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@burgerheadjones / burgerheadjones.tumblr.com

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ruegarding

that scene in tlo where thalia tells percy he can't start feeling sorry for luke bc luke made his choices. and thalia reveals that the reason they couldn't make it to camp in time for all of them to make it to camp was bc luke kept picking fights. and annabeth never saw this as wrong bc luke was her hero. so thalia had to pick up the pieces. and percy thinking both that luke was put in a cruel position and that luke was putting others in a cruel position. and percy is the only character who understood both sides of luke bc annabeth sees only the best of him and thalia sees only the worst. and that's why percy is the prophecy kid and the one who gives luke the knife. bc annabeth had spent the entire series essentially giving luke the knife when he didn't deserve it. and thalia was never going to give luke the knife. but percy is the only one who can see exactly when luke deserves the knife.

gods

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audarcy

The original percy jackson series is about cycles of abuse and neglect, right. Were introduced to percy as a kid who has clearly been left behind by a school system that has given up on him, restless and unengaged and self-defetist because hes been given nothing that works for him and no one even tries to meet him where he is. Then hes told no, listen, your neurodivergence is amazing and you just need to be given something that actually utilizes your unique palatte. And thats obviously the uplifting idea rick wanted for his kids, right. But once we get to know chb the same cycles are happening there too. There are kids "left behind" there too for one reason or another, because their parents dont want to claim them, because their parents werent important enough to get a cabin. Do you get it, all the kids who dont fit the most common neurotypes get shoved into the same closet. Kids are being left in a cruel world to fend for themselves without the tools they need. Theyre dying because no one bothered to accommodate them. Its such an obvious parallel that the first chapter introduces a teacher whos written to be especially hard on percys disability and she turns out to literally be one of these monsters trying to kill him. Meanwhile sally jackson tells him she named him after Perseus because she wanted a redemption for a hero whos story ended in tragedy. Meanwhile every book in the series replicates a greek myth step for step until the moment they break the cycle. Annabeth, playing Odysseus, is talked down from her hubris and grounded by her friends. Percy, playing Heracles, meets someone wronged by the original Heracles and rights his wrongs by refusing to go down the same selfish path as him. Monsters are reborn because they are--as the books explicitly call them--achetypes. These kids are stuck inside the cyclical nature of mythology because thats what happens to mythology, it gets retold over and over again. But these are the kids who have to live it. The series ends with percy being offered immortality and he rejects it because he wants to use his godly favor to force them to break their cycle of neglecting their kids. The series ends with a declaration that we cant keep letting this happen. The very first book offees the same choice. It ends with percy refusing to keep the head of medusa as a spoil of war, refusing his heroic reward. He lets his mother have the head and use it to kill gabe. Isnt that fucking crazy for a kids book? Gabe wasnt a Monster. He wasnt going to Turn to Dust and Disappear in a narratively convenient way. He was a living breathing mortal dude and percy and his mom killed him without remorse. Break the cycle of abuse!!!! Dont let this happen again!!! Anyway thats why the original percy jackson series is Hey where are you going with our breadsticks

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bookgil

MINOR CHALICE OF THE GODS SPOILERS 🚨

One of my fav moments is when Percy’s like “I almost hope I die so Annabeth feels bad about pushing me off a cliff”😡 as if he didn’t willingly jump off a cliff into Tartarus with her like a year before

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ck2k18

will never forget how percy was at camp halfblood and everyone in the room was dyslexic and knew he was dyslexic and they still made this boy read out the great prophecy in front of the whole class, a prophecy that at least two people in the room knew by heart, and they let him stand there and say "a half-blood of the eldest dogs." they set him up so bad.

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burdge
Percy wanted to tell her it was okay, but of course it wasn’t. He couldn’t even feel his body anymore. His consciousness was like a small helium balloon, loosely tied to the top of his head. It had no weight, no strength. It just kept expanding, getting lighter and lighter. He knew that soon it would either burst or the string would break, and his life would float away- page 242, House of Hades

sketches of the scenes i’m working on currently woop

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driug
Barry Keoghan: I’m always fidgeting my hair, I haven’t done it now but I was always on set fidgeting with my hair and Chloé would be like "stop, stop, stop, to the side, to the side".
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literally the way riverdale was so clearly written by gay people with like weird little references to gay media that seem like theyre written for a target audience of like 30 year old gay former theater majors who own copies of virginia woolfs letters to vita sackville-west and also they got gregg araki to direct the wrestling episode which is still so crazy to me but then also at the same time the actual gay characters on the show are often quite poorly written and boring and then theres of course the entire specter of archies weird fantasy i feel like riverdale would be more unbound and free if it had come out a few years earlier and had a few less canon gay characters and instead had more queerbaiting cuz that really feels like the niche we are missing here like riverdale would be a better show if they actually were baiting jarchie and beronica and whatever else they could dream up cuz the pilot had the right idea the beronica kiss for the trailers and the whole he came looking for the girl next door instead he found me like if they kept up that energy with the baffling references to gay media it would be high camp i think and make mockery of heterosexuality and like subvert whatever expectations come from the entire concept of archie comics bastion of american heterosexuality that they are

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the CW won’t see your posts celebrating its death but jughead who will become homeless because of it will. have some decency

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i think it’s particularly messed up that the only way for edmund to be redeemable is if the turkish delights are enchanted.

what you have to understand is that edmund was a child. he was not like his siblings, and because he was not warm or malleable, he was treated differently and held to vastly different standards. believe it or not, children are wildly intelligent when it comes to understanding what is right and wrong, and they can easily figure out when they’re not being treated equally or fairly.

you don’t blame the child for acting out when they’re a product of their environment — i mean, imagine it. growing up with three other siblings, all of which receive far more praise and are much more loved than you, all in the midst of a war; you have no outlet, no one to help you figure out your emotions or how to deal with them, nothing. you’re just the annoying brat who always gets in trouble, and no one bothers to listen to you or ask how you’re handling this heavy situation you’re meant to just...handle (because everyone else is doing it, so you should be able to, too). edmund was angry, confused, and alone for the entirety of the lion, the witch, and the wardrobe, while peter, susan, and lucy still had each other. it is incredibly alienating, and when you’re 11 years old, of course you’re going to think everything is so horribly unfair, of course you’re going to lash out and let yourself give in to that bitterness.

and it’s like...don’t even get me started on jadis, the white witch, as a person. she wouldn’t have needed enchanted sweets to convince this boy to help her, to betray his family and subsequently betray narnia. she has spent her whole life deceiving and conquering and destroying — it wouldn’t have been hard for her to see how vulnerable edmund was, and how desperate he was for the barest approval and motherly love. all it took was a few kind words and a nice treat, because really, edmund was 11 years old and all he wanted was some decency and normality.

edmund was a traitor, yes. but the turkish delights are not the deciding factor in whether or not he was redeemable, because he was never awful to begin with. he was just angry and upset and had no one to help him through it.

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deepmagic
“Oh, you don’t want to do that, boy.” “Not me. Him.”

SKANDAR KEYNES as EDMUND PEVENSIE in THE CHRONICLES OF NARNIA: PRINCE CASPIAN (2008) dir. Andrew Adamson

Bonus:

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you have invited strangers into your home, helen pevensie, mother of four.

without the blurred sight of joy and relief, it has become impossible to ignore. all the love inside you cannot keep you from seeing the truth. your children are strangers to you. the country has seen them grow taller, your youngest daughter’s hair much longer than you would have it all years past. their hands have more strength in them, their voices ring with an odd lilt and their eyes—it has become hard to look at them straight on, hasn’t it? your children have changed, helen, and as much as you knew they would grow a little in the time away from you, your children have become strangers.

your youngest sings songs you do not know in a language that makes your chest twist in odd ways. you watch her dance in floating steps, bare feet barely touching the dewy grass. when you try and make her wear her sister’s old shoes—growing out of her own faster than you think she ought to—, she looks at you as though you are the child instead of her. her fingers brush leaves with tenderness, and you swear your daughter’s gentle hum makes the drooping plant stand taller than before. you follow her eager leaps to her siblings, her enthusiasm the only thing you still recognise from before the country. yet, she laughs strangely, no longer the giggling girl she used to be but free in a way you have never seen. her smile can drop so fast now, her now-old eyes can turn distant and glassy, and her tears, now rarer, are always silent. it scares you to wonder what robbed her of the heaving sobs a child ought to make use of in the face of upset.

your other daughter—older than your youngest yet still at an age that she cannot be anything but a child—smiles with all the knowledge in the world sitting in the corner of her mouth. her voice is even, without all traces of the desperate importance her peers carry still, that she used to fill her siblings’ ears with at all hours of the day. she folds her hands in her lap with patience and soothes the ache of war in your mind before you even realise she has started speaking. you watch her curl her hair with careful, steady fingers and a straight back, her words a melody as she tells your eldest which move to make without so much a glance at the board off to her right. she reads still, and what a relief you find this sliver of normalcy, even if she’s started taking notes in a shorthand you couldn’t even think to decipher. even if you feel her slipping away, now more like one of the young, confident women in town than a child desperately wishing for a mother’s approval.

your younger son reads plenty as well these days, and it fills you with pride. he is quiet now, sitting still when you find him bent over a book in the armchair of his father. he looks at you with eyes too knowing for a petulant child on the cusp of puberty, and no longer beats his fists against the furniture when one of his siblings dares approach him. he has settled, you realise one evening when you walk into the living room and find him writing in a looping script you don’t recognise, so different from the scratched signature he carved into the doors of your pantry barely a year ago. he speaks sense to your youngest and eldest, respects their contributions without jest. you watch your two middle children pass a book back and forth, each a pen in hand and sheets of paper bridging the gap between them, his face opening up with a smile rather than a scowl. it freezes you mid-step to find such simple joy in him. remember when you sent them away, helen, and how long it had been since he allowed you to see a smile then?

your eldest doesn’t sleep anymore. none of your children care much for bedtimes these days, but at least sleep still finds them. it’s not restful, you know it from the startled yelps that fill the house each night, but they sleep. your eldest makes sure of it. you have not slept through a night since the war began, so it’s easy to discover the way he wanders the halls like a ghost, silent and persistent in a duty he carries with pride. each door is opened, your children soothed before you can even think to make your own way to their beds. his voice sounds deeper than it used to, deeper still than you think possible for a child his age and size. then again, you are never sure if the notches on his door frame are an accurate way to measure whatever it is that makes you feel like your eldest has grown beyond your reach. you watch him open doors, soothe your children, spend his nights in the kitchen, his hands wrapped around a cup of tea with a weariness not even the war should bring to him, not after all the effort you put into keeping him safe.

your children mostly talk to each other now, in a whispered privacy you cannot hope to be a part of. their arms no longer fit around your waist. your daughters are wilder—even your older one, as she carries herself like royalty, has grown teeth too sharp for polite society— and they no longer lean into your hands. your sons are broad-shouldered even before their shirts start being too small again, filling up space you never thought was up for taking. your eldest doesn’t sleep, your middle children take notes when politicians speak on the wireless and shake their heads as though they know better, and your youngest sings for hours in your garden.

who are your children now, helen pevensie, and who pried their childhood out of your shaking hands?

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MCU Phase 4, but described badly:

Black Widow: Two Russian women go around the world and realize that they'd rather be Americans than Russians.
Shang-Chi and the Legend of the Ten Rings: A grief-stricken father who just wants his wife back is beaten up and gets his jewelry stolen by his runaway son
Eternals: Sexy robots that just want to love are told by God that they need to blow up the Earth and are later recruited by One Direction member Harry Styles for a rescue mission
Spider-Man - No Way Home: Peter Parker, Peter Parker, and Peter Parker have to fix Peter Parker's mess
WandaVision: Grief-stricken woman takes a town hostage so that she can live out her robosexual, sitcom AU fantasies
Falcon and the Winter Soldier: Liberal centrists and the U.S. military (aka the paragons of all that is good) battle the evil leftists who just want a unified world.
Loki: Loki and Loki learn that free will is a lie and that the timelines are being controlled by a black-owned business
What If...?: AO3 with heavy emphasis on the angst fics
Hawkeye: Married man Clint Barton spends Christmas away from his wife and kids with an attractive, younger woman who brought him back to her apartment
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