#and that doesn't even make any sense.

[outlying-hyppocrate]

.

[uncanny-tranny]

The leftism/anticapitalism leaving people's bodies the zeptosecond you imply that disabled people who aren't "productive" still matter in society and need to be treated like intrinsic equals who have a place in this world:

[andsewingishalfthebattle]

Novice sewing pattern: Cut out shapes. Line up the little triangles on the edges. Stitch edges together. We've also included step-by-step assembly instructions with illustrations.

Novice knitting pattern: yOU MUSt uNDerstANd thE SECret cOdE CO67 (73, 87, 93) BO44 (63, 76, 90) 28 (32, 34) slip first pw repeat 7x K to end *kl (pl) 42 * until 13" (13, 13, 15) join new at 30 pl for 17 rows ssk 27 k2tog mattress lengthwise BO and sacrifice a goat to the knitting gods. WHAT DO YOU MEAN YOU WANT "INSTRUCTIONS," I JUST GAVE THEM TO YOU

[teddybeartoji]

been thinking a lot abt fwb!gojo today.... this is his first time ever doing this kind of a thing btw. i do not think he sleeps around AT ALL. but with you, he just... you start off as very good friends but then it keeps escalating – you start sitting closer and closer, your thighs always touching as you lounge on the couch. his hands seem to always find your waist in public, your seem to be in his hair more and more. and the thing is... satoru isn't all that good at deciphering his own feelings. he isn't entirely sure what this is; the butterflies in his stomach whenever you laugh at his jokes, the warmth that spreads under his skin whenever he sees you bend over. it's weird. he doesn't know what to do.

so, when one night you inch closer with your hand on his thigh, he lets you. he welcomes you with open arms. you ask whether it's okay or not and he lets out a shaky yes, his cheeks burning with something new, his eyes low and heavy as he stares at your lips. you feel so good on top of him, your body flushes to his and he thinks about how perfect this is. how much he likes it. the night is like a wet dream for him, something he's always dreamed off but when you leave the bed and hop into the shower without giving him a kiss, he doesn't even know what the weight on his heart means. where it comes from. he doesn't ponder over it for too long though as you step outside the bathroom in a shirt way too big, his shirt. he watches you get dressed and hums when you joke about his bed hair. he thinks you look gorgeous. he doesn't ask for you to stay – if this is what you want, to leave without the desire to continue your adventures from the last night, then so be it. satoru wants you to be happy. you tell him it was good and that you'd like to, perhaps, do it again and he can taste you on his tongue when he says that he feels the same. satoru will take every crumb you'll give him with a smile on his face. he won't complain and he won't ask for more, not yet at least. for now, he'll be completely and utterly at your mercy, a lapdog for you to play with whenever you so desire to do. a selfless kind of love.

[fluentisonus]

I've said this before but valjean's view of the bishop throughout the book gets me so bad because like. he knew him for what, a day maybe? and it absolutely had a vast & profound & positive impact on him. but then he goes on to spend the whole book comparing himself to his idealized vision of the bishop & finding himself wanting & feeling guilty and miserable about every petty or selfish thought that crosses his mind. but it's so fucked up because like we as the readers know the bishop better! we've read the whole first book and we know he came from a privileged & wealthy background, that he was a rake when he was young, it wasn't til he was in his 40s or 50s to have some sort of change of heart & become a priest (a similar age to valjean when he met him!), that he has moments that seriously shake him, that he has some dubious politics left over, that he still has moments of pettiness he has to work through on the page (his initial approach to the member of the convention, e.g.). and also he's just kind of a weird old guy (affectionate). and like this is not to criticize the bishop, I think he's a genuinely really good guy, just that while the bishop has a realistic view of himself & his past ("he described himself with a smile, an ex-sinner,"), valjean is not getting any of this except maybe like. what would be mentioned in the newspaper when the bishop died. so his whole view of him is of this one shining moment where he changed his life and he feels he doesn't live up to that. which is sad! because the bishop understood him more than he realized & wouldn't have wanted him to feel that way

[coldbycrossfade]

MAN THAT REALLY COLORS THIS RESPONSE IN THIS CONVERSATION SO DIFFERENTLY FOR ME

[hauntingofhouses]

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.

[dogmasquerade]

god okay disco elysium fans try and understand the consequences of actions challenge. jean is a dick but also he's like that... for a reason. kim has literally only just met harry he has no frame of reference for the past and NEITHER DOES THE PLAYER. Jean's been with harry since he was sober. he's seen the downfall. harry's gone clean before and all that happens is he fell in again. none of yall have had to be friends with an addict and it shows. it's constant. its painful. eventually compassion fatigue. you just can't care like you used to because every single time you offered a hand it got bit. sunk cost fallacy forces you to stay but its like poison. toxic, eating away at you, an albatross. you can't leave him but you can't live with him. you know hes hurting so so bad but the hurt spills from his overflowing heart into anger and its directed at you.

anyway td;lr jean's got good reason for giving up on harry, martinase was just his final straw. its not just "ough you shouted at me while being mentally ill once and now im mad :(" its "i have watched you systematically destroy yourself from the inside out. you are burning alive and every time i try to help you i get burnt. you have embraced the flames at this point and i don't know how else to help anymore. you arent who i used to know."

EXCEPT HE DOESN'T EVEN DO THAT BECAUSE HE CAME BACK. he came back literally as soon as the waterlock got fixed. he still fucking cares.

[sysig]

Ah, childhood memories (Patreon)

[giantchasm]

Replayed Gates to Infinity recently. I really enjoy the fact that half of the characters in it are like malevolent nihilists.

[poorly-drawn-mdzs]

Up High!

[First] Prev <–-> Next

[nocreativityfornames]

Not them getting together to take revenge on Mephisto

[stagefoureddiediaz]

7x05 promo meta

Thank you 911 for dropping those stills - its save you all from my terrible quality screen shots!

This was supposed to be a costume meta, and it is, but things rather got away from me so its got a bit of a mishmash of spec and the like in it! its probably incoherent but my brain is whirring!

Ok first things first - Firehouse!

Soooo whenever we've had firehouse scenes before between Buck and Eddie, the one not in uniform is the one receiving advice - Buck after he found out about Daniel, Eddie during the Black out etc. So I expect this scene to play to a similar theme.

The green jacket for Buck is an interesting one for me, green is all about growth - especially this shade of green. I think this scene will be the first time Buck and Eddie see one another in person - Buck perhaps re-apologising to Eddie, clearing the air, Eddie offering buck some advice (i don't know exactly what advice, but perhaps along the lines of not bottling things up and talking to him etc!).

The fact its a broadcloth jacket harks back to his shirt jacket from Eddies breakdown - that one was very red, so there's no direct connection to the meaning of that jacket from a colour theory perspective, but there is a wider theme connecting to the broadcloth - broadcloth is a fabric that was historically used for military uniforms (it still is) so the use of broadcloth has this element of going to war - unlike the red jacket that signalled danger and Buck going to 'war' to both get to Eddie and to then help him in the aftermath, this one is more likely to be a war related to Bucks 'bad behaviour' from the basketball game and I think and with the green of the jacket meaning growth, I expect this scene to show them on a more even footing - one where the one doesn't need to go to war for the other, because the 'war' is over, this is the aftermath now and Buck has grown (in the same way that Eddie was in green during and after his breakdown - he grew from that moment)

Date night - for Buck and Tommy

Firstly I want to mention the fact that Check theory is in overdrive for this scene - the check is literally everywhere - floor, tablecloths, walls, windows, the guy sat to the side of Tommy. Something is clearly going to happen that is going to lead to some sort of chaos. My money is on Check shirt guy suddenly becoming ill and interupting both dates (call back to Buck choking on bread would be chefs kiss imo as that was Bucks first proper date!!).

I originally thought his was the same shirt Buck wore when he was trying to donate sperm - however, turns out it isn't it isn't, this is a knit bowling shirt while the one from the sperm donation storyline was a knit polo (no buttons all the way down the front). I do think the remarkable similarity between the two shirts is relevant though. because Buck trying to donate sperm, was Buck trying to start a new life, but it was a false start when he was wearing the similar shirt (because the power was out at the clinic) and he is essentially doing the same thing here - he's on his first 'date with a dude' and is starting a new life as a bisexual man - only it seems he's probably going to try and hide it from Eddie - thus a false start in the same way his first attempt to donate sperm was. thing is, Buck was successful in making his donation in the end, so even if he has a couple of false start in this episode, he'll be successful in the end (see the end of this meta for the reason why!!)

Tommy is in brown (possibly a dark olive green, but it looks more brown to me at this moment in time!). Brown is of course one of Eddies staple colours, so we are continuing with the Tommy Being costumes as a version of Eddie!

But Brown is a colour of stability and strength - its solid ground. It's showing us that Tommy is completely comfortable in his sexuality (whatever denomination of queer he is as we don't know at this point!). Its also a colour of safety support and protection (its why many police and military uniforms around the world are brown - meant to invest a sense of protection - a reflection of what that job is supposed to be!). for me thats playing on the idea that Tommy is going to protect and support Buck on this date - Buck not wanting to come out to Eddie in that moment and Tommy supporting that and protecting Bucks right to chose when and how he gets to come out to the people in his life (and I adore him for that!) is my guess on why he's wearing brown here.

Eddie and Marisol's date night

(as an aside - Bucks face in the still below is hilarious!!)

I already mentioned the pink handbag in my 7x04 meta, but now we also have a pink skirt to add into the mix and its a ditsy print of two shades of pink, which not only further supports my pink and innocence theory about this season, but it also plays into how both Shannon and Ana were costumes as well - in lots of pink and in ditzy prints!!! Marisol (who doesn't even have a last name) is not long for the world of 911 - if it doesn't end in this episode, its gonna be over very very soon! She is going to essentially be an innocent bystander in whatever the hell is going to go down at this date night fun house we're about to see, whether her seemingly naive personality (well what little personality she seems to have!) plays into things as well, we'll have to wait and see!

The other aspect of this outfit that is making me laugh is the fact that the skirt is giving me 1980's/early 1990's teen vibes (not to out myself as old but trust me I had some just like this back then and I wouldn't be caught dead in it now as a grown woman!!) and the baby pink handbag looks like something an 8 year old would have to play dress up with - its all very childish and immature - naive one could say, and its suggesting to me that we're going to see some pretty childish behaviour from her at some point in this episode (we'll have to wait and see if I'm right!). The other aspect oof this childish style we're seeing on her plays into Eddies narrative of looking for magic and trying to recreate what he had with Shannon. Its for me one of the reasons why i think we have s2 Eddies hair back, especially this greased back version in this scene - its a nod to his s2 arc when he tried to recreate the magic with Shannon. Eddies journey is about learning that he cannot recapture or recreate that magic he had when he was young - that the love of youth - in all its innocence is not something that is sustainable or actually what he wants in the present. for me, him figuring this out is an important part of his wider un-repression arc and will allow him to move forward and learn that he needs to build a relationship on a stronger foundation that magic and innocence. That (ghost of a) second chance with Shannon ended up as a literal car crash (sorry to be blunt but it was a metaphor back then too!) so my feeling is that this is going to go the same way - and end in a figurative (at least) car crash.

As for the chain necklace! you can read my 6x15 metas for a fuller run down this one is the most comprehensive one (and theres some stuff lurking on other meta posts as well) but essentially every single one of Buck or Eddies girlfriends have worn a chain necklace (there is also a bracelet too, which I think Marisol wore in 7x01 but her scene was so blink and you'll miss it that I can't get a good still to be sure!) of this style - I never did get to writing the full meta on the chain necklaces I intended - the season 6 finale rather deflated my enthusiasm to do so, but I can talk about it here so, things worked out I guess!

Chains are a representation of incarceration, or of holding something back. they are a huge symbol of slavery and are used in derogatory terms when used to talk about relationships (the old ball and chain etc). This is why we see them on all the women connected to either Buck or Eddie, and never on any of the other female characters in the show - these women are essentially holding Buck and Eddie back, they are chains to be broken free of.

Then we have Eddie in his white shirt! There are a couple of reasons I am completely in love with this choice! firstly is the most obvious, it paints things very black and white for Eddie and Marisol - they are opposites! In this context, the wardrobe department are deliberately creating that opposition between them - and in combo with that pink bag and skirt - things aren't going to end well for them.

Black is a colour that sucks light and colour from things (yes there is the concept of the little black dress etc for dating but thats more about timeless elegance and Marisol is not wearing a black dress!) that absorbs everything around it - you can see in the picture below how the black of her top is absorbing the colour while Eddies white shirt is bouncing it around and glowing with the red - its especially obvious on her sleeve which is partially sheer and partially matt - the sheer parts are picking up the light, making the black non sheer parts still look black.

The other reasons I am living for the Eddie in a white shirt of it all is the fact that it really highlights that red lighting - this use of red - in this setting at that moment - when it doesn't appear to be anywhere else in the scene and certainly not around Buck and Tommy - can only mean danger and anger. Its telling us that Eddie is not happy - jealous definitely (that look is one of jealousy!) its also hinting at underlying anger though. My thoughts on this is that its playing into Eddie having to face up to his feelings for Buck - that he understands them, and perhaps feels like he missed his shot

The other reason I'm obsessed with the choice to put Eddie in a white shirt is this ⬇️⬇️⬇️⬇️⬇️

Because yes that is Eddie in white and Buck in dark blue, and yes that is the only other time we've seen Eddie in white in the entire show (excepting white shorts in fight club and even they fit the theme we're seeing here). Seeing them in the same colour ways here is very much giving Buck and Eddie divorce era 3.0 (fight club/lawsuit was 1.0 and the one above was 2.0) vibes.

Having dinner with Buck (or in the same space as Buck) and his current partner and the blue and white (and green that Tommy is wearing which matches the green that Taylor was wearing) is definitely a choice. This scene in season 5 was essentially a Buck and Eddie break up - 'move on Buck, I have' - we all know how that spiral ended - with Eddie digging in with his leaving the 118 and excluding himself from the firefam and Buck cheating on Taylor and asking her to move in with him.

thing is Eddie has form for doing dumb things when he feels under stress or pressure (asking Shannon to marry him again, fight club after her death and Buck suing the firehouse, leaving the 118 and not getting the help he needed until he had a major breakdown to name 3!)- so if we saw some kind of parallel to this scene - (this is especially in light of Eddie talking to Bobby about the job in this episode) where Eddie doubles down on a poor decision (don't know what but I'm currently speculating that its maybe asking Marisol to move in with him way way too soon - when he doesn't know her - hello episode title) in the same way Buck did with Taylor (because he is faced with the fact he could've had a chance with Buck after-all and is emotionally cheating on Marisol) and it plays into

I'm not saying we're going to be getting rid of Marisol in 7x05 (unfortunately) but I am saying the writing is on the wall for that relationship - there are too many costuming signs on both Eddie and Marisol for it not to be headed in the direction of ending. My guess from what I'm seeing with these costumes and that lighting, is that 'Ghost of a second chance' is when it will come to a head - it plays into the theming of Shannon redux and car crashes, learning from past mistakes before you repeat them.

And finally we're at Bucks loft!

Not saying this is at the end of the episode - I have zero idea where its going to land - every time I see a new still from it I'm more confused and decide its going to be at a different point of the episode!

Anyway, thats not important! Eddie is in his Buck 'date night' shirt - the one he wears when he has serious talks with Buck in the loft. thing that is different this time, is the fact he's in jeans rather than the green trousers he's worn on every other occasion. Something about that is making me feel like, while this scene is likely to be similar in that its going to be a serious talk, and I'm sure from the way it looks in the stills we're going to see Eddie reassuring Buck as we have in previous scenes, I think we might find this one is going to give us Buck and Eddie on a more even footing that we've seen before.

I'm fascinated that the Christopher watch is not visible in the above still, but it's very visible in the below one, and in the other stills we've got. We don't often see it hidden under eddies sleeves - we usually see it more like we can see it in the date night stills - visible with the shirt slightly tucked underneath. haven't figured out if its going to be significant or not yet - I need to see the scene!

We do have to talk about the looks they are giving each other here though - especially Buck!!! because I mean!!!! its kind of giving me don't keep things from me again vibes!!

I am very much loving that they put Buck in this jumper though! it is the one from the sperm donor storyline - when Buck tells Eddie, Hen and Chim he is 'responsible for creating new life.' I love this specific parallel because there is the play on the fact that Buck is now living a new life - that he's figured something out about himself - that he's creatinga new life forhimself - one where he is bisexual, and openly so (as we know he's going to tell people in this episode and hell he might be telling Eddie in this scene!). the other thing is that this light blue colour, throughout season 6 became a real representation of Buck journey of self discovery - all the way back to Lev at the happiness convention and his year of yes, right through to post Lightning strike Buck who was trying to wrestle with his death and his rebirth - the light blue here really ties all of this together beautifully

Right thats All at this point - I'm sure my brain will conjure up other things once i've hit post, but for right now - I'm off to bed!!

@theladyyavilee @mistmarauder @xxfiction-is-my-realityxx @bewilderedbuckley @spotsandsocks @bewitchedbewilderedbisexual@rogerzsteven @wanderingwomanwondering @oneawkwardcookie @leothil @copyninjabuckley @shammers86 @crazyfangirlallert @missmagooglie @katyobsesses @radiation-run @gayandbifiremenofmine @bi-moonlight @crazyaboutotps @princesschez75 @alliaskisthepossibilityoflove @sherlocking-out-loud @satashiiwrites @lover-of-mine @yramesoruniverse @extasiswings @favouritealias @pop-kam

[basilbots]

Manifesting that by the time Moon actually decides to be there for his brother (which to make it crystal clear all this would entail is physically being there for Sun, he doesn't need to know what to say just sitting with him in the same room is an honest and welcome show of support that Moon has not attempted at all) Sun has gone off to hide somewhere so its too late

[platoapproved]

for @dancinbutterfly who requested this, but also any non tvc book readers who may be curious... here's some excerpts from the scene in the vampire armand where a bunch of guys are bidding for which one of them gets to fuck amadeo and marius encourages it / treats it as a game / commands amadeo to kiss one of them while he kills him. imho this is a part of the text the show writers likely drew inspiration from for the idea of marius 'donating' amadeo.

for reference, these are all taken from chapter 5! so @dancinbutterfly you can direct your friend who doesn't believe this was in the text there.

how do i even begin to content warn for this, it's so fucking BAD. i guess the usual tva warnings for grooming & csa, sexual assault, pedophilia, kind of incest?, slavery, just... marius bein' marius y'know. (IT'S REALLY BAD. like i do just want to emphasize for anyone who has not read tva it's quite explicit and upsetting plz be aware):

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[mayhems-cannon]

rope+apron?