I’ll Never Understand Why Disney Is So Focused On Live-action Remakes When They Literally Own The Rights

All the Empires SMP members (Season 2 edition!)

spin the wheel for a random minecraft biome. you have to live there now

Hufflepuff Playlist 8

Bugbear by chloe moriondo

Bounce Man by Twenty One Pilots

Honestly by Hippocampus

Sweet Tangerine by The Hush Sound

It’s Always Sunny With You by {Parentheses}

Clover by Louie Zong

Honeybee by Steam Powered Giraffe Silly Girl by chloe moriondo

All That and More (Sailboat) by Rainbow Kitten Surprise

It Gets Better by Bears in Trees

Lemon Boy by Cavetown

Hope by Tom Rosenthal

Warm Glow by Hippocampus

Would That I by Hozier

Worries - 2021 by Tom Rosenthal

Married Life by Michael Giacchino

Sweet Tooth by Cavetown

Rainbow by dodie

Attention by rainbow frog biscuits

Sugar in a Bowl by Of Monsters and Men

i love the alloaro flag it's so pretty

"There is something wicked within you"

CONGRATULATIONS TO SCAR FOR HIS FIRST MCC WIN!

Now Jellie is immortalized on the winner's podium!

Specific things about certain songs I like that make me start frothing at the mouth like a rabid raccoon when I hear them:

The soft violin solo that plays at 1:35 in "The Crooked Kind" by Radical Face, like the heralding of a distant thunderstorm that you can see rolling in the distance.

When Florence starts chanting "Who's a heretic now?" in "Which Witch", which is the best song on the album and it is a CRIME that it was just a demo (don't let Spotify fool you it was listed as a demo until recently).

The way the chunky guitar and drums build before the second chorus of "Double Vision" by Family and Friends, which is sung with some kind of soft anguish that always breaks my heart into pieces.

The pianowork in "Garden" by Cold Weather Company is complimented by a fuckin' pianica of all things and it absolutely should not work but it does and drives me nuts when it hops in like Jesus.

David Le'aupepe's vocal's in "The Man Himself" by Gang of Youths. This man is a horrifically underrated singer and I would pay every ounce of money I have to see him belt this song out live.

Just the subject of "Staring at the Stars" by Passenger. I love songs that revel in the fact that their subjects are complete and utter losers, and there's something kinda hopeful in and of that as well.

The masterful guitarwork on "The Graduate" by the Arcadian Wild but particularly by the mandolinist. It's insane how fast that man can strum those chords out.

I could make an entire list based on The Oh Hellos alone but when the whole band chimes in behind Maggie Heath to sing "--any little Messiah" in "Passerine", it's not only amazing but a literal callback of the "birds of a kind" lyric that comes right before it and Idk I think that's neat.

The chemistry between the two lead singers of "Home to Me" by Devil and the Deep Blue Sea-- it is genuinely a failing of society that they never got big nor released more than 8 songs.

That quiet, warm optimism you can hear in every word and even in that fuckin'...I don't know, panflute synth?...in "Summerland" by half-alive. This song is like watching a sunset on a half-empty beach with all your closest friends, finally reveling in the warmth that you can only find in early June.

The rising, building vitriol of the two singers in "The Descent" by Bastille (the man is Dan Smith, the woman is Lily Moore). I LOVE songs where both singers are just fucking furious with each other it's so sexy, and Moore in particular kills it.

Changing the final line of "No Lullaby" by SIAMES from "Where's the love when you were left on your own?" to "Who said you're on your own?"-- in an album centered around broken homes, it's a nice way to end a song centered around familial abandonment on a hopeful note.

The way the last line of "Leaves in the River" by Sea Wolf is sung-- a soft, hopeful, almost wistful sigh of a man who's just fallen head over heels in love (or at least that's how I interpret it).

I am convinced that no one who writes Stress as "gentle, soft-spoken healer mom friend" has ever actually watched her content and specifically has never watched her interactions with Iskall.

“You’re the one who asked if the Cod Empire had stories,” Jimmy says, sitting next to Scott by the edge of a mangrove island. In the distance in the swamp, they can watch several young codfolk attempt to play—Scott doesn’t know the name of the game. Something that involves a lot of treading water and throwing a ball around and makes Scott look exhausted just watching it, at least.

“Yeah, but I don’t get it. Don’t fables normally have like… morals?” Scott says. “The ones I knew did.”

“I mean, I’d say the story about the catfish was always pretty clear to me,” Jimmy says. “Doesn’t change, but adapts. It’s willing to eat anything, but not change who it is, and it outlives the goldfish, who change all the time, because of it—”

And Scott stands, distant from Ren but still covered in blood, red crystals floating around him. He raises his sword silently, then he sits down with the axolotl and waits. He’d finish it himself, but he’s always simply tried to survive, survive without changing who he is in the process. He doesn’t know if he’s succeeded. His teeth taste like iron and bile. If he’d been about to throw up, though, he would have done it days ago. Maybe that’s what victory tastes like.

“—that’s a moral, right?”

“Other people change the goldfish though. The goldfish don’t choose to change. That’s… that’s the point of goldfish breeding, Jimmy.”

“Yeah, and they die if you breathe on them funny. Don’t you know what a metaphor is? You’re the one who said fables normally have lessons!”

Scott sighs. “Yeah, yeah. Fine.” He sighs. “The oyster one, though.”

“Well that one’s just literal. Did you not know you can crack open oysters to check water quality? They’re a good indicator!”

Scott throws his hands up. “No! I didn’t grow up by the ocean! And the story’s more like that an animal just kills the oyster one day, and it finds out the pain the oyster had been preventing—”

And as Jimmy bleeds out on the grass, he realizes he’s bleeding out for them a second time. He hears, distant, Grian justify himself, but all Jimmy feels is like he’s somehow been cheated. He’s been killed first, again. The first name in a bloodbath of them. How is that fair? He’s never asked to die first! He’s never asked to die at all!

“—which is just. Really sad for the oyster?”

“Scott, they’re oysters.”

“They’re fables! We were just talking about metaphors!” Scott flops back. It’s undignified. He’ll get leaves in his hair, and mud all over his clothes. He doesn’t care. Here, the mangroves in the brackish swamp water smell like salt and something he hadn’t smelled anywhere else, and it doesn’t smell good, really, but he’s figured out it smells like life, and also maybe Jimmy, in a way that makes it easy to not care quite so much about appearances. Maybe it’s the bird in him, he thinks jokingly. He does have wings, and so many of the birds come to roost around trees like these.

They’re quiet for a while, Scott flopped back, children screaming and laughing in their game, and Jimmy watching all of them.

“Did you have a favorite?” Jimmy finally asks.

“Would it be cliche to say the one about the lovers? The seahorses, the one who builds a beautiful thing for his lover.”

“They die in the end, though.”

“Yeah, but, like—”

The war never comes to the hobbit hole. It’s funny; in the end, the two of them had gone to the war instead, when it came looking. Maybe they’d known better. Maybe, thinks Scott, in the afterlife their four hands had built, maybe they’d known better than to taint it.

“—the things they made were real.”

“Huh.”

Jimmy helps Scott up again. He looks at Scott in the eyes in that way that makes Scott either want to kiss him or strangle him. Scott’s never fully decided which, which probably makes it all the stranger that he’s sitting here, getting covered in swamp water and talking about fables.

“And yours?”

“Mine? Oh, uh, it’s one—funny, I think I learned it from Lizzie? I have no idea why that would be.”

Scott raises an eyebrow.

“It’s simple. It’s just that all things start as water, and all things will be water again one day.”

“…what? Why would that story be your favorite?”

Jimmy is quiet for quite a while.

“Maybe it’s because… no matter how badly we were to mess up…”

And he watches the explosion and he runs, he runs, because he doesn’t know what else to do.

“…no matter how bad of a decision we have to make…”

And Scott looks at the sword, and looks at Xonorth, and he doesn’t know what else he could do.

“…we’ll always end up back where we started.”

“That’s… oddly optimistic,” Scott says, although he’s not really sure that’s what he thinks about it. Somehow, instead of optimistic, it makes Scott feel like he’s somehow both too big and too small for his skin, thinking of the world like that. Thinking of everything going back to how it started.

On a circle, once again, they agree on their rules, and they shake hands, and they make their kingdoms. Again, and again, and—

“Well, I do like to keep cheerful when I can!” Jimmy says brightly. “Oh look, they’ve finished with their game!”

“Yeah,” Scott says. “So they have.”

somehow xbfam got talking about demon impulse and regular little guy bdubs and i am extremely enamoured with the idea