#but this is just my two cents

[babygirltangerine]

i love how similar the fall guy and bullet train are because david leitch i'm perceiving you so hard. i'm seeing how you shape your ideal version of masculinity and present the emotional action hero as sexy and capable and not at all undermined by his depth of feeling but made stronger for it. it's beautiful and subversive and quite frankly it's gay as hell. genuinely i find it extremely interesting how he handles this balance so gracefully in a way that makes colt and ladybug funny, real, and desirable to both the men and the women in the audience

[shaynetopps]

we’re shaymien shippers, of course we:

never forget that they were roommates

rewatch “hacking off” even though it only had like 5 episodes

keep track of every time damien touches shayne in a video

can clearly hear “whoa! oops!” in their voices

love the “best friends to lovers” trope

think “dog” and “dude” are the most romantic nicknames

think damien is the only person who can make shayne laugh louder than he does at his own jokes

are down bad for both of them

[symphonyofsilence]

Let the poor man rest.

[houseofpurplestars]

What really gets me about the sentiment "Don't look away" is that its always used in the wrong context. People may be well meaning, but what they end up doing is flooding the conversation with zionist carnage in a manner not unlike the way zionists *want* their atrocities to be seen.

Rather than thinking, "I must traumatize myself with this image for Palestine," try, "I will not turn my back on the people of Palestine." Watching them die is not enough. Speaking only of their suffering is not enough.

Don't look away when Palestinians resist. Don't condemn them when they fight for their lives and land. Speak for their rights to live and move freely in their own homeland. Do not look away from their life. Palestinians are here, they remain, and they will remain, and they are in the future, and they will live free and happy lives just as anyone else should be able to.

"Don't look away" should not be a call to engage in real life atrocities like its a horror movie. "Don't look away" should be a call to make Palestine the focus of everything. Don't let people FORGET or IGNORE what is happening. You can talk about what is happening without sharing the same ghoulish photos that zionists love.

[yourhighness6]

Ugh I will always love the concept of Katara using blood bending to revive Zuko after the last agni kai, mostly because it makes no sense to me that Zuko was able to bounce back so easily after being struck by lightning, but also because the way the show treats bloodbending is just odd to me. It was a defense mechanism created by a traumatized victim of some of the most devastating parts of colonization, and although I understand that Hama was supposed to symbolize the "bad parts" of waterbending and was important for Katara's growth in realizing that the world isn't entirely black and white, its still disappointing to me that the show never explored the gray areas of blood bending, especially since that episode was, as I stated above, about understanding the gray areas of the war. Katara using blood bending to revive Zuko would add so much to the last agni kai in demonstrating that she has truly realized that "good" and "evil" are relative concepts, and Zuko being saved by both a defense mechanism of a survivor of colonialism and a type of bending used to terrorize his people would have even added to his arc, as the narrative required him to save and subsequently be saved by the physical embodiment of everything his family sought to annihilate.

[horrorlesbians]

atmospheres that are underutilized in horror-

weddings/bachelorette parties

high school graduation 24-hour lock-in parties

school winter break

middle schools

white collar businesses

airports/in-air flights

cruise ships

family reunions

college freshman claustrophobic dorms

the last two weeks of college during exams

industrial plants/warehouses

[an-established-butt-dent]

"What have they done to you,

Old friend."

Trapped in the fade, Solas comes face to face with the remnant of his spirit.

The Dread Wolf was his wisdom, mirror to his pride. In the wake of the wrathful Evanuris, it too, has succumbed to their taint.

Or, where I'm making wild plot speculations surrounding Solas trapped in the fade. while turning my brainrot into art pieces and gifs. I'M PACING MY ENCLOSURE. Looking for crumbs and scrabs of Veilguard. Please Bioware I'm begging, feed me. 😭

[swiggity-swexual-i-am-asexual]

As per usual, it’s DP crossover with (probably) DC, although you could probably adjust it for other fandoms

ANYWAYS

A little kid and his mother are trick or treating in another city, perhaps at some kind of event rather than knocking on doors, and the kid is dressed as Phantom. It’s very adorable, with his little ghost-shaped bucket and clearly homemade and already stained costume—listen, white only works if you can just fly over street grime or phase it out of your clothes—and his slightly I’ll fitting wig. The kid is SO happy to be out and about dressed as his favorite, and maybe even showed it off to Phantom back in Amity Park before his family left.

The hero, insert whoever you wish here, is probably in civvies and just enjoying the event. The kid, meanwhile, is so glad when people ask who he is so he can explain, and so- the hero gets to hear ALL ABOUT the local town hero who is probably pretty small time despite the kid’s clearly exaggerated stories. The hero certainly never heard of him, but the kid’s mom confirms that Phantom really was the town hero, despite some mixed reviews of the poor guy.

“Did you manage to show him your costume?” the hero asks.

“Yeah! We went down to the cemetery to leave flowers and I got to show him my costume.”

Wait. Cemetery? Maybe it was part of theme, because Phantom had to be named that for a reason, but… it sounded like…

The kid ignores the suddenly VERY still hero and instead turns to his mom. “Momma, do you think we should bring him candy? He doesn’t get to trick or treat like we do, and I can work super hard to get him a bunch!”

The kid’s mom just smiles. “We could, but maybe we should bring him something homemade. I bet he’d like something more filling, teen boys like him have a hollow leg.”

The kid wrinkles his nose. “Like Vernie with the pizza bagels?”

“Like your cousin, yes. We can make some cinnamon rolls and take them to his memorial, maybe bring some of the apples from your grandpa’s garden��”

The hero is pretty much forgotten as the two-part family wanders off, not quite intentionally forgetting the hero is there so much as the hero somewhat accidentally ended the conversation when they just froze and didn’t ask anything further.

Not that the hero didn’t want to. But they’d learn something very serious.

One—there was a small town hero they’d never heard of. Two—that hero was apparently a teen. Third—most pressingly, the teen hero was both beloved enough to have kids dressing up as him and dead enough to have a grave.

This… might require some phone calls.

[royal-misfit]

The main reason I think Goncharov worked better as a piece of mass produced fiction over Zepotha really does come down to the basic concepts of each piece. Goncharov had a concrete idea from the start, it was a lost 1973 mafia film directed by Martin Scorsese. Meaning that people new to the joke could more easily understand how to add to the story. Martin Scorsese has an unique style to his films, he has directed multiple mafia/crime dramas that people could pull from to create a cohesive story that sounds plausible for him to have made. People were able to come up with characters (and the actors who played them) and an actual plot by just studying the genre and finding what would work. Zepotha is just marketing a single artist's work under the idea of "an 80's horror film", no director, no actual genre other than "horror" (what kind of horror? Slasher seems to be the most popular, but Zepotha sounds more like a giallo style supernatural horror to me). There's no director listed, so no one knows how this film would play out or look. Because horror is such a vague descriptor here, people are throwing just about everything to the wall to see what sticks, which slows down the actual storytelling potential. People are making up characters first, before a plot leading to there being like 50 named characters, but any actual story is lost. Tldr; Goncharov found it's footing much easier and faster by starting out with a concrete idea, while Zepotha is stumbling because it's vagueness makes it hard for anyone to agree on basic things like story or characters.

[cheekylittlepupp]

Everyone likes to poke fun at Astarion when he mentions his nails but you do know why he's like that, right?

He had to punch a hole in his coffin and claw his way through six feet of dirt after Cazador turned him.

Or maybe the time when he was locked inside a tomb for an entire year, months of which he spent scratching his hands raw, desperately trying to carve his way out.

It does make sense why he doesn't want to "ruin" his nails, I doubt he wants to remember either of those moments, and those are the ones we know about.

[bekolxeram]

I'm late to the party I know, but I need to learn how to make gifs first. I actually find the Bucktommy dinner scene a bit awkward, but not because they "lack chemistry" or the "flirting is problematic". It's not supposed to be just a cute bonus scene, it's engineered to stuff as much information as possible into mere 55 seconds. Here is my read on it:

The good old always at the hospital joke, probably just Tommy trying to lighten the mood after such a hectic day for the 118, but mainly a set up for the next part.

Buck does not see the humor in it, he seems upset.

Tommy has apparently gotten to know Buck enough at the stage to immediately clock it, and under all the dark humor and sarcasm, he does actually care about Buck's feelings.

The scene of Buck and Eddie in the hospital room with Bobby ends up on the cutting room floor, we've only got that one shot of teary eyed Buck when he breaks the news to Eddie at his house, so this is the first time in the episode Buck gets to express his fear of losing Bobby, his father figure.

And here we are, controversial moment number 1. There isn't much context attached to this line, so viewers interpret it differently. I'm in the minority camp that thinks Tommy is being serious here, Lou's delivery makes it seem like Tommy says this out of concern. I believe it's a call back to this line from the medal ceremony:

Here Buck is talking about Phillip the same way Tommy and Chimney (possibly Hen too) talk about Gerrard: like he's dead. Tommy is probably wondering if Phillip is another Gerrard situation, and he invites Buck to talk about it if he wishes to.

Buck gives a humorous but one word answer, so Tommy gets that he doesn't want to get too deep into it.

From this line on, it's a set up for the Gerrard reign of terror in S8. Tommy reiterates the jealousy he mentioned in 7x04, that he wants to become a part of the 118 family, which he only had a little taste of before he left to become a pilot.

Tommy backstory crumb. Buck and Phillip at least see each other at family functions, Tommy doesn't have a relationship with his dad at all. Judging by the medal ceremony, he doesn't seem to have any family left.

It confirms Gerrard as the anti-Christ anti-Bobby. Buck becomes the person he is because of Bobby, while Tommy behaved the way he did in the 3 begin episodes because of Gerrard. It acknowledges Tommy's toxic ways back in the days, but as we can see by the time Bobby became captain of the 118, Tommy was already on friendly terms with Chimney and Hen, we might have a chance to see the transformation in between next season. I've heard that season 7 is supposed to be a soft relaunch of the entire series, so maybe Gerrard is a good plot device to make new viewers understand the positive influence Bobby has on the firefam.

Classic deadpan humor from Tommy, Buck gets the message that he wants to keep the conversation lighthearted.

Now Buck has the power to decide which direction he's leading the conversation into, and he gives us controversial moment number 2, he brings up daddy issues and makes it horny. Look at his smirky face, he's definitely not trying to have a serious chat about father complex. He's the one who starts flirting, not Tommy, and it shows us unlike the nervous fumbling at the beginning of their relationship, Buck is now comfortable enough to initiate flirting.

Tommy can't say no to that face, so he flirts back, but it can also be interpreted as him being in denial of his obvious daddy issues. More conflict and angst for S8?

More flirting. Boy's got rizz towards all genders. He basically admits he might have "daddy issues" in a sexual connotation.

Now comes THE controversial moment of the scene, if not the episode. I've seen people online bashing Tommy for "making it sexual" (Buck did), "interrupting a meaningful conversation to satisfy his daddy kink" (no one is actually talking about any kink), or even "exploiting Buck's trauma to put him in an inferior role in a dom/sub relationship" (What? That's not what d/s is about).

I raise you the point that the word "daddy" is no longer some kind of kink exclusive lingo. This word has entered the popular zeitgeist the last couple years, and now it basically just means a sexy older man. I bet the daddy kink thing doesn't even cross the mind of most of the GA, they just take it as Tommy hoping Buck find this older man sexy. I think we might have collectively read too many smutty fanfics, that's why we all immediately jumped to the very extreme of the kinkiness spectrum when it comes to this scene.

Conclusion, the dialog in this scene may not sound natural, but that's not the point. This scene is in fact, an infodump. Kudos to the actors for making it cute.

[justarandomhelluvablog]

"Why do Asmodeus and Beelzebub get to be good people while Mammon is flat-out terrible?"

Because greed can't be good. Bottom line. You can make arguments for lust and gluttony not being inherently harmful, but not greed.

The very basis of greed is intense desire for something (not just money) with disregard for others. You can be lustful and still love (ex, feeling sexual desire for your partner). You can be gluttonous and still be responsible (ex, going out to a party on your weekend). But you cannot be greedy and care about others.

Being the embodiment of greed inherently means you cannot care about other people. That's why Ozzie and Bee get to be Ozzie and Bee. That's why Mammon will only ever be Mammon.

[i-know-the-endss]

i think the most frustrating part about tbosas is the fact that you want to root for coryo. you want him to be a better man for lucy gray. you want him and sejanus to become closer, to become the best friends sejanus believes them to be. you want him to run away and find a way to relearn all the oppressive and tyrannical ideals the capitol instilled in him.

but that’s not what happens.

coriolanus isn’t necessarily a good person. he’s not a bad person either, not yet, but he’s no where near good. and rather than try to be good, he gives up, he lets himself “go bad”, he rats out sejanus, he lets his anger get the best of him and loses lucy gray.

the idea that coryo could be a good person but chooses not to be is exactly the reason this book and this character are brilliant.

[wolveria]

With how incredibly cruel people can be in fandoms nowadays, I can understand the lack of interaction on tumblr.

I know it's well meaning, but I have a feeling folks who say "people who boop can also interact directly with blogs!" have never been sent hate mail, or received nasty comments, or been put on a list that gets passed around because they ship/write/draw the "wrong" thing.

SO yeah. The lack of interaction isn't what's killing fandoms. It's the people who go out of their way to harass other fans that leads to less interaction that kills fandoms.

And it's not really fair to expect people to interact in a hostile environment.

[800db-cloud]

is this anything

[island-in-the-shadows]

I absolutely get the takes that Oliver never really knew Felix. Just knew some sort of idealised version of him. And there is credence to it. However, I think it's a little bit more complex.

I think Oliver did know Felix. I think that Felix probably told him things he hadn't told anyone else. It's easier to open up to people you've just met about some things than it is to open up to someone you've known a long time. You don't want relatives to know certain things or you don't want them to judge you. We see conversations that they have but we don't hear them. We're not privy to what they say to each other. Why is that? Simple. Oliver doesn't want us to know.

Everything is coloured by Oliver being an unreliable narrator. Felix, in particular, is inexorably coloured by the deep and complicated love Oliver has for him, by his nostalgia, and by his anger and frustration. But it's also coloured by Oliver's perceived possession of Felix.

As much as, from what we see (if we take it at face value), Felix is clearly possessive of Oliver, so to Oliver is possessive of Felix. We see it again and again. Hell, (imo) the ending of the film is not so much about possessing Saltburn as just real estate and social status, etc. as it is about possessing Saltburn as an extension of Felix. And this possession colours the narrative. Even if he's telling this to a comatose Elspeth. In Oliver's mind, his claim over Felix supersedes Elspeth's even though she is Felix's mother.

So it's not that he didn't know Felix. It's that we don't know Felix. We never really do. We see bits of him. But it's because we are not allowed to know him. Oliver does not want us to know him. His Felix--God and human, perfection and foible alike--is not for us. He never could be. Oliver would never allow it.