#but usually its fine

[thelastschnitzel]

Always funny when someone I know comes to the pharmacy on my emergency shift (in a small village, outside of the city I live in), and the first question is always: Hi :D what are you doing here?!

Well. Work. Or I'd be home. In my bed. With my cats.

(It's fine, I think its funny)

[itscherryterry-again]

it's you!

I don't know bingbong, let's ask the destroyed roomba

[tubbytarchia]

Missed drawing these two too

Bonuses

[chatlote]

If you wish to go, Do I have the right to ask you to stay? Guess not.

[choccy-milky]

modern AU seb and clora's first interaction 📘📗 (and by modern AU i actually mean super trope-filled high school romance set in the 80's/90's LOL)

[hellenhighwater]

Genuinely being a single woman in my thirties, living alone, is such a mixed blessing sometimes. I do love my house and when I'm here I literally never want to leave. But on the other hand, I do get tired of leaving to go hang out with people, even though I love seeing them. Especially because I have such a great group of friends but they live all over the place, geographically, and therefore most of them don't know each other. And I actually really love hosting? But I never have people in my house because logistically it's always more practical for me to go to them than vice versa.

But sometimes I buy new old dishes and wanna just have a little fancy wizard party, but all my guests are far away. Please may I have the teleport spell. Or a high-speed commuter rail system.

[taiyami]

Saw the leaks and all I could think about was Mic in a suit. Its 1 am and all I can think about is Mic in a suit. Happy Pride indeed.

[starry-bi-sky]

do yall ever think about bruce/batman!clone danny standing in front of his bathroom mirror after finding out he was a clone and silently tracing his face. The slope of his jaw and point of his chin. The high angle of his cheekbones and the shape of his eyes, the curve of his brow bones and the shape of his nose. The volume of his hair and the way it curls and gets fluffy when it gets too long.

His hair is black the same way a crow's wing is black. His dad's hair is black the same way a black bear's fur is black. His dad's eyes are blue like the ocean is blue. Danny's eyes are blue the same way a glacier is blue.

His dad has a square jaw and straight flat hair, and he tans and gets a face full of freckles when he's out in the sun for too long. Danny burns like a lobster and his face remains untouched. Danny has a sharp jaw and tall cheekbones, and Sam says when he's not smiling there's almost something regal about him. You would never call Jack Fenton "regal" when he's not smiling.

Sam says when he's not smiling he looks scary the same way a stone statue is. Jack Fenton when he's not smiling looks scary the same way that german shepherd staring at you across the street is.

Do you ever think he grew up wondering if he was adopted. Because of course, he has black hair and blue eyes like his dad. But having the same color doesn't make you someone's child.

Or, worse, things he's heard from the other kids and the other parents and even some of his teachers growing up; that he was the product of an affair. And that his dad was just too stupid to notice. And Danny would defend his parents until the day he died, because Jack Fenton wasn't an idiot and Maddie Fenton wasn't a cheater.

But doubt comes in with fickle tongue. his parents swear up and down that he is their child when he asks about either. That Danny just had his grandparents' features, but he was their son and they loved him.

But Danny doesn't look like either of his parents. His mom's eyes are blue like an aquamarine and Jazz's too. And they burn like lobsters in the sun too, but Jazz gets freckles on her face and so does Maddie. And as Danny grows up he doesn't bulk up or get stocky like his dad did, and when he hits puberty he doesn't shoot up like a tree like Jack Fenton did.

He stays small, and they say he's a late bloomer (and he is), or that he just has his mom's height. But he's fast and has good stamina, and some days it feels like he's built entirely different from his family. That the things they went through growing up just didn't apply to him. Jack and Maddie Fenton both had acne and breakouts when they hit puberty, and Jazz inherits it and he's seen the amount of skincare products she keeps on her side of the bathroom.

And then he hits puberty and breaks out maybe once or twice, but his skin stays clear for the most part and the problems and changes his dad went through just don't happen to him.

And the truth is worse than all of the lies.

How horrifying.

[lucabyte]

A belief in Nominative Determinsim

[smokestarrules]

there’s a really interesting phenomenon going on that I've seen mostly on twitter in which people are pretending The Last Jedi and the other Sequel movies is and was always good, actually.

it seems to me as if there's a new consensus that the people who did and still do dislike that movie are those mad about Rey being a woman, Finn being a black man, etc, and while I'm a thousand-percent sure that's true, that some people hate that movie for stupid and bigoted reasons, it doesn't change the fact that The Last Jedi (and truly, the entire Sequel Trilogy) is just flat-out a bad movie.

All three of those films suffer hugely because all three are fundamentally different at a ground level. They are inherently disconnected in a way that a trilogy should not be, leaping from idea to idea that the next film inevitably squanders. There is no consistent storyline other than 'First Empire Bad'; there is barely any buildup to to the reveal of Palpatine, Kylo Ren as a character flip-flops between tortured badboy to Maybe Redemption Arc and back. It's not because he's conflicted, it's because everything is simply inconsistent.

Finn and Poe are done huge disgraces by the end of it all, Kylo Ren having been deemed more important and heroic than they are, and The Love Story is just terrible. The end of The Last Jedi sees Kylo Ren successfully assassinate Snoke, which is a pretty cool fucking thing to happen, but Rise of Skywalker squanders the aftermath of that idea with the rushed redemption.

These are movies that feel like each one was supposed to have its own subsequent trilogy; put together, they're a mess.

[wolfythewitch]

My Watching Over Kids Hot Take a lot of kids just want someone to talk to them calmly without telling them what to feel. Or maybe they just want to talk and have someone listen

A kid at church today was sulking under a table blocked off by chairs that he couldn't get to play with this Optimus prime toy they had in a cabinet and when I asked him if he was willing to wait for it after the service or if maybe he had some toys at home he said he didn't and church was the only place he could play with one, and Optimus prime is his favorite character ever. I told him we couldn't let him play with it now, but if he was willing to wait until later when there were fewer kids he could take it for a spin. He was still sitting under the table but he wasn't frowning anymore. He told me about dinosaurs. His favorite is the allosaurus. He came out from under the table for a second just to mimic its roar. I said yooo that's sick my favorite is the pterodactyl. I mimed a screech (my dinosaur knowledge is very limited, alas). He crawled out from under the table and started clawing at the air, doing his best impression of a dinosaur. It was very cute. I think he likes dinosaurs almost as much as he likes Optimus prime. Then he ran off to play with the other kids

[ppjeterka]

my thoughts re: the main cast of the new nhl amazon docu-series

[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.

[coin-z3fs]

After school chatter.

[deoidesign]

when your main characters start dating after years of writing so they finally get to be like this

[solcarow]

,