#have you seen her room?

[elphabasthropp]

2.08 | 3.04

[bottombaron]

I think we sometimes forget that Nandor was chosen by The Baron, one of the most ancient and powerful vampires, to lead an expedition with Nadja and Laszlo to conquor all of 'The New World' and subjugate its people roughly 200 years ago...

[homielander]

shiv's motivations for voting to pass the gojo deal are so layered and i don't think they should be dismissed in favour of any one interpretation. shiv desperately grabbed on to a lifeline for her relationship with tom. shiv was the deciding vote and she couldn't bear to hold the crown only for a moment just to place it atop her brother's head. shiv knew she would have more influence as wife of CEO rather than sister of CEO. shiv absolutely hated seeing kendall crystallize into logan before her eyes, especially when he made roman bleed ("and if we did kill him we get to go to bed") -- succession has always been about siblings so of course she tried to free her brothers before her child. shiv still thinks she can raise her child with all the material benefits of being the daughter of waystar CEO while doing better by her, whatever that means. and all of those things are true

[hopeswriting]

daily life arc miura haru. does anyone know who i'm talking about. do you guys remember her. i still can't believe what happened to her 😔

[pyjamacryptid]

I’m thinking about Gwen and Elyan tonight folks….. they were siblings, finally reunited after years, reconciled, and obviously cared for one another very much and there were hardly any on-screen interactions between them save for episodes where either one of them was in danger of some kind. Sigh.

I also know for a fact their exchanges would’ve been hilarious because it seemed that Elyan was the one person that knew how to annoy Gwen at light-speed LOL

yeselyanprincearthurofcamelot

[popiplant]

me when i fuck it we ball

[jabberwockprince]

everyone's favorite ouppy!

[helios-two]

cindy + studcoms compilation

[rottengurlz]

lover, don't touch me // leave, i am a danger to you // but ooh, i hunger for you

[trainingdummyrabbit]

parents are really fascinating creatures. theyll watch this thing they brung into existence Stop eating Stop cleaning Stop going outside Stop doing much of anything Without being able to explain and theyll go Hm. Clearly This Thing Is A Spoiled Brat.

[shalomniscient]

hey sev! new here i only see some iron fanfics (ptn) I'm asking if you can kindly create hcs of her pls (I'm a big fan of her)

hellooo !!! also yeah i agree, iron is vv underrated :(( once more, let's be the change we want to see in the world 🫡🫡🫡

firstly, iron is strict. like, super strict. everyone knows this. but what most in the mbcc miss is that she's strict because she cares. she cares so, so much and it shows in how she wants the absolute best for you. hence why she gets pushy and a little bossy at time when she sees you neglecting your health in even the most minor ways.

that being said, iron is terrible at taking care of herself. she can manage, for sure, but it's more surviving than living. she sustains herself on junk food and coffee, because that's whats efficient, but not necessarily good. hence, iron would appreciate it so much if you made or bought some proper meals for her and you to share. anything you bring her tastes far better than what she makes herself, and she loves it more when you make them yourself--especially if they're in those cute little bento boxes, not that she'd ever admit that.

another thing iron would appreciate, i think, are massages. i feel like she carries a lot of tension in her shoulders, so if you manage to catch her while she's free and forcefully sit her down for a few minutes to relax the tense muscles, she'd be just melting into your touch. all in all, iron is an acts of service kind of woman.

as for how iron likes to give affection, i think it's somewhat the same. she has your chart completely memorized, and always has your health in mind. if you go out on missions together, she's always a step ahead of you, shielding half your body with her own. she's a caretaker at her core, and though she's a doctor and injuries are nothing new to her, she hates seeing you hurt. she's good at keeping her emotions under check, but she can't stop her pulse from jumping if you cry out in pain or if she sees blood running down a wound somewhere on your body. iron's a busy woman, but she makes an exception when you're injured. she'll spend her nights by your bedside until you recover, nagging the whole way, but she'll hold your hand as you sleep, feeling the steady pulse of your wrist beneath her fingers and letting herself be grounded in the fact that you're here. you're alive. everything's going to be alright.

sometimes life does get to iron. she thinks of all the people she couldn't save, all the promises she couldn't keep. on nights like these she finds solace in your arms, where she can set down the weight of being this cold, calculating doctor and just be human again. in these moments she lets herself be held by you, lets you run your hand through her dark hair. she lets you intertwine your fingers with the cold metal ones of her prosthetic, and she watches with tired but quietly loving eyes as you bring them to your lips and press the softest kiss to them. as if to say, you did your best. you did your best, and you still deserved to be loved for it all the same.

in the end, i think iron isn't a whirlwind romance kind or hot-blooded passion kind of woman. when it comes to love, iron needs it to be like something to come home to, something calm and quiet and a refuge from everything else, which is exactly what you give her.

[jq37]

Descendants: The Rise of Red is kind of a bizarre movie to talk about critically because, imo, it almost doesn't make sense to talk about it in the usual terms of good vs bad or enjoyable vs not enjoyable when the way more obvious tension is finished vs unfinished.

Because, more than any other movie I've ever seen, it does *not* read as a full movie. And I don't mean in a "this movie has a cliffhanger" kind of way. The Empire Strikes Back and Across the Spiderverse fit that description. They end on big dramatic cliffhangers that point to a resolution in the third installment.

But Rise of Red just sets all this stuff up and then...ends without concluding anything. It doesn't feel like the first movie in a trilogy (or duology). It feels like the first act of a two-act musical. It very specifically reminds me of the end of the first act of Into the Woods where all the main characters sing the song Ever After about how they all fixed their problems with magic and nothing bad will ever happen to them again and then the narrator ominously says "To be continued" before the curtain drops. But in Into the Woods you know there's a second act and this movie wasn't sold as the first act of a bigger story. Like sure, it has the, "You didn't think this was the end" tag at the end like all the other movies, but those movies were complete, self-contained stories even though they had sequels. This was NOT a full story. It's half of one story.

Like, if we're supposed to take this as a full story, there are so many bizarre choices:

Why did they make sure to mention that Cinderella and Charming fell in love at the ball at the top if it wasn't meant to set up Back to the Future style, "Oh no, I accidentally got my mom banned from the ball so she's not gonna fall in love with Dad and I won't be born" shenanigans?

Why did Maddox very pointedly have that bit about "you could lose your mom completely" if that was never going to come into play? Red never did anything to endanger Bridget or endanger her own birth so it doesn't make sense as a warning in that way.

Why was there all this focus on this Carrie on prom night moment for Bridget if we LITERALLY NEVER SAW CASTLECOMING? Why dance around this moment and talk about it all cloak and dagger with no specificity if they weren't building up to some big reveal that it wasn't as straightforward as it seemed? And like, they leaned in HARD with making Bridget the nicest, sweetest, cotton candy princess as a teen so I need WAY more than, "She got pranked by known bullies she's been enduring with a smile very handily up to this point" to buy that she went from that to "murderous dictator". And even if she did become murderous, I find it insanely hard to believe that she'd include her best and only friend on the list of people she wants to suffer unless there was a betrayal. I find it INSANE that there wasn't a falling out scene at any point in this movie with how thickly they were laying on the admiration and camaraderie.

(Note: And adult Cinderella def has guilty vibes re: the Queen at orientation. Which I know I'm not imagining because it's literally spelled out in the Jr Novelization!)

Before the time travel element of the movie started, I thought they were going for something like they go to the past and realize that Bridget was bullied not by the VKs but by the spoiled royals, and Ella ends up joining in the bullying once she gets with Charming, betraying Bridget and justifying her whole "Love Ain't It" philosophy. Or Ella ditching her at the last minute to be with Charming meaning she has to deal with the monster prank alone and it was the being alone rather than the prank itself that hurt her (though that is NOT a good enough reason to go all off with their heads on your subjects). The fact that, as far as we know right now, it literally was just a relatively mild and reversible prank that caused all of this is just, such flat storytelling, you know?

But! All of this makes way more sense if this is meant to be the first act of a single contained story. And I don't wanna be all "Pepe Silvia, secret good 4th episode of Sherlock" about this but I did see this picture:

Which seems to indicate that this was written as a Part One. Which, if so, idk why they wouldn't advertise it that way but whatever. The point is, if that's the case then it means that we're potentially in bad pacing territory rather than straight up bad storytelling territory. Because this isn't a bad place to be halfway through your story:

The heroes, warned that time travel is dangerous, have gone back in time to change the heart of a brutal tyrant before she can stage a coup. They seemingly succeed in their mission and when they come home, everything is great! But then, the side effects of time travel start to catch up with them. Chloe realizes that, in breaking the vase, she prevented her mother from going to the ball and falling in love with her dad (who was conspicuously absent from the final scene btw) which means she's starting to be forgotten and erased from the timeline. And Red realizes that though this new version of her mom is as sweet and kind as the teen she once met, she's a complete stranger to her (fulfilling the Hatter's warning that she could lose her mom completely). So they have to go back in time once more to make sure the Ella and Charming fall in love again, perhaps at the cost of whatever bad thing that happened to Bridget happening again and bringing back the original version of her future self. But, now with more context of how her mom became that way, Red can now talk to her mother and persuade her to give people another chance.

Boom, that gives us time to go back and hit everything we haven't yet hit. We can pay off the time travel tropes that were set up but not explored. We can go to Castlecoming which feels so obviously set up to be the centerpiece of this story (like, come on, Back to the Future literally does the school dance thing. This is Time Travel Storytelling 101). We can actually get info about what the prank was and why it affected Bridget so completely.

(Note: This is a side thing but it really strikes me as so crazy that Bridget would so SUCH a big 180 here. Like, I know the Queen of Hearts is a silly, goofy, campy villain, but she straight up murders people and there's no way to get around that if we're taking her out of the surreal story she comes from and putting her in a (comparatively) grounded story. If I wasn't doing a betrayal plot, I would make the twist that the spell that turned Bridget into a "monster" didn't just have a physical effect, it had a mental effect and it magically twisted her personality to be the way it is now. So they broke the physical half of the curse, but neglected the other half and it's been festering the whole time, turning her as evil as she was sweet. Because like, a simple physical transformation isn't that big of a deal to have such heavy security--Bridget made cupcakes with a transformative effect and that was totally fine. I'm not saying that that's what's gonna be the case. I just think it would be an explanation that makes sense for why she changed so crazy much that makes more sense than a simple prank or even a betrayal. Her mom wasn't even evil! How did she go from zero to murder without even an evil mom to push her onto the path? But I'm super digressing right now.)

(Note #2: OK, one last thing. The trap on the book presumably would have hit the VK's and trapped them in Merlin's office regardless of what Chloe and Red did, right? That's like, net zero influence on the timeline. I genuinely can't tell if that's a straight up plot hole or set up to be like, "Oh no. Actually when she said that she was turned into a monster in front of everyone it was meant in a less literal way." Like she was just made to look bad and that was the real thing that pushed her over the edge. Like idk. It really feels like the only thing they really did that would change the timeline was get Ella banned from the dance and presumably out of the way where she couldn't hurt Bridget. OK NOW I'm done.)

Anyway, my point is that this is not how I would have structured my movie and I think this was a super weird way to go into the second era of Descendants movies, but they can still tell a complete story if that's their plan. I'm genuinely really curious to see if this pans out to be a fairly competently told story that just happens to be split over two movies or a complete fumbling of the narrative bag because it could really be either at this point and it's fascinating to me.

[dandelionjack]

changed my mind actually john hart is clearly the male river song. femme fatale (guy variant)

[swinging-stars-from-satellites]

with a few minutes' reflection and a second conversation with my parents I have realized that I may have overblown things and overreacted a bit and also in some ways they're correct even if I think they're also harsh about it

[astralleywright]

the thing is, like, imogen is blunt, and indecisive, and impulsive. she's cynical, angry at the world, and seemingly much less interested in doing good than in holding on to her loved ones. she's hypocritical, incredibly violent one moment and horrified at the prospect the next. she's passive aggressive, on occasion. she's overly critical. she's scatterbrained.

and all of that stuff is very fucking fascinating, and so fun to watch, and core to what makes her her. but not only are those things not the totality of imogen as a character, they're very much inextricable from the things that make her sympathetic.

imogen has spent much of the last decade of her life in pain, and isolated because of it. when she wasn't alone she couldn't relax, having to keep tight control over her mind so as to not get overwhelmed or invade the privacy of others. because even through all that pain and loneliness, she still bore the responsibility not to impose on other people's minds. and when she fails or slips up or gives in, all of the distrust and suspicion she recieves regardless is suddenly viewed as justified.

which is not to say imogen is not responsible for her actions, or the harm she causes others. of course she is! no one is saying she isn't! but, just like literally every other person, her actions don't exist in a void but within the context of both her past and present.

analyzing that context and coming up with explanations of her behavior that consider it is not excusing her actions or refusing to acknowledge her flaws. it is not coddling imogen to sympathize with her even when she's fucking up. these are pretty standard ways to discuss a character you enjoy actually! it's weird that having a nuanced perspective on a character's actions is being treated as an issue!

[craycraycrayons]

No because OLIVER BEARMAN IS THAT YOU??