#and life is fleeting

[plebplush]

I recently rewatched gravity falls like im sure everyone else has these past couple months. apparently my partner had never seen it despite us both being the prime demographic at time of airing. they enjoyed it so much we were both hurt there was no more.

we both understand why there can never be a season 3 but the bittersweet "summer is over and we can never come back here" hit more like 500 freight trucks straight to the heart than I remembered...

something about a place you can only remember :/

[fluffyartbl0g]

A man of many of the most INTENSE facial expressions,,,,

Happy birthday Monkey D. Luffy!!!!

[mjulmjul]

GONCHAROV (1973)

[calciumyum]

An Argument

"In the doorway holding every letter that I wrote In the driveway pulling away putting on your coat In the ocean washing off my name from your throat" -The Shrine/An Argument, Fleet Foxes

Unguided Hand lives rent-free in my head. Get him out of here PLEASE.

[demigods-posts]

just now. imagining percy before learning of his father as a god. remembering nothing of him but a face he couldn't name. a face he and his father shared. percy often wondering if they were similar in other ways. if his father liked wrapping his arms around mom while she packed s'mores for the campfire like he did. if his father liked long car rides to the beach while mom sang to whatever was playing on the radio like he did. if his father liked running along the beachside shore while the water crashed against his feet like he did. if the reason his father was lost at sea was because he wanted to immerse himself in all the ocean had to offer. if the waves were so captivating, he'd dive underneath the surface and search to his heart's content. if the reason he was lost was because he wanted to find himself. if faces were any indication, percy didn't know who he was. maybe his father felt that way too.

[leanned-too-hard]

One must imagine Dan and Phil happy

[thegoodmorningman]

Life is fleeting!!! GOOD VIBES ALL DAY EVERY DAY!!!

[malama-art]

hakanai...................

[fleet-off]

I will never be normal about this scene taking place after the end credits.

Because here we are, literally after the end of the story. And here is the comedic sidekick occasional-mentor, having survived his self-sacrifice for the hero at the end of Act II, having been torn open and loved in the dark, having emerged to realize that he can no longer be a blank moldable surface in his own life.

And here is the villain, having lost too early, having been cradled and seen and afforded grace, having emerged to realize that he cannot be the heartless evil he was made to be, having fought and failed and lived rather than died at the victors' hands.

After the story has been told, Pete is not a background character in service to someone else’s story. He is, in this place, the most important person.

After the curtain falls, Vegas is not a villain—and he is not lost, is not abandoned as comeuppance for his terrible flaws. He is a young man thoroughly, despicably, mutually in love.

Because after the finale has played out, after all the chess pieces have been tidied away until the next game, after the credits roll—the narrative roles Vegas and Pete were prescribed lose their sway. And they hold each other in the aftermath.

[agarafile]

i am gonna ramble for a second bc i cannot stop thinking about the gem and scott and their creaking hearts.

creaking hearts are such a cool feature bc in order for them to work, they need the wood. they need the trees and the forest and life. and on return it creates life.

scott has nine of them. gem has one. a veteran and the newcomer. both going after the hearts. the desire and craving for having life and the contentment with what you can have. the safety in people and the danger of a sword. why are there so many parallels with the two of them?

[ganonfan1995]

Burnt out

[jorrmund]

This idea was stuck in my head some time...so ... i did it ...

[netmors]

Last year, after watching the Ahsoka series, I discovered Karyn as a character (I haven't finished the books yet, but I got obsessed with her regardless), and imagined her meeting Hera Syndulla after joining the New Republic.

Needless to say, when I discovered your Eleventh Fleet AU after that, it turned me into a fan of your art and head canon. :D

Karyn and Hera have… Let's say, a complex and confusing relationship, but they often have to work together.

“Spectre-2” and “Seven” cannot stand each other, but they have been very diplomatically trying to get along with each other for the last five years. True, they don’t always succeed.

Thank you, glad you like "Eleventh Fleet AU".

[aquickstart]

ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.

another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!

farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.

but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.

but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.

but the important thing is this.

farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.

farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.

the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.

as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.

but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.

and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.

to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).

to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.

and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?

but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.

the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.

so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.

[anthemofgvf]

goodnight it’s so over for me

[sirjacobthomaskiszka]

they’re like twins or whatever