like Branagh, Murphy, and Rylance in their parts, as each one for their own reason benefits from having someone who we have more familiarity with in the role. Dunkirk isn’t a movie designed to give the actors any kind of major spotlight, as it is a director’s showcase through and through, but part of that showcase for the man behind the camera is his intelligence in his casting and knowing the right people for every part regardless of whether or not people are intended to walk away from the movie really thinking about the acting. Dunkirk isn’t a movie without its share of flaws, but as far as showing off Nolan’s assets as a filmmaker in a league of his own within the current state of the industry, it definitely succeeds and makes me grateful that we have at least one blockbuster director still able to be out there creating movies like this on this scale.
I will say though, that I didn’t like how Iris doubted her contribution to the group. Literally my heart broke for her. This is mainly due to the show’s glorification of science, being a meta and having powers (which I think they realized this episode?). Iris is so brave, and so so smart - so I didn’t like how she doubted herself but I felt for her. It’s been shown that her career has contributed to the team many times. But I’m glad Barry reassured her, again, that literally the only contribution that he has to the world (as in being The Flash), is because of her contribution to him.
Tbh anyone who reduces Rouge to her “sexy” design is falling right into her trap.
Why tf do you think Rouge dresses the way she does? Two reasons: 1, she enjoys beauty, and 2, she wants people to underestimate her. Pretty much every time she starts working for someone new she says some variation of “I may not look the part, but I’m a real treasure hunter.” She deliberately does not look the part. She wants people to dismiss her as just some shallow bat girl so that they stop paying attention to her, and she can easily sneak behind their backs and take what she wants.
I mean at least twice I’ve seen her pull out the “I can’t believe you’d attack a lady!” card. She is not surprised in the slightest that someone would attack a lady. You think she can’t hold her own in a stand-up fight? She kicks down doors on the regular, dude. She is strong as hell. She just wants to persuade her attackers to stop, which would make her job that much easier.
Basically, she wants her first impression on people to be “Shallow, ditzy girl who flirts with everyone” because that means they’ll miss her cunning, ruthless side, and she can do as she pleases. It’s a win-win for her - everyone underestimates her, and she gets to wear the pretty clothes that she likes with no drawbacks. Hell, she’s pretty much the only female character for whom wearing heels makes sense - most people are gonna dismiss someone in heels as not being able to fight properly, but she can fly, man. She will fly up and kick you right in the face with those heels, and they’re gonna do more damage than flat shoes because there’s the same amount of force but a smaller surface area.
Rouge is one of the most intelligent characters in the cast, and it makes me sad that so many people reduce her entire character to “sexy bat girl” without realizing that that’s just a front.
Back in the grand days of 2008, when I first became a fan of total drama, Noah/Cody - which was actually called Nody strangely enough because someone coined NoCo - was a popular pairing. Okay, so we were basing it of exactly 1 incident, really, but come on. Entire ships have been based off less.
After 4 more seasons and even more years, the fandom for NoCo has more or less dwindled to a couple of 14 year olds that starting watching the show in elementary. Boy that makes me feel old. I’ve seen mostly neutrality or dislike in the TD tumblr community towards noco, and I decided I wanted to pick apart the arguments against NoCo and why I (personally, so don’t be a dick about it) don’t consider these arguments that valid.
Noah has high standards
I think we can agree that Noah has high standards, but realistically, his standards would be so insanely high that he pretty much wouldn’t consider dating anybody on the show. He’s made it pretty clear he considers himself far more clever and intelligent than his cast-mates, and likely wouldn’t give any of them a thought romantically.
I don’t doubt that he would consider Cody to be a bit of a loser, but in my opinion, getting past that is what could make for an interesting love tale. This isn’t actually limited to Noco- if I’m allowed to go on an aside - but with anyone. He doesn’t fawn. He needs to be convinced, sold to like a customer.
At least with Cody, he seems to have the benefit of intelligence, which is something Noah values. Although Cody is clumsy and screws up a lot, he has book smarts at the very least.
I consider the ‘Noah’s high standards’ argument invalid mostly because it would be difficult to justify why high standards would eliminate the rather innocuous Cody, and somehow not prohibit people like Izzy (insane), Duncan (a criminal), Owen (fat, gaseous, and naïve), Alejandro (snake in the grass), etc. from being possible choices for Noah.
They don’t have much in common/Wouldn’t get along
Although Noah kind of comes across as pompous and lazy in the first season, by season 3 we see that his closest friend, surprisingly, is Owen, who’s a total bag of hammers. He also gets along with Tyler and sometimes Izzy, even though she gets on his nerves. This shows that even though he’s a smart guy, he doesn’t require his time to be spent in a library reading up on classical liberalism all day erry day. He has a surprising enjoyment of silly people.
Cody can be an awkward, silly, person as well, but with the added benefit of have a higher IQ than Tyler. We know enough about their backstory to know they both like gaming and do well in school. It isn’t much, but hey, they also have similar tastes in shirts.
Who the hell would be on top?
This doesn’t matter. Like, at all. Pretty sure real-life gay couples don’t have one set person who’s on top every goddamn time. Real straight couples don’t even do that. This argument is purely ridiculous and it’s pretty much an attempt to shoehorn non-anime characters into Japanese yaoi style uke/seme roles for no reason.
Cody is Straight
Nobody in this show has ever been confirmed to not be straight. The only boys with any hint of not-straight are Noah, Owen, and MAYBE Tyler if you give his brief discomfort with regards to Al’s sexiness any credence. There’s no reason why Cody is somehow more straight than anyone else.
The majority of same-sex ships are going to require changing a character’s presumed sexuality to fit the ship. That’s how it’s always been. And I mean, lately I’ve seen people making not-Asian-characters suddenly Asian and I think I saw Scott with boobs once, so already we’re not exactly connected to established reality.
So there you have it
I’ve loved Noco for a good six years now, and I’m not gonna stop just because Tumblr doesn’t love it. This is why I continue to believe that it works, at least as well as slash couples with little basis do, because let’s face it, slash is fantasy, not reality.
- a huge dragonkin beast whose wings have hardened into a shell. Highly intelligent and capable of casting magickal debilitations; the earth itself shakes when this large creature begins to move.
3-4 - Wisened Tarasque
- an elite Tarasque with even stronger magickal powers than the standard Tarasque; uses ice and lightning magicks. Its physical attacks are dangerous enough to begin with, and its magickal attacks are more deadly and difficult to evade.