#can't imagine how they might feel

[beomsl]

imagine being such a pain in the ass that wonbin himself have to come out and make a whole post so you finally stop talking shit and get a fucking life.

how embarrassing, i'd never stan any other artist again.

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[ryllen]

[wormtime123]

thinking hard. about last life grian saying about etho “he has no loyalty to you, he’s just immediately teamed up with the next guy that’s come along. if he loved you why didn’t he give you a life" and secret life etho saying about grian “he had to move on with his life, what was he supposed to do, mourn the whole time?" both projecting their own reasonings for ‘abandoning’ certain alliances when they turned south. these two being teamed and staying loyal until the end. can anyone hear me

[fisheito]

I started reading beastars so now HE's reading beastars .wait

THEY'RE reading beastars

[pronouncingitwang]

adam scott says in the "inside the episode" of 2.07 that it allows the audience to "see the magic of gemma and why she immediately took over [mark's] life and his heart" and dichen lachman describes the ep in the severance podcast as "the audience getting to know [gemma] and everyone seeing what mark had that he lost." well, what about gemma? how much do we really get to know her? what did she lose? why did mark take over her heart?

they had 50 minutes for a Gemma Episode and they spent half of it on dead wife tropes and her smiling at mark with come-hither eyes while not giving us a single new fact* about her or a relationship outside of mark and mark's family. a subversion of the dead wife trope is not just scenes later showing they had an imperfect marriage bc mark (or nobody) is the problem in all of those scenes; you need to disrupt the idea that she was the perfect wife, and i don't think we get that. so much of it is explicitly presented through mark's pov. she doesn't hurt him at any point. she's just there being lovely or victimized as he loves or neglects her. everything we learned about her past gives more depth to his current grief but contributes little to our understanding of her current suffering or motivations. that could change with time, but for a first try, i think it's an abysmally bad showing

* that wasn't in mark's 1.07 monologue, his conversations with devon and alexa, or the the you you are pdf, all of which i think did a better job than this episode

[dafry-shenanigans]

Who would've thought?

[moongothic]

WAIT WAIT WAIT HOLD THE FUCKING PHONE

So normally we only get fullblown, extended and dedicated flashbacks for heroic characters in One Piece, the characters who we're meant to root for. The literal only TRUE exception we've had to this rule was Big Mom's flashback. Even fucking Doflamingo's flashback was tied to Law and Rosinante's

So the fact that we haven't gotten a single fucking GLIMPSE at Crocodile's backstory is?!?

Like sure, we haven't gotten like a Moria flashback, but you know, he literally told us all we needed to know himself, AND we got to see glimpses of him in the Wano flashbacks. Arlong didn't get a flashback of his own, but he did get to cameo in Fisher Tiger's flashback. And Rob Fucking Lucci got a flashback that was 6 whooping panels long

BUT CROCODILE?? Not only do we know almost Fuck All about his story, but also have never gotten as much as a glimpse at it? But his backstory has been HINTED and TEASED at multiple times??

GUYS. FELLAS

Like. I am SURE the "Full Backstories for Heroes Only" rule is going to get broken again, but with Imu and Blackbeard already there just BEGGING to have their beans spilled, can we even be sure Sir Fucking Crocodile is somehow going to become A Villain So Dangerous To The Narrative that he ALSO should also recieve a Full Fucking Backstory?? For his Nefarious Schemes?? AT THIS POINT??

Y'all

I think it's more likely Oda's been saving up Croc's backstory because it might just completely recontextualize his entire character

[knickynoo]

Two of my favorite little scenes from BTTF part II are the moments where Marty stops to watch his parents in 1955. I mean, he was only just there living through those events one day prior, but he didn't actually have a chance to soak any of it in or process it. (He'd come flailing into the parking lot just after George punched Biff but hardly had time to appreciate any of it on account of his picture still fading, and then at the dance, he was. You know. Actively being erased from existence up there on stage for a while.)

Even though the stakes are still unbelievably high when he returns to '55 to try to track down the almanac, and he's just experienced what may be the most stressful and terrifying day of his life with all the 1985A nonsense, he makes it a point to slow down enough to watch his parents at the dance. And there's just this look on his face—a mixture of awe and relief and happiness. You can tell. You can tell this is getting permanently etched into Marty's memory. He's taking in every detail. He's holding tightly to these sweet moments of watching his parents (who had been unhappily married most of or all of his life) FALL IN LOVE. A real, true love that he's never had a chance to see them in before.

Not to mention the fact that in the reality he'd just arrived from, his mother had been forced into marriage with Biff, and his father was dead. Marty's just come from a place where his family had been completely destroyed, and now he's watching the very foundation of it coming together. This is the beginning of it all, and it's a reminder of what he's trying so hard to save and get back to.

And it's so very nice that we see him hitting the pause button for a few seconds in this chaos-fest to look at his mom and dad with such love.

[nox-in-a-box]

Anyone have an explanation for why Miranda didn't know how to sail and had to take lessons in Her Royal Spyness when Sofia mentions having known how to sail since she was four years old in The Princess Stays in the Picture?

[fisheito]

rereading the nuca pink doujin and seeing yakumo tear himself apart re: his snake form vs his human form all this agony and self-doubt and silent suffering and fear of rejection like "if i looked less human would u hate me" , "if u saw me in my true form wouldn't that be horrible. terrifying. disgusting" , "if i admitted i want to swallow you whole would you think worse of me"

and i imagine him asking something like this to the crowd of clan members , who are , undeniably,, a group of Kinky Fuckers

they all smile with the serenity and carefully masked excitement of a horny olivine. masterful beautiful reassuring expressions (errr..... masked to different degrees depending on the clan member)

[torchickentacos]

Genuinely so happy to see that Totodile made it into ZA! I haven't really consolidated my thoughts on the trailer yet (I feel like I still have more questions than answers about what the plot itself even is beyond 'make the city better' tbh?), but Totodile is there and Absol is there and that is genuinely enough to keep me excited

[starheirxero]

I'm one again here to ask you for more headcanons about

✨The toxic yuri lumini✨

PUTS MY HAND ON MY HIP JERMA STYLE. AND I WILL DELIVER MORE HEADCANONS ABOUT TOXIC YURI LUMINI ^_^

You left a tag on one of my Gemini design posts a bit ago where you mentioned the idea of Lunara breaking off one of Gemini's antlers and I have not stopped thinking about it btw. Could you imagine being an entity made of space, stars, light, and unfathomable power and some little rat bastard mortal who you have weird feelings about comes long, bests you in a fight, and breaks off a piece of your antlers?? breaks of a piece of your HALO???? THATS INSANE. /POS

I can just imagine the initial shock after it cracks and snaps right off and there's just a long moment where Lunara is staring at the horn in their hands and Gemini is staring at Lunara while loosely palming the area where it broke off. Once it settles in though, I think Lunara would be absolutely thrilled at what they've done. They'd laugh and they'd taunt Gemini by holding the piece up to their own head and going "look, now we match! <3"

Gemini on the other hand would be... less than pleased LMAO. I think they'd be a mix of humiliated and angry for taking such a hit from this random robot, but they'd also be like aoaughh oly shit. they overpowered me, how did they even,,, theyre . i can be normal about this(< is experiencing the classic "i can't tell if i want to kiss or kill you" dilemma).

I also think that, from that point forward, Lunara would probably wear that piece somewhere on them and they'd get more much comfortable just grabbing Gemini by the horns whenever they felt like it. You know that "how to talk to a short person" meme? That, Imagine that but the "correct" answer is of Lunara grabbing Gemini's antlers and yanking them down so they're at eye level <3

[shannonsketches]

Every time I talk to a DB fan who doesn't know or doesn't agree that the whole franchise is an adventure comedy first and an action series second I feel insane but then I find an old Toriyama interview,

You made some comedic scenes where you have minor villains Pilaf & co. appear; how did you come up with a balance between laughs and fierce battles? Do you pay attention to the difference between comedy and battle in making a work “entertaining”?

I believe that, when you combine comedy and serious battles, both of them might come alive even more. As for me personally, though, I much prefer drawing dumb jokes to battle scenes.

as a bonus, every time I'm like 'idk I didn't really like most of the DBZ movies prior to Yo Son Goku and Friends Return and BotG,' and get the 'whAAaaT they're so gOOD' (from my brother, tbh askdjs) but they all seemed really Action-Drama and About the Fight Scenes and I'm like 'meh kinda boring tbh' I get to gaze upon,

In the latest movie, Toriyama-san, you participated in the production from the scriptwriting stage for the first time. What is the reason for that? Was there anything you noticed in coming face-to-face with the work after so long?

I was told about a project for Dragon Ball in its first animated film in a long while, and I read the story outline; while the beings “Beerus, God of Destruction” and “Super Saiyan God” (which goes above Super Saiyan) were interesting, the themes were heavy, and I felt that the world was a bit different from Dragon Ball. Rather than telling them about this or that problematic spot, I thought it would be faster if I just wrote it out concretely, and while I had intended just to give them a model―”for example”―my hand wouldn’t stop, and ultimately, I ended up writing almost everything, including the dialogue. I am reflecting on the fact that I did something terribly rude to the scriptwriter.

Akira "It was bad so I fixed it, oops" Toriyama, Absolute Legend

[ask-but-beware-the-consequences]

So I got this great idea (after that dentist episode) to do redraws of Arrietty ghibli anime, just to include tiny Pickles. So have a sick trope art. Click for better res... please :')

Inspo:

[shalom-iamcominghome]

Maybe this is a bad faith reading of how some people feel, but I've always been bothered by the whole "poor jews :(" reaction some people have when discussing antisemitism and/or jewish history in general. At times, it really comes off like antisemitism is a natural consequence of there Being Jews in the world, rather than a system of beliefs, thoughts, and actions that are learned, not inherent. It seems like an ideology of inevitability - it's inevitable that there will be another pogrom, all we can do is be bummed about it - say, "poor jews:(" and move on.

The thing about antisemitism is that, yes: it's an ancient bigotry. But it isn't inherent. Antisemitism is not required for the world to rotate. It can be combatted. And to me, "poor jews:(" doesn't substantively do enough to combat it.

*Do note that I would rather somebody be bummed about antisemitism than being willfully ignorant, or, worse, actively prevent themself from even learning about antisemitism, jewish history, and the fact that jews are (surprise, surprise!) inherently equal, complex, and human.