#Sorry for my english

[zovie9638]

Hello, just dropping this here, see you every weekend,

Next part

[tortarepostera]

The simplest explanation is usually the right one

About the leaked set photos, below the cut for possible spoilers:

I'm reading a lot about AUs, going human, amnesia and so on. You forget some things:

-Good Omens is (still, even with the last 15') a comedy.

-Even if they have to resolve the situation between Crowley and Aziraphale, the main plot is about the second coming, the end of the world and 'all of us against all of them'.

-It has to be plotted and resolved in 90 minutes.

-They filmed in that location only 1 day. That means that whatever happens in this another bookshop, it will only be a few minutes in screen. If this would be a major plot point, it would need several days of filming. Remember that they are filming almost a month now, in another locations, and still go on.

-We know, by word of the shitty-author, that this season is more like Season 1 and fast paced. We also know that it would be called '668 - The Neighbour of the Beast', so this 'beast' (the devil?) has to be a plot point.

- It's 'modern' looking, the extra actors that start walking and across the street also have modern clothes, and they let cars pass by. It will be visible from the inside. So it can't be a flashback (or not from a long time ago).

So, my answer to the leaked photos is simple, but first a last question: When was the last time that Aziraphale changed his looks drastically? When he was incognito, working in Warlock's home.

I think they are incognito too this time, for some kind of mission.

It also explains why Crowley storms out, they are working on something and he has to hurry up.

And they are working together 💜

[antiguagealach]

Gi-hun: There's someone that I'm gom a find. The son of a bitch who ran the game under Oh il-nam.

I can't deal with his face 😭 his lips, his eyes...

Is my favorite gif because you can see his vulnerability when he thinks about his brother.

Gi-hun noticies his face and doesn't quite believe him.

Jun-ho realizes and decides to dissimulate.

He sees the first direct clue from his brother in years.

Important question and decisive to know how he has to act with Gi-hun. For example, if he had said he would kill him, maybe Jun-ho wouldn't have let him close to his brother... He wants to stop the games, but not his brother to die. You can see the decision in his eyes.

[ladidatt]

This session was something for sure! I was constantly bobbing between ecstasy and depression. (I was left in depression as mumbo died😢). What with the almost pointed questions (why did the bot have to do scar like that) and the mace alliance (is it even an alliance?) it all seemed a bit specific to desert duo. Can all that really be a coincidence? Here's my headcannon.

The watchers made this series to mainly feed off the emotions of the players. Out of all the emotions they have had, grief was their favorite one (they generally preferred negative emotions). So, they put them in a game that one could not really win.

The first season was Grian's win. To the watchers this was almost perfect (the only thing they were unhappy about was that Grian had won). After killing Scar he was a sea of grief, and the watchers could feast.

The second season, they considered a failure. This time Scott won. They would have preferred almost anyone else. Even after winning the death game he did not have much negative emotions. In fact, he had a sense of victory. The watchers out of anger and shame killed him on the spot.

Double life was much more successful in their eyes. Pearl had given them a constant stream of negative emotions. Upon her death she left behind a huge amount of rage and not enough greif. She even left behind relif. This was far from perfect.

In limited life Martyn gave them a huge mocktail of negative emotions, but his cons overweighed his pros. He was aligned with the listeners. He asked much too many questions. Upon his win they sped up the clock and waited him to die. He left behind grief but it wasnt nearly enough.

Scar constantly radiated greif and lonliness in this season. They decided to keep him and feed off him until the next games. But they still longed for the huge amount of grief that had cured their hunger for weeks during the first game.

I think real life was not something the watchers had control over. It was a regular minigame conducted by the players which they subconsciously built to resemble the watchers games.

In wild life, I feel the watchers are chasing that perfect formula they had in third life. Renchanting is back, and they are trying to bring desert duo back through the bots and stuff. They had tried the same in double life but that had failed. They hope for better results this season so they can once again make them kill each other.

[perbrm]

☞ How do you remember your father? did you see him from the same side as others?

[yampishna]

OMG is it that your goblinsona? That's cringe.

[mallas28]

Why "Izuku is a UA teacher" doesn't work in the end.

People who tried to defend trash ending use often this argument "Being a teacher in Japan is prestigious and respectable, so Izuku being a teacher in UA is win win for him".

My answer to this: no its not

Problem is not that Izuku is UA teacher. Problem is that Horikoshi portrays this as misery and losing. Izuku is miserable being teacher. He makes sad face, he is lonely, people doesn't recognize him.

But immediately after he recieves an Iron man Suit he smiles again, happy and with all of his classmates again. So, no. Doesn't matter If Izuku is a teacher, he is a loser by 430 narration. Blame Horikoshi for this.

I keep telling that 430 chapter and ending should be different. But somehow Horikoshi changed that in kast minutes and write this sh$t. (I blame Jump)

[soybatsumae]

spider family

[pochiperpe90]

[ENG] Esquire Italia: The natural and collective duty of anti-fascism

In the country that invented fascism, where a widespread rate of intellectual hypocrisy is such that it isn’t ashamed to distinguish between being anti-fascist and defining oneself as "not fascist", Sky Studios and Lorenzo Mieli for The Apartment, a company of the Fremantle group (which will have international distribution), in co-production with Pathé, in association with Small Forward Productions, in collaboration with Fremantle and Cinecittà, have launched the series M. II figlio del secolo, based on the novel by Antonio Scurati, directed by Joe Wright, on SkyAtlantic in January. Presenting it first, without fanfare, at the 81st Venice Film Festival.

This is the most important cinematographic work ever created in Italy, on the deafening truth of its fascist history. Never before has fascism been so authentically described in its identity as a criminal movement, constantly violent, dedicated to political murder, torture, brutality in all its forms, first to the punishment, and then the destruction, of democracy.

Benito Mussolini is a murderer, a criminal dictator, a hitman of freedom. Fascism has never had a shred of decency, historical truth condemns it for its massacres of civilians, for its racial laws, for the devastation it brought to all of Europe through the excitement of the idea of ​​war as a heroic necessity. But the memory of fascism, its traces, become confused until they dissolve in the family channels of Italians, who easily prefer to dilute, but without managing to absolve, the collective conscience of the least national State in Europe. In a country that should have the courage to be ashamed, through which to build civil conscience, M. Il figlio del secolo, is a visual text, a tool for reflection and teaching. Effective not only because it’s a bearer of truth, but above all because the language that composes it is dictated by the plurality of contemporary elements that are indispensable to maintain the attention and empathy of the public. From the piercing soundtrack composed by Tom Rowlands of The Chemical Brothers, to the adrenaline-filled screenplay by Stefani Bises and Davide Serino, to the epic photography by Seamus McGarvey: the energy is constant. The light on the crime of an ideology without principles and therefore opportunistic, changeable, unscrupulous, is always on.

Those who don’t understand that Luca Marinelli, the protagonist of this eight-part film, suffered in dissolving principles and humanity to identify with the opposite of himself, offers the measure of the sensitivity with which they relates to the honesty of an actor's cultural work. Always reducing everything to the amount of material compensation that should justify and compensate for every disturbance.

Luca Marinelli had the courage to abandon himself to the evil that Benito Mussolini embodied. Evil is pervasive, it’s grotesque, it’s a caricature that becomes monstrosity, it’s many other nuances, but in its entirety it’s what opposes humanism, with the sole purpose of hurting others, for oneself.

Joe Wright, the director of M. Il figlio del secolo, is English. Did this help in placing violence at the center of the narrative as the identity of fascism, without discounts? 

LM After a hundred years we are still experiencing the aftermath and the new involutions of the story we tell. Hatred and violence are a concept that every human being can understand, in every latitude. Joe is geographically English, yes. But as he always said, it’s important to talk about people and not nations. The concept of nation is something that is mostly used by the powerful to foment distinctions that can lead to heavy tragedies. What we tell is a universal story: the life of a person, and of a country, that we seem to have forgotten. If you know history you cannot be a fascist.

And yet, Italians were fascists. Even the many who did not oppose were guilty. Is this the weight of history?

LM I am not a historian but I can say that in that period politics, power, institutions, the monarchy and the Church played their part. But there was also a popular responsibility. History is astonishing: the succession of its events leaves you stunned.

Your Benito Mussolini is intimate, theatrical, it tells of the fascination that the man was able to transmit to others. What explanation did you give yourself?

LM I think that the trauma that the devastation of the First World War left on Europe and Italy is underestimated. Violence had become an integral part of society, but this didn’t justify it. Mussolini applied it to everyday politics, surrounding himself with people accustomed to the use of violence and quick to exercise it. Mussolini exploited emptiness and desperation, with skill and unscrupulousness has generated a new mix, a political form that fools everyone and continually changes direction according to convenience. But violence is an indispensable constant.

When Mussolini has to prepare the lists for the elections of April 6, 1924, he realizes the unpresentability and unreliability of his gang of thugs. He enlists other politicians, of different affiliations, who surrender to fascism in order to sit in Parliament. The scene in the film says: humanity is disgusting, and it’s on this tragedy that we will build our triumph.

LM Having been an opportunist politician, I think he had no trouble recognizing these attitudes in others. It’s his ruthlessness that is associated with contempt in the human race. In the monologue magnificently written around his gigantic effigy, he says: wanting more and more until you take everything, this is fascism. And this is Mussolini.

What did you learn?

LM A lot, both from myself and from the people around me. I had never spent seven months on a set with three hundred colleagues. But above all I loved Joe's dedication, his placing himself before art as if it were a divinity. And humble before his craft, he is guided by this: for me, a fundamental guide, an inspiration. The long period of filming gave me the opportunity to look at what was happening at different times and confirm how art is a process of communion.

In the film you give many speeches. Have you built a relationship with words? 

LM They are frightening words in their ruthlessness and cruelty. They exude criminal ingenuity. The words were the first sound approach to the film. When I read the eight scripts in a row, I understood that I would have to do a great job of mnemonic organization. In many dialogues and speeches, the precision of each word was important. I made a plan to learn with the right timing, because his speeches, the role, required theatricality, but also authenticity. I didn't want memory to prevent me from feeling free to be there, in that moment.

What did you feel?

LM First a lot of curiosity, to understand how everything that was written in the script would be realized. Then I heard Joe explaining to four hundred people that they shouldn't be extras, but actors. That they couldn't just appear, that they had a collective responsibility. I knew we were all listening and their help was fundamental.

A challenging acting test?

LM A lot. The fifteen days in the Parliament chamber, reconstructed in an extraordinary way, were one of the most difficult periods. When we finished filming there was a moment that will be difficult to forget: a collective embrace between people who for seven months, ten hours a day, traveled together through history. A testimony to the common awareness of having explored the dark sides of the human soul and having touched the abyss. It's something that marks you. It took time to move away from hatred.

Have you ever had a moment of diabolical attraction?

LM No. I was just fascinated by the idea of ​​being able to honestly tell the truth with this project. I felt the freedom of being able to ride history without the risk of being misunderstood.

"After a hundred years we are still experiencing the aftermath and new involutions of the history we tell"

Among the criticisms received, that of having played a grotesque Duce.

LM Life is also made up of grotesque moments. But from a comedy situation we can quickly slip into a tragedy. We must be very careful to notice these dynamics.

In Italy there are not many fascists, but many non-antifascists.

LM In my opinion, for all those who care about the idea of ​​humanity and collectivity, it’s a natural moral duty to be anti-fascist.

[orrr49]

In s1e2 Junho said that Inho often doesn't pick up the phone.

If Junho knows about this, does it mean that before the events of season 1, he and his brother often talked on the phone?

It must be painful for both of them to think that there is no trust between them anymore, just like there are no phone conversations. Despite the fact that they are still very important to each other

[mothlady-garden]

So hear me out (this is all a big maybe): Plant-Song as a way to communicate, that manifests in their bodies

A Chladni figure these are created when a vibrating surface (usually a metal plate) is covered with sand and excited by different frequencies. The sand accumulates at the nodal points where there is no movement.

Now for comparison the Plant pattern we see in the Anime Opening:

And now as a comparison, the Plant markings in the manga, which display kinda similar characteristics, further reinforce this connection: (Manga spoiler)

If we analyze the pattern, in Stampede it could correspond to a higher frequency or a complex superposition of different vibrations. However, it is difficult to determine an exact frequency or a specific tone based solely on the pattern. Such shapes typically arise at certain harmonics, and if they are symmetrical, regular shapes, they usually correspond to sounds like sine tones. The shape could indicate a sound between 500 Hz and 2 kHz, which would fall into the range of high-pitched tones (e.g., violin or flute).

There is also a scene in TriMax Vol 5, Chapter 03: Loss where Knives says to Vash who is currently opend his gate for the first time "... resonate with me" what would also fit into this theory

In the *Trigun Stampede* soundtrack, there is a song titled "Plant Song on Erhu" that would fit well within these frequencies.

In general, Plants can communicate through primitive sounds accessible to us, but they only do so in moments of extreme emotion, such as in Trigun Vol. 2 Ch. 9.

Additionally, communication through vibrations and frequencies would be far more efficient than the human linguistic. Let’s assume that the singing of their sisters falls below 20 Hz, into the infrasound range. In this case, they could communicate over thousands of kilometers without humans perceiving it.

The audible spectrum for humans covers less than 1% of all possible frequencies.

My theory is that the Plants use the dimension available to them as a kind of resonating body, and a shadow of their song is reflected into the lower dimensions through these intertwined vibrations. On top of that, other beings (especially those who have been enhanced) may possess the ability to sense the aura and emotions of the twins.

This would also explain why Vash can "feel" his twin. The terror WW repeatedly experiences could be linked to the idea that the experiments have improved him enough to partially perceive these frequencies, and/or that his instincts as Homo erectus are awakening, urging him to flee from the "predator" before it’s too late.

Additionally, the *Song of Humanity* mentioned in the manga would thematically fit very well with this idea.

Edit: This could also explain why Vash and Legato can communicate throu some kind of "telepathy". Maybe the blue mother fucker can also recieve/send out something similar to Plant-Song

They are angel-like beings that communicate through song, shaping their bodies with their tunes. I find that a very beautiful concept.

I know the theory has MANY holes, but I still thought it was worth writing about. Sorry when this theory is old.😅

Thank you for taking the time to listen.

[tortarepostera]

Ok, hear me out, Season 3 dumb theory (?)

I'm sure you remember this:

I tried to find if there is a book in which there is a Derringer inside a hollowed-out book, of course I couldn't find any. Maybe there is. But instead I found this:

So, in the 50-60's there was this common western movie plot-twist where a character grabs a Derringer from A BIBLE.

Imagine how hilarious would be seeing Aziraphale taking a bible from the shelf in a moment of attack/stress, and we expect some kind of spell/holy moment, but he grabs the Derringer from it.

Just think about it.

[antiguagealach]

“Our perfectly imperfect heroine has just one regret. She didn't tell Guildford what she feels for him is, indeed, true love, and that love might just give her the strength to die.”

Flasbacks of Jane before she “died” : 1x08

[johannavidarsdottir]

A small piece of text between the drawings, sorry.

I've read a lot of comments here and insta: posts, drawings and other Beetlejuice stuff and that's what I want to say...

I've been in an abusive relationship for four years. The man manipulated me in every possible way, stalked me, followed my social networks, told me what to eat, what to drink, how to dress.

I am a woman with two educations, but he convinced me that I was stupid, helpless and defenseless. I was not allowed to cross the road on my own, to shop in the store. I haven't been anywhere for four years- cafes, movies, concerts. All my hobbies and interests were ridiculed and suppressed.

Before that, I spent six years with a man who also tried to control me, including financially. "Do your botanical wierds, and I'LL EARN US MONEY."

No, this is not about my bad guys, I'm happy now and I'm doing amazingly well.

The point is that BJ is still not a red flag for me. Yes, he's weird. Yes, he is not a typical boy with a pretty face. But for 30 years he kept a photo on his desk (I'm sorry what it is) of a woman whom the whole film called the love of his entire afterlife. He didn't get into her relationship all these years, he didn't judge her, he didn't manipulate her. Sing two of the most amazing retro songs, help with her daughter and at the same time expose the groom's plans - I'm sorry, but for me this is love. Not so conventional, but just as weird in a good way as the Addams.

"I would kill for her”

I know on my own skin what a real abuse and a red flag are. BJ is not that perfect sugar boy from disney cartoons, but he is real, such as his feelings.

And as said earlier here: “I don't remember all those screaming about abuse, gaslighting and stalking when 117-year-old Edward rolled his balls to an underage Bella, because Robert Pattinson is a traditionally handsome man, although it was literally shown in Twilight”

Anyway if there were something really bad would the actors ship it themselves?

[alhdihsishsjs]

random thoughts about "best friends" valdangelo, who are deeply in love with each other but both keep it in secret cause:

nico is 100% sure what leo is straight, so he's just prepares himself mentally to be a best man on leo's wedding. (he's not prepared at all) (he's planning to get drunk right after the wedding and go cry in reyna's shoulder) (it's not that this wedding is going to happen at all. leo doesn't have a girlfriend or even a candidate) (but nico is sure it ends like it was with percy)

and leo thinks what nico is way out of his league and like "oh no no chance such an amazing person would be in love with someone like me"

[mallas28]

Crazy theory

Recent chapter has a many AFO/Izuku parallels.

But one thing bothers me s lot. Warning!!! This is just a theory a crazy one. So lets go..

In recent chapter Izuku and Spinner were talking about Shigaraki. Spinner says that he will write a book about him, but Izuku suggests that he should write a comic

And this phrase from Izuku sounds outof nowhere. Just like his behavior.

My theory is....Izuku has AFO and quirk start changing his personality. Remember how Izuku never smile, sometimes talking about comic?

Now remember AFO told Izuku phrase "You are next".

But it is just a theory!!!