#LUCA

[tempest-toss]

Fenrir blinked before snarling at Jane. Jane then felt a light smack on her knees. Looking down revealed an angry Charlotte.

Koichi?

[The demon and young kitsune arrived through the reflection in the ice outside of the manner. Nav was dressed warm for the occasion. Koichi wore a protective vest and carried a large knife in his mouth.]

We're here.

This is just like the trips you used to take me on when Momma was away.

Except your Momma isn't away and we are going up against a known hostile force.

The Manor was imposing, made even more so by the ice that was slowly growing outside of it. The door had been encased in ice, and the gate had begun to crack.

The steps were slippery, and the smell of froze smoke from the chimney could be smelt in the air

[petrock-sketches]

Years ago, way back in the Before Times, deep in the distant fogs of 2021, I started working on a background for an underwater piece. Then Luca came out, and I loved that movie! So I quickly repurposed the picture I was working on to be a piece of Luca fanart.

However, between ADHD and an aversion to lineart, it took me nearly four years to finish this picture. @_@

[brunosaderogatory]

Headcanon: all of the Portorosso kids have nicknames for each other. Sometimes it’s just a silly pun, sometimes it’s born of a story, but everyone’s got one, and they’re all equally embarrassing. So, when Giulia and Luca come back the following summer, Alberto has to explain that most of the Portorossan kids took to calling Alberto “Pinky” (Rosa) for of his magenta palms and his tendency to get “caught red-handed.”

Bonus headcanon; Giulia’s assigned nickname is Spewlia, but since she was so out-of-the-loop, she always just wrote it off as another form of torment. In fact, she didn’t know about the nickname game at all until Alberto explained it to her.

[esspurrr]

[skylessknights]

Sydney & Luca + glances I can't stop thinking about

THE BEAR (2022—) 3.10 | Forever

[discobiscotto]

Cracks yet another bottle of champagne across the stern of this Ship 🍾🚢🫡

Had to do my own spin on Kenna’s fanart using my own versions of them as young adults.

[the-resurrection-3d]

AINT NO WAY

[otp-more-like-killmeplease]

[circusmantis]

Luberto is canon y’all I’m going insane…

[liveandbreathemusicals]

They’re canon your honor

[whencartoonsruletheworld]

looked up the italian dub of luca and

are you fucking kidding me

[aliceramblez]

EXCUSE ME BUT LUBERTO TURNING CANON WAS NOT ON MY 2024 BINGO CARD I LOVE THESE DORKS SO MUCH 😭💖😭💖

[noodles-and-tea]

Fish in the sky <3

[brunosaderogatory]

Hello.

So... What do you think of Daniela and/or Lorenzo?

Hello, and oh buddy don't get me STARTED /ref

Honestly, I do not know where to begin with these two. I love them. I hate them. I want to keep them in a controlled environment so I could conduct a study of them with a little microscope and also squeeze them until their eyeballs pop out as if they were a pair of Panic Petes. In other words, I like them a lot as characters in a narrative and characters in a world. My opinion of them as people differs from minute to minute, but that is because they reflect the morally ambiguous, and sometimes outright cruel--but equally often loving--world in which they exist.

That being said:

At first, Lorenzo seems to be a very two-dimensional character. He's just a goofy dad who is more concerned with his avocations than he is with his son or wife, a painfully overdone trope in the world of children's cinema, but a few key details (and a bit of useful input from Enrico Casarosa) reveal something more.

For starters, Lorenzo is a lot like Luca. Rather, he is Luca---or who Luca could have very easily become. Lorenzo is meek and lets his wife take the reigns when the situation gets tough. Lorenzo is often off in his own little world, not paying much attention to anything but his own interests and inclinations. Lorenzo is kind-hearted and seems to want change, but is too burdened by his own anxieties or past failures to work up the courage again. And, I do say "again" because the search for his son was not the first time Lorenzo was on the surface.

His older brother (and possibly twin) Ugo was not the only one in their family to have explored the surface world before; Lorenzo was, most likely, right along beside him. Now, we don't know what exactly happened that resulted in Lorenzo's parents sending Ugo to the deep nor Lorenzo to stop trying to get a taste of the human way of life, but Ugo was sent. And Lorenzo did stop. However, it is unlikely that any tragic event took place. Rather, I believe the conclusion to Lorenzo's explorations happened out of conformity to the rules and traditions of his culture because Lorenzo never once spoke ill of humans.

Daniela calls them bloodthirsty lunatics. She insists that Luca has a death wish, and, very explicitly, she insinuates that he will die trying to hang with the humans. On the other hand, Lorenzo only gawks at his son's audacity and tenacity. Lorenzo even tries to reel in Daniela as she threatens Luca with a trip to the deep, but, of course, it is a fruitless attempt because he is meek. He does not have his son's tenacity nor his audacity---those traits were derived from Daniela alone. And this impotence serves as his most abhorrent attribute.

No, he's not doing anything wrong, but he's being a willful bystander. He's compliant with the evils, and, when it gets down to it, he backs them up! He makes no decision for himself, but when he does, he either chickens out of it at the last minute or doesn't know how to bounce back from a failure. Despite being fully aware of what the deep sea can do to a person--despite very likely disagreeing with his wife--he allows her to almost put their son, his son, in a situation that will inevitably, undeniably, deform (translucent skin, eroded teeth, discolored eyes, discolored fins) and disable (cardiovascular issues) him with time.

I'm glad he changed his side for the brighter half in the end, but I didn't see any actual change happen. He's still following his wife around from the looks of it, and that isn't what's needed for him to grow as a person and as a character. Although he's a three-dimensional character that appears to have only two, he's a static character that's been played off as a dynamic for far too long. He was a meek follower in the beginning, and he was a meek follower in the end. The only reason he came onto the good side of things is that the person he was following changed paths, and that isn't enough for me to truly like him (but it sure as hell does give me a lot to work with as a fanfic author, so thank you, Luca crew!).

Now, Daniela. When I think of Daniela, I think of a girl that (for lack of a better metaphor) was raised in a church who could have very well turned out queer, but due to the teachings she was fed---and possibly a very messy lesbian breakup---turned into a very, very hateful woman who, years down the line, rediscovered her bisexuality after the boy she was raising to be a goody-two-shoes, god-fearing, church-going fellow come out to her as vivaciously gay. That is to say, if it wasn't for Massimo, Daniela would be the most dynamic character in the movie. And if it weren't for Alberto, Daniela would be the most complex character in the movie. This is because, like her husband, Daniela tried out the surface life before, but unlike her husband, Daniela is a cruel, unjust force actively working to destroy her son's hopes and happiness at whatever cost necessary--even if it means her son's mental, social, and physical wellbeing. However, the force is derived of only love, fear, and care.

Just as it was in Lorenzo's case, but now far more severe, we lack explicit information about Daniela's past. All we have are the behaviors and beliefs displayed in the movie and information graciously given to us by Enrico Casarosa. These behaviors, beliefs, and Casarosa-given information are: having previously been to the human world; calling humans "bloodthirsty lunatics"; believing humans only go out on the waters for murder; understanding the motions made with a harpoon; attempting to send Luca to the Deep; waiting for Ugo to arrive rather than confronting Luca when she first notices his whereabouts; helicopter-parenting her son; being aware of Luca's interest in the surface/dissatisfaction with the sea; ensuring that Luca stays "safer than safe" while still letting him run off to Genova.

Given these, we can begin to piece together the picture: In her youth, Daniela adventured up to the surface and explored the human way of life, but something went wrong. She was caught in some dangerous situation that likely involved harpoons, or she bore witness to the same thing Luca did as he walked into Portorosso---the statues, the wanted posters, the carvings, the propaganda strewn about, adorning every angle of the town. Regardless, she became terribly fearful of humans and never returned to the surface again.

Unlike Lorenzo, Daniela is not simply abiding by the rules and traditions of their underwater society. Her evasion of humans is born of a completely justifiable fear. Humans hunted sea monsters. Humans put up wanted posters worth $4.5k in today's money for sea monsters captured, dead or alive, and fishermen armed with harpoons lined the waters for a children's race. I feel this is an often forgotten fact when the topic of Daniela's control over Luca comes up: Luca was in real, mortal danger going into Portorosso. Daniela might have been wrong to send Luca to the Deep, but from there, it becomes a discussion of which is worse: possible disability or possible death. Such a discourse grows even more complex when you call to mind that Daniela might not have even been aware of the physical and physiological changes the Deep has on a sea monster before Ugo's arrival.

Daniela's attempted actions are cruel, no doubt, but they are not at all unwarranted. She wants Luca, who she adores and deeply cares for, to be as safe as possible. If she has to be the bad guy to keep her son alive, then she will be the bad guy.

However, Daniela does not stay the bad guy. When she realizes Luca is safe in Portorosso (rather, when Portorosso becomes safe for Luca), she becomes open to the possibility of allowing him to continue living on the surface. She even, after a bit of convincing from Alberto and Libera, allows him to attend school in Genova for nine months out of the school year. At the end of the movie, she is assured of Luca's safety and the humans' ability to change for the better---to stop all the killing, hunting, and fear and begin a peaceful coexistence. This stability allows her to relinquish control over her son and support him in his dreams, even if it means she'll only see him in the summer months.

Daniela is an intensely dynamic and intensely complex character. She's a beautiful foil to her husband, and, quite frankly, I'm obsessed with her and desperately wish to see more of her growth and her past.

Also, Daniela and Lorenzo are peak malewife x girlboss material and I will not be hearing any slander toward their relationship. no idea how Lorenzo managed to bag her, but so glad he did. beautiful. love it. 10/10.

[kitkat-the-muffin]

Congratulations to the Luca fandom for the canonicity of those gay fish boys