#TBH I HAVE TO MANY BUT OH WELL

[sainz100]

2024 Brazilian GP | x

[jamietwat]

3/?

[cobra-creampuff]

the fact that they made it illegal to make ads louder than programs on tv in 2010 but haven't updated it to apply the same regulation to streaming. who do i have to call.

[instantpansies]

STRANGE NOISES FROM THE HOLE IN THE WALL HEADCANONS/INTERPRETATIONS UHHH OBVIOUS SPOILERS. CLARISSA CENTRIC CAUSE. HOLY SHIT

clarissa is to locomotion as clara is to the nutcracker. she's the kid who dreamed him into existence hundreds of years ago. i know he says he's older than the devil - i think that's still plausible, he's existed since thought but wasn't attached to the Silver Line or brought into physical existence until clarissa, lonely or in danger or just bored, imagined a world where she could escape from her everyday life and live as a grown-up(? maybe? since benjamin/timothy/billy seemed to age up as soon as he went through the portal?), with freedom and whimsy and eventually a relationship with the friendly driver.

why do i say this? because otherwise im really fucking confused lmao, that first scene where clarissa and loco are introduced is strange in the context of the end of the play. they seem to have known each other for a good while before they get on the train. they act like a young couple who's stumbled upon the silver line as an escape from danger and now they're excited for their new life in a new, safe world. except that loco also says he's been driving the train for years.

(looking back, that very much feels like a scenario from a child's imagination - or perhaps a dream - where of course he's been doing this for years, that's his job, but of course they're glad they've found the train together, this is a new experience for her so it's just an extension of her perspective)

but clara is, she says, a child when she gets on the train. idk how old "little girl" is, but if we run with this headcanon and also assume that the timeline is both linear and literal, she's imagining herself in some form of a sexual relationship with loco at a pretty young age.

i posit that this can be reconciled in several ways (some more disturbing or inappropriate than others), but one thing that could be considered is that the first scene where loco and clarissa are introduced is symbolic of their relationship over the course of the train's history. depending on how old clarissa was when she first dreamt the world into existence, she might not have even been very aware of loco, and spent her time just enjoying the escapism or whatever. after a few years or however long, she starts to get older and decides to learn how she's actually done this, maybe spends a long time trying to understand exactly what's going on. maybe her research leads her to a relationship with loco, i don't know. they do get on the train together, maybe, when they're both young (or, well, relatively speaking) and new to the world, and loco eventually has been driving the train for years and years and clarissa makes it a bit more tolerable with some companionship after a long lonely time. but those things don't happen simultaneously, because i think those things don't really work simultaneously. that scene is a sort of speedrun/amalgamation of how the two of them have interacted over the years. and yeah i guess that means they fucked at one point in there

(im going to be transparent, some of that is a bit of cope/rationalization. i think loco and the conductor are very exes/begrudging coworkers vibes, but i do like clarissa and loco together as well - unsettlingly powerful girl x eldritch being with a soft spot is a very good trope. and im trying to make it work out okay? give me a break lol. you don't have to agree with me on this, but once i see a luke and tom couple with a fun and compelling dynamic i will not let them go even if the ethics get a bit hard to explain later on. sorry, anyways moving on)

additionally, and i probably should have said this earlier, a reason i think this whole nutcracker theory holds up is because clarissa holds a sort of unique power in the world. she's been on the silver line for hundreds of real-years, who knows how many train-years, and still remembers her name and something of her old life. loco isn't hostile to her, even confirming her memory of her name and reminding her of her birthdate. with everyone else (ex. benjamin), he actively discourages them from remembering their lives. despite seemingly being one of the oldest passengers, she doesn't transform for hundreds of years. she obviously has some significance.

you know how that ties in? if this is clarissa's world, if her mind is what created the whole thing, then i think it makes sense to assume it's tied to her. as she begins to question her surroundings, then panic as she realizes she can't leave, her emotional and/or mental state becomes less stable, less utopic, less perfect. the dream begins to turn into a nightmare. and it becomes. well. an ouroboros. the snake eats its own tail and the train goes in circles and the escapist fantasy clarissa once loved becomes a prison of her own design. trapped in the very thing that was supposed to save her.

maybe that's why anthony and benjamin can get out when they do - as clarissa's world decays, as she finally begins to become part of the nightmare, as she melds with the train, the world has to shift a bit. it's reaching the point of no return - once clarissa has been fully sucked in, the train will never stop again. falling into an infinite nothing. but in that moment, there's one final chance for the conductor to stall locomotion, one final leap that could at last pull benjamin and anthony and everyone who's been sucked in by clarissa's black hole of a nightmare out of the portal and back into the real world.

and now, clarissa has lost three hundred years of a life that should never have lasted so long. gained perhaps thousands of years of memories of joy and connection and despair and panic and forever forever forever. and she is once again trapped in a vessel of her own making - her body is that of the child she has not been for lifetimes. her world is dead and gone - not just the world she created, but the world she escaped from as well. what of locomotion, that brief flash of connection? does he even exist anymore? who is she, now? who was she? where can she possibly go from here?

shoutout delirium_undead on discord for going along with the nutcracker theory and helping me flesh this out. your ideas are so galaxy brained and i am forever in your debt

[meamiki]

5% of a color headcanon.... two versions since b&w emphasizes the dagger more i think but i still like the warm tones ASFSADA

i am not biased towards rainbow daggers whatsoever i promise (lie)

((also friend is streaming now and im there too!! bit more info linked here, its rated mature tho))

[hbo--spn]

dean asking sam "are we having fun yet?" and thriving in prison gives off the same vibes as dean thriving in purgatory...

[utilitycaster]

i just finished this week's episode and I'm so blown away by Celia's portrayal of faith in exandria and how deep her understanding is and firstly, god, it's just so beautiful to watch but, secondly, it is kind of creating this juxtaposition to me of this person who's been brought in for a mini series, given a lore primer, does seem to have watched SOME episodes, has such a grasp on worship and the role of the gods in exandria vs bells hells who had hundreds of episodes to learn about it

So I agree that Celia's performance has been an absolute highlight, and while I'm try to taper off some of the post-mortem C3 stuff I think a couple things were going on. Most crucially, as Divergence is a limited series with actors who aren't terribly familiar with Exandria, I am sure there was a lot more guidance with regards to character creation and series tone. I would not be surprised if Brennan and Matt wanted characters with a range of attitudes towards the Prime Deities, ranging from Nia and Garen being faithful despite it all, to Crokas and Fiedra's neutrality/apathy, to Erro's loss of faith, and who could show how all of these people, despite those different attitudes, could work together if they prioritized community and hope.

The thing about Bells Hells is again, the cast is aware of the role of the gods in the world, as we've seen in past campaigns. I think again this was a lack of guidance and people building characters who were not prepared to engage with the question of "what would you do if the gods - all of them, not just the Prime Deities - were threatened" in a meaningful way, and Matt did not guide the campaign when they began aimlessly circling that question and indeed simply threw more options at them. They - and their fans - consistently believed the worst not just of the gods but of those who worshiped them and their fellow Exandrians (we've already extensively talked about the breathtaking selfishness of "I don't know if I want to save someone who doesn't love me," but consider how Ashton assumed the gods would smite them down for knowing the true story of Aeor [something Bells Hells chose to suppress for reasons I actually don't understand, like, I don't mind that they did this but it feels like they nearly got Liliana killed simply to go against Ludinus, which wasn't even their ultimate motivation in the end] and repeatedly treated the gods-as-mortals plan as a punishment to humble them, even though the Primes very much did not see it as such). It is, as I said sometime last week, an aberrant party attitude towards the world as compared to Campaigns 1, 2, EXU Prime, Downfall, every canon or semi-canon one-shot (eg: Song of the Lorelei) and, I would even posit, not even in line with the portrayal of the gods within C3's main story (not even Downfall) itself. So I don't want to diminish the excellent work Celia's put in, because they've been fantastic throughout, but I really think it's just...Bells Hells had a bunch of character concepts that probably should have been further refined early on, and far more guidance was given re: Rei'Nia's development, and it shows.

[grahhams]

i know dave k said to not read into the song choices in the playlists BUT HE PUT ÁGUAS DE MARÇO IN THE HODGSON PLAYLIST SO I’M GONNA READ A LITTLE INTO IT

anyway, águas de março in the hodgson playlist. why am i freaking out? besides that fact that it’s a brazil mention, of course. well, you see, águas de março (waters of march, as translated by tom jobim himself) is a song from the point of view of someone tired, hopeful about what’s to come.

the lyricism is very calm and repetitive, overall, but most of all, it is filled with mentions of things at their ends, the rest, death. until you get to the chorus, where there’s hope, hope that this will end and good things are coming.

in the og/port version, it’s about the waters of march ending summer (‘são as águas de março fechando o verão’, or ‘it’s the waters of march closing the summer’, literal translation), and in the translated/english version, it’s about talks of the waters of march (‘and the riverbank talks of the waters of march’), but in both versions these lines are followed by hope of good things to come (‘é a promessa de vida no teu coração’ in the og, and ‘it's the promise of life, it's the joy in your heart’ in the translation, almost identical). (side note, tom jobim wrote a portuguese and english version of águas de março, so if you’d like to listen to it, there’s many english covers and they’re all very good, so highly recommend it!)

what you get is (sorry for being a broken record, but this is what the song is about!) a tired man hoping for better times. which, great description of the franklin expedition, stuck in arctic, hoping for better times.

but what really gets me going is that waters of march is in hodgson’s playlist. i keep thinking about hodgson’s ‘i’m hungry and i want to live’, and recontextualizing the song to that line, to hodgson’s persoective, and reviewing hodgson’s words with what i know of the song.

at the end, it leads me to see hodgson, his words and his acts, especially when in the mutiny camp, as (once again, with feeling) a tired but somehow still hopeful man. this is horrible, actual hell, but maybe, if he survives this, things will get better. it’s the promise of life, in your heart. i’m hungry and i want to live.

[sainz100]

Carlos Sainz | F1 London Live in 2017 | x x x x x

[sskk-manifesto]

Next time we should just skip over ep 3 and do a chapters 84-87 reread

[torchickentacos]

Okay, I've spoken to several of you who like both of these things and I need to know how deep this runs because it's an 'if I had a nickel for each time this thing happened, I'd have (x) nickels, which isn't a lot but it's weird that it's happened (x) times' thing-

[olgipolgi]

Anyways here's my Wyll kisser Malix and Lae'zel smoocher Aranea who I plan to play eventually 🥰

[satorugojoswiife]

in light of the previous anon's ask, are there any confirmed/canon ships in jjk? i just got into the series this year and i've seen a lot of people claiming satosugu is canon, as well as yutamaki.

Kenjaku x yujis dad.

There aren't really many, if any canon ships in jjk now that I think about it??? There seems to be something between hakari and kirara but nothing has ever been officially confirmed.

They are both very popular ships, but neither satosugu or yutamaki are canon. I understand why lots of people ship them though.

I'm not 100% sure but I think a big reason for lots of people saying stsg canon is due to the 'my one and only' line in jjk0, but that is actually exclusive to the viz translation.

The direct jp to eng translation is 僕の親友だ。たった一人のね -> "It was my best friend. The only one I have"

Viz's version, 'my one and only', still technically works but tbh I kind of feel like they worded it like that on purpose, almost borderline queerbaiting, but yeah.

Aside from that the ship does have lots of other things going for it tho! Definitely an important relationship in the series and whether people would like to interpret it romantically or plantonically is up to them. As far as 'canon' goes I'd say it'd be platonic (as of right now with the information we have).

While love is a very prominent theme in the series (the most twisted curse of them all, 'teaching' sukuna about love, ect.) I feel its mostly explored in otherways than romantic. Whether it be familial, platonic, or whatever. jjk is definitely not a romance focused series, so I'm not sure if we ever will see any canon ships explored. I guess mechamaru was heavily implied to have a thing for miwa, but.. . well, we know how that ended 💀

omg so sorry I went off on a tangent there !! I feel like people focus too much on what is and isn't canon. But idk who cares about canon, just ship what you like 💖 I hope everyone enjoys shipping their fave ships and has a good day 👍💖

Also ily satosugu and yutamaki shippers I don't mean for this post to come off as dismissive of your ships I was just trying to be as factual as possible. Ignore me tho and continue loving your ships!!

[yichens]

soulmates AU with a twist????? i like soulmate aus with a twist 00

ok if you like soulmate aus with a twist, then here's The Twist for you:

this au is not simply about soulmates. this au is about soulmates who have to kill each other.

the idea is based on a tweet i saw some time ago where it said something about soulmates destined to be enemies with each other. my brain latched on that thought, and this idea was born – with a whole new world for mork and day as well as the rest of the last twilight characters.

bc of the "uniqueness" of the setting, there's a lot going on. am not gonna give too many details bc i don't want to spoil the whole story (and trust me, i would! am so excited about this), but am gonna say that this will still lead to romance AND most likely end well (i have two options for the ending... if i ever get even close to that haha). it's not all about fighting and blood, but i'd love to add in some action/survival elements plus a lot of slow burn and pining.

haven't written this monster much at all but here's a tiny snippet from the beginning:

How is Day supposed to recognize his soulmate – to fight them, or even run from them – if he cannot see? “What am I going to do, mae?” he murmurs into his mother’s shoulder, feeling her arms around him and her pulse against his cheek. Her breathing sounds ragged as she holds back her tears for Day’s sake, as if he would see them when he soon won’t see even the blur of her face. “We can protect you,” comes her unwavering answer. Like the fighter she is, she never gives up. “Let’s just get you inside where no one can see you. We can hide you away until things change, until you’re better.”

idk how much you know about last twilight in general, but in my au day's accident still happens and he starts losing his vision, which in this setting feels like a death sentence to him. he's been taught to fight ever since his soulmark appeared, so that he could one day survive finding his soulmate, but going blind makes it extra difficult. he goes into hiding and that's how things begin (which is close to canon but in this case, day goes into hiding bc he doesn't want to die rather than bc he doesn't want to be perceived as a blind person. i think this day has a bit more self-confidence even after he starts losing his vision... once he gets over his fear of death).

thanks for asking about this anyway ^^ i truly like this idea and hope i can get more into it once am done with my puentalay fic!

[cinnabeat]

reading crazy wedding demands and it just amazes me that people have such large weddings like. 200 people invited to your fucking wedding. why are you inviting so many people?? i bet you dont talk to half of them?? 200 is abt the size of my senior class????? i didnt even know half of them??? i didnt even know the names of all the people in my program which was easily around 50 theres no fucking way you know 200 people well enough to invite them to your god damn wedding

[yujeong]

"You look awful."

Despite his blurry vision, Vegas didn't - couldn't - ignore the flash of anger that crossed Pete's ghostly-pale face. The black beneath his eyes deepened. His lips grew thin and tight below his hollow cheeks.

"Whose fault is that?"

The silence that followed sat heavy on Vegas' chest. The pain lingered there; it wasn't dangerous, not like that, though he wouldn't say anything either way.

Pete lowered his head. He slipped up - a mistake his old job wouldn't allow him to escape from unscathed. Pete knew it better than anyone working for the main family. Vegas had made sure of it.

"I'm sorry," he said after he collected himself and Vegas honestly wished he'd punched him instead.

Don't, he almost yelled, but gulped it down. I'm not strong enough to bear what comes after those words.

"Does it hurt anywhere?" Pete continued and Vegas wanted to laugh and laugh and never stop.

He said nothing.