olderthannetfic:

snugglebunchesofeyes:

trist-pkmngal:

thebyrchentwigges:

missmollyetc:

cumaeansibyl:

thelaughingman1:

delicatelytoobear:

hobbit-hole:

femmefaramir:

older lotr illustrations sometimes depict éowyn wearing ridiculously small armour. apart from the problem general sexualisation of the only female character (who really does anything), there’s another hilarious thought:

éowyn pretended to be dernhelm, a man. to fit in, she must have worn men’s armor. so the armor in the illustrations is normal for rohirrim.

therefore, all the rohirrim rode to war just like that:

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there’s a thundering sound in the distance as the rohirrim ride into war but rather than hoofbeats it’s the collective sound of all their cheeks clapping

the artist for this particular piece is Frank Frazetta and to be fair to him this is how he drew the orcs armor 

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so the rohirrim comment is probably not that far off

That’s a man who just straight up had a problem with the concept of wearing pants into battle, and I respect that

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male or female

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hero or villain

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sea or land

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even in the snow

I guarantee you Frazetta’s Rohirrim were 100% pants-free

Good Old Frank. That man loved bodies and hated clothes so much

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Frank Frazetta was the reason He-Man was designed like that; the producers conduct a study to see what art appeal the most to children, and Frank’s work came out on top in popularity. So everyone in He-Man is dressed the way they are directly because of Frazetta.

That man gave us the gift of warrior thighs and tits for everyone.

Ah, it has been too long since I have seen the no pants post on my dash. And yes, this is a rare case where it wasn’t some sexist nonsense but an egalitarian No Pants Agenda.

thefiresofpompeii:

We Invest Things With Significance, or: Why Sutekh Isn’t Sutekh, But Death Itself. alternative title: Fear Is the Mind Killer.

the Doctor Who Series 14/1 thesis statement

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i don’t think that sutekh has literally been attached to the TARDIS since Pyramids of Mars. i think that the salt at the edge of the universe — the grievous mistake that caused all myths to become a reality — was what made him appear. and he’s not the same character as sutekh the osiran, a powerful alien that delusionally believed himself to be a god. he *is* a god. nuwho-Sutekh is Death Incarnate.

ergo, this version of Sutekh is the literal psychic manifestation of the Doctor’s deep-seated, guilt-motivated fear of the idea that his arrival brings death wherever he treads. this death-anxiety was turned into a physical presence, haunting the TARDIS all through the Doctor’s timestream, because of the salt. that’s the reason why the Doctor didn’t spot any Susan Twists before Wild Blue Yonder…

there are two timelines in Doctor Who — relative time and universal time. universal time is the history of the universe. relative time is how the Doctor experiences it. in universal time, Sutekh has supposedly been hitchhiking through the vortex for millenia. in relative time, he has only been doing so since Fourteen accidentally invited myths back into the world.

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the Doctor was insecure and afraid and believed the above quote (from the very first episode!! spoken by the very first named character in nuwho to die on screen, no less!) to be true. but until WBY it had only been true on a symbolic, metaphorical level. myths, legends, concepts and stories becoming real after the salt caused the Doctor’s anxiety about being a death-bringer to take the shape of a black dog — a universally recognised symbol of death — wearing the name and voice of his most formidable enemy, Sutekh.

in a way, this plotline mirrors The Woman from 73 Yards similarly being a manifestation of Ruby’s worst fear — that of being abandoned by everyone she loves for something intrinsic and incorrigible inside her that she cannot change. Ruby fears being left completely alone, so “The Woman” causes everyone in her life to leave her. the Doctor fears that his coming always heralds mass destruction (“maybe i’m the bad luck”), so “Sutekh” makes sure that the TARDIS literally becomes an altar of death.

ever since Wild Blue Yonder, stories in doctor who have become sources of immense power. the worst, most potent stories we tell ourselves are the lies that our sick brains whisper to us — secret anxieties that we’re not good enough, that all our loved ones will inevitably leave, that we carry nothing but bad luck in our wake. what better clay to mould a monster from than the protagonists’ own neuroses?

and if anybody’s still in doubt, here’s the plain text, all laid out below:

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we invest things with significance. that’s what the salt at the edge of the universe really meant. that’s what almost every episode this series has been about, thematically — the imaginary kastarions, the cosplaying chuldur, the bogeyman written into life because kids need a scary story. myths become real to us because we believe in them, love and death and monsters too.

Politically, governments decided to sell a “we beat the pandemic” narrative to the public after vaccines failed to produce herd immunity as promised. For this reason, political health bodies like the CDC began putting out guidance from the very top encouraging people to accept the “new normal” of unending reinfections. Acceptance of constant reinfections relies heavily on the perception that COVID infections are a truly neutral event for your health- something that no research, and no study, has ever concluded.

COVID infection endangers pregnancies and newborns. Why aren’t parents being warned?

Whoever said you can’t have both guns and butter was a fool.

Obviously you just make a gun out of butter — make molds for all the gun parts and freeze some butter inside them. Afterward, you can eat the murder weapon.

Why must I be the one to think of everything?