#and articulating my thoughts properly

[kev-day]

thinking about kevin growing up in the nest and having to learn defense mechanisms to literally survive but are now the main criticisms his teammates have against him. and no one (besides jean) really know the fully extent of what he went through bc of the public persona and brick wall of self preservation he had to put up.

like he’s an asshole perfectionist about exy bc it was literally beat into him since childhood. running in 16 hour days since who knows how young he was and deprived of food and sleep when a drill was not performed perfectly

the world saw him and riko as brothers but riko was never kind to him. he hated playing the role as second best but it’s how he could make it through each day with one less injury. he was on eggshells nearly every second of the day because he was almost never out of riko’s sight. he learned how how navigate every mood until riko became too unhinged to navigate and by then he was so trapped in his role that he couldn’t fight back from riko and he couldn’t let the team know that he wasn’t just number 2 but he was a pet to riko. he was a bitch to his teammates to distract from what riko was doing to him and jean but also from so much built up anger inside for the person he could not escape

[gummi-ships]

[meamiki]

mira !!! :]

[bambeptin]

rex and wk bodyswap posture changes

[mysecretwindowuniverse]

Season 1 | Oswald + The Dons

[nowandforalways]

I'm back and I'm having emotions about Samwise Gamgee.

I'm trying to articulate why Michael Kurowski's Sam is actually possibly surpassing Bill Nighy for my favorite Sam and is at the very least tied and I think it's because the way that he plays him (and the way that everyone else plays off of him), Sam is allowed to not know things, without his social class ever being the butt of a joke.

Like he was much closer to movie Sam and BBC radio Sam than Watermill Sam in that he was wide-eyed and wondering and very straightforward and emotionally effusive and a lot like what you'd picture when you picture in your mind's eye how Samwise Gamgee acts.

But it was never his lack of knowledge that was the butt of the joke. Or, like, the fact that he was Sam that made things funny, if that makes any sense.

He wasn't being a caricature of a country bumpkin. He was being...a realistic country bumpkin? One who's still a 3-dimensional person with loads of intelligence and also is respected by the people around him?

Yeah. Michael!Sam, man. So freakin good.

[bellezzamortale]

the mad stone (everything everything) / la reproduction interdite (rené magritte)

[rosekasa]

creating for a fandom from teenage years to adulthood is so special because you can see where your subconscious was through the history of your works

[fluentisonus]

I think all the time about how the real historical hms surprise had already been sold out of service and broken up by the time we first meet her at in the aubrey/maturin series so at some point in 1802ish it functionally becomes an alternate history where the only difference is the surprise survived. and on the one hand, it makes for the perfect opportunity to have a real historical ship without disrupting her real life actions if she should have been dead but also on the other. like. it's a whole world that only exists so the surprise gets to stay alive. wah

[charlesemersonwinchesteriii]

While all three of my beloved Terror Lieutenant Ships are still technically in the running for the yuri tournament, I just want to say they ARE all yuri. to me. Specifically they are all different delightful flavors of lesbian stereotype.

Hodgving for instance are hashtag girlbestfriends. Absolute Jennifer's Body situation. They are two little girls playing house and snuggling together Too Much during sleepovers and "practicing kissing". They are a maid of honor speech where it's painfully desperately obvious that she's in love with the bride. They are Good Luck Babe Dot MP3. Starts at choir practice and ends with a body count.

Hodglittle on the other hand are an actual established butch4femme couple. Hodge after three hours: Ok I'm ready to leave the house! Ned: [tossing on one final jacket on top of her five layers of clothes] Wonderful darling you look so pretty let's go. Also by established I mean yes they uhauled it immediately after meeting. And yes that was a mistake but they're In It Together Now. Codependent and loving it.

Meanwhile Nedving are just two classic useless lesbians. Probably too shy to ever even meet each other irl. Ned will just keep posting pictures of like, a pony and a lamb sleeping cuddled up in a meadow and tagging them "#me and who" while Jirv keeps liking every post and being too nervous to say a single word to her. The height of romance and repression and also agonizing stupidity.

[clioquev]

had to get this off my mind

[jingledbells]

there’s been a big increase of ford hate posts around here hasn’t there

[t-u-i-t-c]

"He's a good guy."

[itsnotjustgibberish]

I started thinking too hard about @grapedemon‘s human vs robot Mind poll so y’all get the ramblings that resulted

I lean more human wanting to be a machine overall, although I think both fit whether that is physical or metaphorically.

To me, they are all human. I LOVE seeing more creature-like designs, and my friends probably know how much I enjoy adding more animalistic and/or celestial pieces to my humanoid character designs. But I have always tried to keep my interpretation of canon HMS mostly human. One of the many things that are very important to me about the story of CCCC is just it’s pure visceral, painful, messy, sacred experience of being human.

I like to think Mind is human. He has mechanical hands, yes. He has metal and wires replacing the occasional cell or nerve, but he is still human [even if he uses those perceived imperfections to his humanity against himself.] He is human and he despises it.

Heart is supposed to be the organic one; the physical piece of their, his, existence. Organic matter is what allows the function of neurotransmitters.

A machine is not burdened by emotions.

Heart was organic, and that made him “imperfect.” Because a machine would never get overwhelmed and break down. A machine would never freeze. A machine would never leave them alone in their room, rotting in bed for days and weeks.

Heart was in control before, and his emotionally— imperfectly— human-driven coping mechanisms gave them no aid. That’s why Mind took the next logical step; they tried to cope with emotions, and it failed them, so, of course, doesn’t it make the most sense to try the complete opposite? To lock away those inadequate emotions that left you to rot? To just keep going and be efficient and make up for all the lost time the failure of your humanity brought you?

Of course it does. You haven’t listened to the middle ground yet.

And yet as Heart releases the last little bit of control he held on to, as Mind steals a throne of “lone” sovereign and Apathy takes hold, it is agonizing. It’s numb. It’s supposed to be numb. It’s meant to be efficient, it has to be the next logical step. So why is it painful? Why does the numbness hurt? It isn’t supposed to be so agonizing.

He’s worked, so, so very hard to become a machine. And he has; he’s empty, he’s a husk of organs fit together like gears, keeping a body upright and moving.

And it’s worse than the rot. It’s worse than the rot. It’s a true sort of rot.

He’s worked so very hard to become mechanical and perfect, but a dystopia falls apart just as easily as this utopia he has dreamed of.

The apathy is agonizing. Why? The very point of the frozen numbness was so it wouldn’t hurt anymore. He misses what it was like to feel, to be human.

But was he not always human? Is he not still human? Do the philosophers care if Theseus’ ship believes itself the same individual?

He wished to be a machine, and put on a mask of such. But he is still human. Something imperfectly sacred; a sad sulking mess, a human that is being.

[zelda-of-hyrule-tloz]

Echoes of Wisdom Headcanon Countdown

༺ Day 49▪︎ 50 Left

History is constantly repeating itself in the stories of Hyrule. At the end of the adventures, the current Zelda of each era feels an overwhelming sense of nostalgia - for better or for worse. It feels as though the same war has been fought before, but at last, Hyrule is at peace. And should evil arise again, as feels inevitable, she promises that her soul will persist to shield her kingdom. Isn't there some comfort in knowing that she's done it before? Can't she make use of the peace they fought so valiantly for, however temporary? Perhaps this is why OoT Zelda is so certain of sending Link back to his original time. The cycle of their lifetime is over, and he is owed peace of his own... He has done his part, and she won't ask for anything more. It really feels like the knowledge of Hylia's spirit is speaking through her - knowing her duty to Hyrule is never done, but her Hero's is.

[theimpalatales]

I adore the cinematography in Kin, particularly in the first few episodes of season 1 (directed by Diarmuid Goggins).

There's a voyeurism to many of the shots that place things like furniture, doors or windows in the foreground between the characters and the camera, creating distance between us and them – like we, the audience, are privy to family matters we shouldn't be seeing.

There's a sense of intensity and a fight for control to the extreme edges of the frame the characters are painted into.

And, as intense and powerful as the characters can feel, there is always the sense that the world is bigger than them. The characters are, ultimately, swallowed up by the world.

I think this is so clever because it feels like such a fresh way to shoot a show about gangsters, and it completely fits with many of Kin's themes. Throughout Kin, we see a fairly humanistic exploration of gang families and how difficult it can be for the characters to become free from the criminal endeavours they're surrounded by; once you dip your toe in the pond, you're sucked in. Events have a way of spiralling out of an individual's control, and actions have severe consequences that manifest like falling dominoes.

The world the characters inhabit is bigger than them; the house always wins. It doesn't matter that Mikey wants to stay clean to better his chances of seeing his daughter again, or that Amanda doesn't want her son having anything to do with the family's criminal activities. Even as they wrestle for control of their lives, it's made apparent that they're up against forces bigger than any of them. They are Kinsellas, they exist within this criminal world, and they will have to face the consequences of that.

But neither are these characters helpless. They are in constant conflict with each other to shape the world how they want it to be. They are characters fighting for their survival, for their right to live the way they want to (whether we agree that's morally acceptable or not). We even see explicit examples of characters like Mikey and Amanda being in a position to walk away from the family business and leave it all behind. But this isn't truly what they want.

The Kinsellas go up against Eamon Cunningham. We watch Amanda orchestrate assassinations to hit back at the men who killed her son. Eric is the first Kinsella we see carry out an execution. Mikey (briefly) engages the legal system to be able to see his daughter, and then he and Anna disregard the court's orders for them to have no contact. And the Kinsellas are constantly butting heads with each other as they reap the rewards of their criminal activities. They each have agency and power that they use to try to stay afloat in this treacherous world. The characters' conflict and struggle are visually apparent in the framing and composition of the shots.

Finally, going back to the first point I made (and, wow, I had no idea I'd be making a post this long, I am so sorry!): the voyeurism. From my (little) understanding, gang members in Ireland have almost a reality star-status. The public know who they are, the papers are constantly reporting on them, and their lives appear to be glamorous and, to some, enviable in some ways. Kin almost entirely strips this perspective away to look at the individuals behind this sense of celebrity, to examine the traumatic impact of being involved in a world so deadly and dangerous.

The wealth and glamour is present, but it isn't the focus of the show. Instead, what we get feels like an exposé, a peak behind the curtain into the true lives of these gangsters. Mikey suffers from epileptic fits often brought on by the stress of the job. Amanda and Jimmy lose their son and we watch them grieve. Eric goes to prison and his girlfriend struggles with the drastic change to their relationship. The list goes on as we are treated to the serious and real consequences of being part of this criminal world.

The colour grading and lighting also help hammer this home. It's neither highly saturated or overly desaturated. Rather than having the contrast bumped up, it almost appears soft. Against a backdrop of criminality and drama, the visuals of Kin invite its audience to view these characters as people first, to view them and their actions with empathy, if not always sympathy.

Kin is a show with something to say, and it knows how to use its cinematography to deliver that message to its audience.