#and in the literal sense too

[martinskiseyes]

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[chloesimaginationthings]

Freddy never questioned Gregory's actions in FNAF..

[rocketbirdie]

sleepwalking

[spacerockband]

Legend tells of the carp that leapt over the Dragon Gate at the crest of a river and became a stand up comedian.

[twinstxrs]

idk if this is accurate but i’ve felt like in previous seasons riz & gorgug have been one of the inter-bad kids dynamics we’ve seen the least of & this season has been so great in that aspect. gorgug having helped make some of riz’s magic gear. riz helping gorgug with his studies. the shared birthday party. gorgug’s gift to riz being something he himself made to protect riz. riz’s gift to gorgug being something he illegally grabbed to protect gorgug. gorgug who utilizes rage to put his body on the line for his friends & riz who will take deep levels of mental stress for his friends. even though it was within the context of a joke, riz calling gorgug an “absolute sweetie.” like yea they might not be in a band together or both part of a presidential campaign team or owlbears teammates, but they’d go to war for each other, because they’re best friends.

[sgt-tombstone]

Contrary to popular belief, when Soap joined the 141, he didn't attach himself obnoxious and irrevocably to his glowering lieutenant. There was no baby duckling moment, no imprinting from the sociable sergeant, no following Ghost around like a lost puppy

For his first few weeks on base, he was bright and loud in the way of the new kid on the block trying to make friends however he could, but he gravitated mostly towards Gaz, a man equal to him in rank, passion, and mischievousness. He sought out Ghost with the same enthusiasm that he sought out latrine duty or paperwork; a part of everyday military life that's easier to accept and move on than fight against. He didn't go out of his way to avoid Ghost, but he also didn't actively try to gain his attention either

Contrary to popular belief, it was Ghost who attached himself to Soap, not the other way around

Ghost has always stuck to the shadows, taken advantage of the brightness of others to stay hidden, to fly under the radar until he erupts with deadly force, and no one was brighter than Johnny. When Soap walked into a room, no one had the wherewithal to even think to check for anyone behind him; he stole the attention of everyone he came in contact with. He was a blaze of energy and charm and excitement, and Ghost shamelessly used it to his advantage, placing himself behind Johnny like he was deploying a decoy flare, knowing that he could rely on the shadow that Soap never failed to cast with his intensity. It wasn't a fear thing, either; Ghost never cowered in Soap's shadow. At worst, he lurked. At best, prowled. He did what he did best, assisted by an oblivious, brilliant sergeant

And when Soap caught on... Price never knew peace again, because Soap turned the glow up tenfold, intentionally creating pockets of shadow for his lieutenant to hide in, the two of them working in tandem until they didn't even have to speak, until they could move around each other with alarming, exceptional ease

Around base, Ghost took advantage of it for fun, or to get out of paperwork, or to avoid social interaction; he could trust his sergeant to distract anyone from anything for long enough that Ghost could slip away entirely unnoticed, with everyone around them none the wiser

In the field, though... They had never been a more deadly duo. There was risk involved, of course, because intentionally drawing attention to yourself in a firefight is less than ideal, but they trusted each other implicitly. Whenever Soap kicked up dust, Ghost took cover in it, hiding in plain sight, secure in the knowledge that the combination of Soap's diversion and his own trigger finger kept them completely safe. No one ever saw Ghost, not when they were too caught up in the pandemonium that was Johnny MacTavish, and then it was too late, because Ghost had already taken them out

And when Soap turned that wildness on Ghost himself, well... Simon could admit that he used his sergeant's influence to his advantage, but he'd never claim to be entirely immune to it himself...

[ashleyloob]

I randomly got dragged to Mormon church and met the illustrator for A Series of Unfortunate Events who is apparently a bishop at the church, and now we are Instagram mutuals. today was so bizarre

[asexualenjolras]

I need to talk about Charles Rowland and his love for Edwin Payne.

Charles saying he can't say he's in love with Edwin back doesn't mean he isn't in love with Edwin, and it doesn't mean he doesn't love Edwin in the same way that Edwin loves him.

He is just saying he needs to work out what he does feel.

Charles died when he was 16. He's still a child. Nobody at 16 knows what it means to be in love.

And, on top of that, he grew up in an abusive household with a warped understanding of what love means. His dad was abusive to his mum, so he wouldn't understand what being "in love" is compared to someone that grew up within a stable household. He's never had the time to unpack what that means about his ability to love. He's worried that he might end up like his dad, and he absolutely would never want to hurt Edwin like his dad hurts his mum.

Charles has a lot of confusion about love. He loves his mum, he knows that, and he loves his dad, despite everything he put him and his mum through.

And, on top of all of this, he grew up during a difficult period in history. He was a teenager in Britain in the 80's. The 80's were a notoriously homophobic period of time, and I'm not saying that Charles is dealing with internalised homophobia but growing up during a period of time where the homophobic rhetoric was rife would have an impact on anyone. Especially a confused 16 year old boy who didn't know much kindness in life.

Charles knows he loves Edwin more than anything and anyone else in his life, and he knows the love he feels for him is different to the love he feels for his mum. He just doesn't know whether what he feels for Edwin constitutes as being "in love" with him.

And he needs time to figure that out. That's what he is telling Edwin: he's telling him that he is the most important person in the world to him and that he does love him but he needs to work out what that means. And Edwin completely understands that because Charles put it so eloquently and in a way that Edwin could understand. This isn't the usual unreciprocated love trope. They are each other's person, and they're trying to navigate what that means for each of them.

Overall, Charles loves Edwin and Edwin loves Charles. And they're going to figure out what that means together in time. Because that's what they always do: they figure things out.

Together.

[luna-lovegreat]

I find it funny that Wild, who has basically a couple years ish of full life experience, comes up with the most insane theories for everything

He assumed that the only other explanation to Four being able to split in Four was. That he was quadruplets who'd been hiding this whole time???

Also apparently he believed that his wolf companion Twilight in botw was a diety (and felt very uhh shocked upon finding out that he was not)

Malon made things worse, telling him about her aliens theory

What's even FUNNIER is that every time Wild expresses any sort of confusion at magic stuff that he's never seen before, everyone else in the chain acts like it's crazy for him to be weirded out by it

Honestly maybe Wild's the only one with his head on straight, rather than everyone else who are just like 'it's magic bro' like no he's right this is weird

I appreciate this because it's very considerate of the fact that he woke up with no memories not too long ago, so he doesn't have much experience to explain the stuff that's 'normal' for the chain. Plus the explanations he comes up with are funny.

:)

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Art and comic and adorable character by Jojo @linkeduniverse au :D

[yrsonpurpose]

So for many, many years, the Prince believed that he was safe. And the price he paid for his safety was his freedom...

[stuckinapril]

I genuinely love not having a crush like I’m not over here feeling physically sick over some mid guy being dry to me I’m literally chilling

[hauntingsofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[ruporas]

getting the attention of the humanoid typhoon

[turtleblogatlast]

Every day I’m haunted by the fact the boys happily swim in sewer water

Even if it’s filtered somehow there’s no way it’s not still nasty 😭 Bet they can defeat any of their villains just by accidentally giving them diseases I swear

[the-clotpole-and-the-disgrace]

barbie is one of the best aroace characters ive seen on the big screen yet. in a world where aspecs are slowly getting more recognition, hence increasing the targeted negativity from others that comes with not confirming to societal standards, having such a well known character not only have no interest in sex or romance while others in her environment do, but showing that her lack of romantic or sexual feeling is not something that stands in the way of her being her true fulfilled self sends a powerful message against amatonormativity. in this essay i will

[literaryspinster]

I hear a lot of talk about how Hollywood isn't comfortable with showing romantic relationships, interracial or otherwise, without a white person involved. But I'm not sure that fans are actually comfortable with that either? And I don't think they're comfortable without a significant white (white male specifically) presence in their favorite genre shows.