#Yes I just rewatched it again

[chaosandwolves]

I can NOT get over the entire scene where Jaskier sings for Radovid

The "I am enough" and Jaskier's expression while singing this

The way Radovid feels the lyrics so deeply

The way Radovid is just so moved by Jaskier

The way Jaskier tries to play it cool

The way Jaskier can't help but smile when Radovid shows him that he sees Jaskier as well

Every detail, every movement, every little gesture and expression....

It is absolute PERFECTION

It's really so moving

Biggest applause to Joey and Hugh for this masterful storytelling

[maibeloved]

Guess who is back in their gravity falls phase! (After it being dormant for almost a decade!)

[gay-strawberry]

edwin: can you open it ? (with your lockpicking set and lock picking abilities we've seen several times thru the show)

charles: way ahead of you mate ! (smashes the box against the floor until it opens)

[h0estar]

every now and then i look back on this GIF i have of nalu during tartaros arc and cry about how this particular scene alone solidifies the beauty of their relationship (natsu holding lucy's hand gently in the face of chaos and panic did wonders to my heart)

[kyurochurro]

"gentlemen i believe... we are lost."

(entering the new year with a stv drawing since im still on a st movie kick from the marathon my dad and i had HEHE >:D)

[mellohiizz]

mel mellohiizz............ can i beg for uu!parrot and uu!clownpierce art

i love the parallels between them, it's so fun to think about

[antigonesghosts]

What I loved about Cinderella's Castle is it is so entirely about Ella. We know starkid can handle a show with tons and tons of characters but I found it quite refreshing for it to be so wholly her story? I think it was a lovely choice for this show and man Bryce did such a perfect job of it, she is truly such a star

[seawolvesanddragons]

There was a beautiful era in the 90s/early 00s of fun, female lead teen movies that just hit different, were like this golden age of girls just being girls and celebrating that feeling, and no matter how Hollywood tries they will never replicate it.

I'm talking "She's the Man," "Bend it Like Beckham" "Princess Dairies" "St. Trinian's" "What a Girl Wants" "Clueless" "Uptown Girls" "John Tucker Must Die" "DEBS".....obviously there's probably a few I missed but you get the idea. Maybe the stakes weren't as high as saving the entire world, but they were important to the characters and had friendships and silliness and the goal was almost never to get the guy and you just don't get to see that anymore. Also almost all of them had banging soundtracks.

[panharmonium]

NARUTO REALLY SAID “BOOOOO” WHEN YAMATO WOULDN’T GIVE IN TO HIS BEGGING

[suntails]

stream of creation

[introvert-slushie]

I was wondering about this card and it got me thinking a little about it. From the “One month” ad/promo on Twitter from the Venom account.

So-

Could it may be a sign that Venom and Eddie’s relationship is stronger? Definitely. Am I reaching too into it? Probably. I hope they communicate better in this, begging Sony. I said it once, I’ll say it again. Their relationship will be so good if they talk with each other genuinely and understand one another. And from the trailers I see, I see this happening.

Since:

Venom 1 (Meet up) -> Venom 2 (Break up, miscommunication, working it out) -> Venom 3 (Theory: understanding each other/need for another and hopefully establishing relationship)

Of course and the symbolism of death and perhaps bad luck…maybe.

[jemmo]

Making sense of love for love's sake: the game

Despite all the things i absolutely adore about how the plot unravels and expands in love by love's sake, upon first watch, there's some things i couldn't piece together, which @lurkingshan echoes in their post:

'The way the author was messing with Myungha and forcing cruel choices on him really does not track with a desire to help him find happiness.'

And to preface, this is not something i fully get yet either. I think i'll need a good month and a sizeable reading list of relevant resources to understand just what/who this author/sunbae is and what his role is and how he is associated with myungha. But as always with the best shows for meta (aka bad buddy), as a plot unfolds, you can always find a better understanding by looking backwards and re-contextualising what you've already seen. so i watched ep 1, specifically the scene between myungha and his sunbae at the bar. And i will talk about how everything said in this scene has a whole new meaning now we know the full story, but for now i wanna focus on that question that they keep coming back to; "Then... will you change it for him?".

When you watch the show for the first time, your brain follows the simplest, most obvious version of the story you're being told, one where myungha has been pulled into the world of his sunbae's novel that's being turned into a game and given the opportunity to fix the thing he didn't like about it; making yeowoon happy, and thus you just think the rules of the game are imposed by the author, and so when these cruel choices first come up, you see them as the difficult roadblocks that are nevertheless necessary to any kind of game, forcing the player to make an impossible choice so that the game can continue in a certain direction and its only after that you learn whether it was the right choice or not, or there is no right choice, it simply changes the game you are playing.

And when its revealed what this game actually is, at first i tried to interpret these cruel choices, namely the choice between yeonwoon and myungha's grandma, and at best i could come up with the concept of this being a choice between staying stuck to the past aka choosing his grandma, even though he knows that choice doesn't mean she's safe bc he knows the future where he loses here, its an inevitability, but thats the small happiness he knew before it was taken away and thus that happiness is known and safe, theres no risk, versus choosing to pursue a new happiness, a love of yeowoon and thus himself, which he doesn't know, he hasn't experienced yet, and could be risky. Its a happiness that isn't guaranteed like his grandma, but its a happiness that looks to the future and has hope in it that he can find a new happiness to pursue despite what has happened in his past.

And that fits nice, okayish. But then i watched ep 1 and heard that question "Then... will you change it for him?" And watching through the rest of the eps, we come back to this scene at the bar and each time we get a new run up to the author asking this question, either new dialogue is added or we hear a different piece of the conversation entirely. It starts at the beginning of ep 1 as:

"Because Cha Yeowoon is the only one who's miserable." "It can't be helped that some people's lives are like that" "The fact that some people are destined to live that kind of life is what's vile."

Then a bit later in ep 1 we go back and its expanded.

"It can't be helped that some people's lives are like that" "The fact that some people are destined to live that kind of life is what's vile." "Why? Do you think you'd write it differently?" "Yes, definately. Someone like Cha Yeowoon, or someone like me with an awful life, can also be happy."

And then all the way on in ep 6, we get this new dialogue.

"I don't like talking about destiny." "Why?" "Because it means everything is predestined." "Then do you not believe in fate?" "Fate and destiny are the same. My grandma likes to say that. She said life is like a written book, and how you'll live and die are written in it. (...)I don't like things like this. Even if fate is already destined, I think it can still be changed. Otherwise, there's no point in trying." "Really? Then Myungha..."

And while we don't hear the author ask the same question, I feel like him getting cut off like that insinuates that the conversation leads to that same ending point. All that is to say, every time we hear this question being asked, its like we learn more and more about what this whole thing is, what the game is, what myungha is saying he will do by agreeing to do what the author asks. And every time, we see myungha being more defiant against the idea of yeowoon being resigned to his miserable ending. He starts off thinking that kind of life is destined, and while it's miserable, its not something he can fight. Then he says he'd want to write the story differently, bc yeowoon, or even him, could be happy. He challenges the idea that yeowoon, and thus himself, is fated to be miserable, and opens up the possibility for happiness for them both, but doesn't yet have the means or resolve to do it, its like he knows its possible on a fundamental level, but doesn't see it as something he can actually achieve. But then we circle back to the idea of destiny and books, both of which came up in the previous quote, and seems incredibly pertinent seen as this whole thing is about a novel this author has written. Myungha talks about how he hates the idea that life is a book where everything written is predestined to happen, from the moment you live to the moment you die. He says "Even if fate is already destined, I think it can still be changed. Otherwise, there's no point in trying." That vile way of life he described before that he said was destined, he is now saying it can be changed, and that possibility is now something he's holding onto, its what he sees hope in so that he can keep trying, bc now he finally is trying, he has the resolve, he's trying to realise this thing, this impossibility of rewriting the life he thought was destined through the way he loves yeowoon.

And coming back to those cruel choices, given this fresh context, it made me think. bc this isn't actually a game that myungha has been put into where the rules are dictated by an author completely separate from him. He said himself, he'd rewrite it, he'd change things for yeowoon. And when you start to think of it less as him fighting against a rigid, removed system and more like him being a character in a story he is trying to rewrite himself, that has both the author and his own limitations, or just his own if you're in the school of thought that the author is some figment or part of myungha himself or his conciousness, then you can start to see where these cruel choices might come from. They could be myungha, the author making edits to this new story, imposing his own doubts and limitations on himself. When he says he has to pick between Yeowoon and his grandma, what if that's the new author myungha seeing this story unfold and thinking no this isn't right, he can't have it all, i'm not deserving of this much happiness.

And what makes me like this idea even more is that when we get that second choice between ending after 14 days or getting 100 days back at the cost of resetting Yeowoon's affection to 0, that whole conversation happens in what I think the bar actually is which is this frozen moment in time where myungha is in the water with this extension of a voice in his head that is talking through these things. That conversation in itself needs its own post, but when you look at it both as a decision to break up or not or a decision to hold onto life or not, you can see how the author is just this soundboard relaying the decisions myungha is going through in his head. The author's voice is his own, weighing up his decisions. And if he is the author here, it only reinforces that the person making the rules of this game is him. You can even extend it further to the idea of the debuffs, where he puts in place this thing that makes it so he causes harm to yeowoon when he's around, and its only by garnering affection that he can prevent it. He gives himself a reason from the get go to stay away from yeowoon and reason it as him doing it for yeowoon's safety, when in fact the only way to make yeowoon safe is to increase his affection, which he can only do by being near him. Its a system that at first gives myungha a reason to stay away aka not like himself, but ultimately says the only way you're going to make yeowoon like you, or the only way you can like yourself, is if you accept risk. And that in itself screams to me of a myungha writing in these game systems that are trying to encourage his own-self love while falling at the hurdle of his own lack of self-worth.

The idea is still messy in my head even for me, but i just really like the idea that myungha could be trying to fix this thing both as a character and game master, and that both these versions of him have these flaws that manifest in their different ways to cause the events we see. It kinda is the definition of being your own worst enemy, the idea that in order to work towards loving yourself, the biggest obstacle you have to encounter is yourself, bc we are the ones holding ourselves back, making all these rules that make it harder to like ourselves and pursue our own happiness. The voices in our head telling us that we aren't good enough and aren't deserving are our own, and while the things that happen to us can inform what they say, we're the one's reinforcing those words. And what this show teaches us is that, if we're the one holding that pen all along, we can choose to change what those words are. If we make the rules, you don't have to create a game with concrete ultimatums, you can create a game where rules don't control you. Instead, you make the decisions, and you can make the ones that make you happy.

[centeris2]

This seems to be an uncommon opinion but thank god SSO is making (what appears to be) serious headway into the story.

For years it felt like it had stalled out. It was valid wanting main characters and villains to be visually updated before continuing, but it slowed things down.

I'm glad they aren't going "we need to update Mr. Sands, Darko is a pretty old model compared to the Dark Riders, Avalon really needs an update, so does Pi, etc"

Because yes it absolutely would look better if everyone had the same number of polygons. And yes it WOULD be great if SSO picked up those threads mentioned throughout the main story. But if they did that and got all those map areas that had been brought up in the story quests then it'd be another 10 years of filler in the main story until they can 'wrap up'

And honestly I'm tired of waiting. This isn't even an impatience thing, this is a "I've played this game for 10+ years and at this point I don't care how it's wrapped up, as long as it IS wrapped up."

Probably helps that I don't expected a 'satisfying' ending from SSO, I just want AN ending to the main story. I expect Garnok to be 'defeated' and for the Soul Riders to be victorious, probably through the power of friendship. That's all I'm expecting.

[ravennhearted]

Me (whispering to myself as I hit play on Merlin s1ep1 once again): And like the cycle of the year, we begin again

[candyheartedchy]

Sharing this because I was watching Monsters Inc today and got hit with a realization. And it’s self ship related lol

Okay so when the first movie came out, I had a crush on Mike and always felt bad about the idea of creating an oc to ship with him because he was already in a canon relationship with Celia. So I just accepted it. Then a few years later I started to like Randall and made an oc/monstersona to ship with him. But every time I rewatch the movies, I was always more focused on Mike than Randall, which always bothered me, but I wasn’t quite sure why it did. Now years later I’m sitting here REALIZING that I have self ships with at least TWO f/os (Mickey and Flik) who are in canon relationships. And it doesn’t really bother me. So like??? What’s stopping me from shipping with Mike now???

[i-dreamed-i-had-a-son]

Broke (2016): BBC Sherlock is a phenomenal piece of media and anything that seems like a flaw just hasn't been fully explored yet

Woke (2020): BBC Sherlock is an incredibly flawed series run by an egotistical writer, it never deserved the hype and is actively bad on so many fronts (especially representation)

Bespoke (2024): BBC Sherlock is flawed and bogged down by increasingly poor writing, which many fans refused to see while it was airing, leading to hugely misplaced expectations (particularly for the final series), AND it has the seeds of some compelling characterizations and portrayals, some genuinely solid performances, and touches--albeit imperfectly--on complexities that are still being discussed today (particularly as it relates to the relationship between Sherlock and John). The huge cultural impact of the show has created a massive pendulum effect in its public perception, leading to most people today remembering a caricature of the show (whether positive or negative) rather than appreciating its nuanced merits and failings...that being said Season 4 sucked