#I want Claire to be the other one

[tyanis]

Blasting "My Heart Will Go On" while giggling at my Resident Evil: Gaiden poster.

No, I will NOT stand up for a better pic.

This is how I spend my week nights.

[domo-arts]

Hits them with the utena beam 🌹⚔️

[undead-moth]

I know I've been on about this for a while now and I'm being a hater but you're telling me SydCarmy was "always meant to be platonic" even though there are two seasons of writing making use of tried-and-true explicitly romantic tropes, themes and writing signals, and SydLuca is going to be romantic because...he was nice to her on screen for a few minutes?

I don't even care if people ship SydLuca, or if they just prefer it, but you can't honestly tell me that you believe Carmy was always meant to be a friend but Luca is an obvious love interest.

Just because Syd and Carmy haven't kissed or confessed their love to each other doesn't mean that isn't very obviously the direction this show is going. The Bear has already shown you who is endgame. It has shown you every episode of the show so far.

Honestly I really don't think The Bear fanbase understands this show or cares about these characters or the story being told here, which is unfortunate because this show is shockingly well-written in comparison to most shows right now, and we should be so grateful for it but all we're doing is complaining that the writers led us on by not making a ship canon fast enough. It's just. Sad.

[noel-levine-fan]

happy pride

[bitchthefuck1]

you know what, I actually will talk about this because it's bothering me. The issue with focussing so heavily on syd and carmy's potential for a romantic relationship isn't that there's something inherently unintellectual about romance or whatever, it's that a lot of people seem incapable of doing that without immediately flattening the story and ignoring or intentionally misreading any and all nuance for the sake of that romance. Every scene suddenly becomes about how it impacts their relationship, every analysis is done through a romantic lens, every frame or line of dialogue becomes about finding some easter egg or hint that "proves" these people should start dating. Their dynamic is absolutely a fundamental part of this show, but if you can only see it as a will-they-won't-they, you miss so much of what the story is actually trying to say with these two.

There are good versions of this story where their relationship is romantic and there are good versions of this story where it isn't, but as soon as you decide them being together is "the point," you lose the ability to actually judge the story for what it is, not what you want it to be.

[gigi-does-art]

Not art but… assigning RE characters a species of bird because why not

(Part 1)

Chris Redfield: Red-tailed Hawk

Jill Valentine: Peregrine Falcon

Albert Wesker: Barn Owl

Leon S. Kennedy: Kestrel

Claire Redfield: Red-tailed Hawk (Just like Chris lol)

Ada Wong: Secretary Bird

Rebecca Chambers: Rosy-faced Lovebird

Billy Coen: Magpie

Sherry Birkin: Sandpiper

Carlos Oliveira: Quetzal

[teenytinyapprentice]

Layclaire week: Day 1 - Firsts

their first time just... properly hanging out! - a while back I did some drawings on how I thought Hershel and Claire’s first meeting went in their first year of university - SO I wanted to expand on that.

It’s that weird time where you’re not sure if you’re just classmates or actually friends, and finally start to spend time together outside of school and really get to know each other - that’s always the weird part of friendships for me fdkhjsf. No crushes or anything of the like between them yet - but there’s definitely chemistry. They really enjoy each others company and conversation ^^

[another-clive-blog]

Back to thinking about Claire and Clive and their traumas born from the same tragedy yet entirely different

You ever think about the fact that Clive's parents were (almost) never directly mentioned ? Layton mentioned them for the backstory talk and that's all, objective "they are dead" statement. And the other time we heard about them was in the flashback. In both of these cases, they're only evoked to announce their death, nothing else. We never get to hear about them in present tense, Clive himself never speaks about them. They're just... Gone. They won't come back, not thanks to revenge, not as ghosts, not even in discussions. They're dead and they'll stay dead.

On the other hand, Claire is very much alive- or at least she looks like it. Even before we get to the Claire reveal, every character keeps her memory alive. Dimitri is doing this all for Claire, Layton is a living tribute to her, Don Paolo's character is linked to her choices. She's everywhere and haunting the narrative before we ever learn that she is literally haunting the narrative. She's corporeal enough to change things yet her time is up, so really how much change can she bring ? She is stuck in this transitory state where she doesn't get to live yet can't die and disappear either. Even if she were to die once and for all, most of our characters would still have her as a driving force. She is forced to influence this story far beyond her death.

I wonder how they got along. Clive for whom death is absence, it is forgotten family and empty homes, and Claire for whom death is life persisting, loud with memories and transcending feelings.

[sighonaraa]

*peeks out from behind the curtain* heyyyyyy

if you have NOT been rendered sick and tired by my incessant daredevil-posting on this fine day, then you may be interested in this lil thing i made (and will continue to make for many moons to come)!

summary below:

It happens like this: The pain erupts along every synapse, like each nerve has been lit on fire and set to burn, and Matt crumples in on himself. In one ear, he listens as Hell’s Kitchen explodes simultaneously into a compressing silence and a cacophonous chaos. In the other, Foggy and Karen are telling him to breathe, breathe, please just breathe. But he can’t. He can’t. His bones are splitting apart— No. His bones are atomizing. They are disintegrating. Their heartbeats thrum together, faster and faster and faster until the silence consumes and then— —Matt stumbles forward and lands hard on his hands and knees. And he is here. It’s only been a second. But Karen and Foggy are gone, and they have been for a long, long time. [ or: matt gets blipped, and karen and foggy are left behind. five years later, matt finally comes back. ]

[katkalis-the-horror-fanartist]

Violin girl adopted a little sister! They boogey on!

Anyone and everyone that criticizes how badly I drew the "violin", I WILL bite you

Enjoy the concept

[todayisafridaynight]

We rlly don’t need another majima game 😭 please give other characters a chance he already had the spotlight in 0😔

lord if i speak on goro majima.

[fortjester]

in other news, my joey claire fic is now 4.2k words long, whoot whoot

[crimescrimson]

Lieutenant Marvin Branagh in Resident Evil 2 (2019)

[sammygender]

THANK YOU OLI I don't get the season 8 hype. No Cas, Sam and Dean have the same conflict they've been having the entire show with no new angles like why????

YEAH LITERALLY. inital conflict is literally dean being angry at sam for trying to move on and heal which is just so intensely unlikeable and for some reason i was shocked by it and it made me genuinely dislike him. to me dean is at his most awful in s8..... like he's not. he's definitely not. gadreel possession in s9 and like most of s9/10 with the mark is much worse than anything he does in s8 and killing amy in s7 was sooo awful too. but dean is just so intensely a dick in s8 and i was so angry with him and not even in a fun way. like in s9/10 he is AWFUL but i enjoyed the drama. i didnt even enjoy the interpersonal drama in s8. which is when you know something is wrong

then again. im probably too harsh on it and am basing it off memories of sitting through the first half because i LOVE the trials and sacrifice and the great escapist so so much. and i love kevin <3 he's s8 right. but. to me s8 will always be the worst season. maybe i just hate what it brings to the shows canon. sam leaving dean for a girl and a dog (which is NOT EVEN WHAT HAPPENED... and if it WAS it wouldve been justified.... id support sam even if i thought he abandoned dean unprovoked idc.....) is constantly brought back like the worst of his sins even as late as like. s11. SHUT UP. first half of s8 is just upsetting for sam reasons and not in a fun way

[helpimstuckinafandom]

JUSTICE FOR DAVINA CLAIRE I'M SO FUCKING SERIOUS FUCK OFF OH MY FUCKING GOD

[zevranunderstander]

idk how to phrase this but like. people retroactively calling Fleabag a privileged, dissociative portrayal of feminism which is Bad, Actually, are lowkey deranged to me because, yeah, Fleabag IS about the expierience of womanhood. but like. through the lens of ONE woman? like, nowhere in the show is it ever implied that fleabag's expieriences are supposed to be universal, relateable core pillars to womanhood?

its almost like half of the population of the world is female and I think it's kind of weird that all stories about women always have to be feminist and activist, and can not just be an exploration of an imperfect woman, they have to be correct about *all* of womanhood?

i also think that the people saying this don't really understand the character of fleabag and i do think that the show is feminist in many ways, but even when no person working on this show would have had any intention of making this a "feminist story", i think that would have been their right to do that?

breaking bad, fight club, american psycho, lolita, etc. all tell the stories of white men who are objectively horrible people. and these stories still treat these characters with a level of empathy and understanding of how they got there and why they are like that. the stories don't excuse their behavior because of that, they are simply a fictional analysis of a person who is not virtuous or good in a lot of ways.

but women, people of color, disabled people, and other minorities are never given the same right to just tell a story about a character, the character has to be virtuous, a good role model, a representation of their whole group, likeable, flawed only in an "unproblematic" way, never make a bad decision, and its insanely limiting in what stories can be told by writers, when they want the approval of the general audience

and i so genuinely want more fleabag women, who may interact with feminism, but who are actual human beings in a real world, who have real flaws and who can be selfish and cruel, but who are still treated with empathy by the story