#he's seen them all his life

[pharawee]

Let me remember you one last time. My moon.

—THE HIDDEN MOON · เดือนพราง · Episode 10 (fin)

[luminarai]

Most people will tell you that giving your pets any kind of medication in pill form is an absolute nightmare, meanwhile I have the exact opposite problem.

A friend of mine was watching my cat Mim while I was travelling this weekend and when he went to split her weekly allergy pill (made to split into 4 small pills when you press down on it with a finger) to give her the usual 1/4, he fumbled it and sent it skittering across the floor where my ridiculous pill-loving menace of cat immediately gobbled down the whole thing, leading to me receiving a panicked phone call at 11 pm from said friend who was understandably freaking out (everyone’s fine, a single high dose won’t cause any problems as long as it’s just this once).

Behold: the villain herself, basking in the success of her crime (she’d be planning her next pill-related heist but, as you can see if you look closely, there’s there’s nothing but elevator music behind those eyes)

[leviathiane]

HELP they looked at Natsume and went "oh this guy is so unsocialized"

[myoonmii]

I keep thinking about Merlin’s love for Arthur and how it’s so clearly portrayed in the show to the point that it practically drives the plot of the show. However when it comes to Arthur’s love for Merlin it’s more subtle and sometimes difficult to even grasp, and I started thinking why that was, aside from the obvious fact that Arthur has a lot of trouble expressing his emotions affection or otherwise. I think it also lies in the fact that Merlin knows Arthur intrinsically throughout the show; he is one of the closest people to Arthur, and sees him for who he really is. Arthur admits as much.

Sure, Arthur knows Merlin but the main part of the plot is that he really doesn't know Merlin. Merlin wants him to desperately understand him and “see me for who I am” but he can't yet. And I think this subconsciously creates a barrier in the way in which Arthur can care for Merlin, and how Merlin can let himself be seen by Arthur.

Which is why I think he was also so hurt when the magic reveal happens because more than the betrayal of Merlin having magic, it was the betrayal of Merlin not letting Arthur see him for who he really is and for hiding a main part of himself. Arthur says it himself “why did you never tell me” that’s what hurt him the most.

I think the most damning piece of evidence for this is the fact that while we see snippets of Arthur’s feelings for Merlin thought the show, the biggest signs are in the last episode after the magic reveal; in which he finally gets to understand Merlin, and this time REALLY know Merlin, and as the barriers of what held them back from understanding each other truly fall away, Arthur evidently “falls in love with Merlin all over again”. We see him actually express himself to Merlin.

This is another reason why I think if anyone was ever to create another season of Merlin after Arthur’s return, it’s physically impossible not to make it about Merlin and Arthur acknowledging their feelings for each other. Because there is no way forward without them acknowledging how deeply they care for each other, obviously anyone is free to argue what kind of love that is, but its impossible not to see the deep love there either way.

They always knew they loved each other, just maybe never realising how much and what that means, because its almost second nature to everything that they do.

[bichobolitach]

Unlikely? Yes. But I'm delusional so who cares

(Edmund is Sinclair's first name for anyone confused ❤️)

[mrschwartz]

Alex Turner for Rumore Magazine (September 2013)

Seventies Heads and Modern Loves or I Don't Know What I Want But I Surely Want You

by Elia Alovisi

Until he opens his mouth, Alex Turner looks like he stepped out of the Nevada desert. Leather loafers, a belt, slicked-back hair, sunglasses. But as soon as he starts talking, between “summat” instead of “something” and “me” instead of “my,” he transforms back into a boy from Sheffield who grew up on cocktails and DJ sets. The discrepancy between the way he looks and the way he speaks is strange: you would expect a cocky and arrogant rock star, but instead you have before you a relaxed and thoughtful boy who carefully measures his words, but does so with a smile and not a frown. The lyrics of AM, the fifth album of his band, mainly revolve around difficult and elusive women. There are many questions. “Do I want to know?” “Are you mine?” he says; “Why do you always call me when you’re high?” she says. There is no shortage of desires: “I want it all,” “I want to be yours.” Absent, however, are the answers. We tried to get a few out of him.

How was it to be back at Glastonbury as a headliner five years after the first time?

Fantastic. Absolutely wonderful, this time it was very natural. Everything was harder in 2007, we had done a lot less shows and had a lot less songs. Now we have learned to move better.

After the experience of Humbug, you collaborated again with Josh Homme.

Yes, Josh is on Knee Socks, towards the end of the piece. We gave him carte blanche and he decided to sing a sort of counter-melody that reminds me a lot of Bowie.

Are knee socks your favorite piece of underwear on a woman?

[Laughs] What do you think?

If she has the right legs.

Exactly, yes. The best is the garter. But then they would not be Parisian anymore, right? And then they are thicker than women's stockings. However they are not my favorite underwear, I go with the push-up.

In the lyrics of Arabella you talk a lot about the universe.

I wanted to use that linguistic palette to try to describe a woman. There are many songs that use those sorts of words… galaxy, interstellar, constellation, things like that, but usually they are used just for the sake of being used. Instead I wanted to make them an active part of a description, they are images that I find very interesting. In England, on the BBC, there is this program called Wonders of the Universe, with Professor Brian Cox. And it is one of my favorite programs [smiles, pleased].

Barbarella also pops up in the text.

Yes, although I haven't read practically any of her comics and I've only seen a small piece of the movie. I don't really like B movies. To know her, you just need to have seen a poster, that's all you need. I just used her to make a comparison with the costume she wears.

How does the suite you sing about in Fireside relate to room 505 in Favourite Worst Nightmare?

Yes, I’m talking about a suite in my heart… or in her heart? Well, in someone’s heart. Room 505, in my mind, is something very concrete. I wrote that song on a train between Philadelphia and New York, my girlfriend was in a hotel waiting for me and I just wrote about that [Turner’s voice becomes increasingly whispered as the sentence progresses]. In Fireside, however, it’s all figurative.

So how much of your real self is in your lyrics and how much is just imagination?

There's no rule, sometimes there's a lot of me in the lyrics when you least expect it. I put little secrets in them. What I try to avoid is that people who listen to one of my songs say, 'oh, he's talking about that girl'. You know when you read a novel and, somehow, in your mind you see its characters with the faces of some of your friends, or your favorite actors? That's where I want to get to with my music, I want it to be like being in front of a story, not the evidence of two people with a name and a surname who are kissing. It's up to the listener to give them both a face. When I write I pretty much always have someone or something in mind, but it doesn't really matter.

How did you come up with the idea of ​​using John Cooper Clarke's words for I Wanna Be Yours?

We wrote most of the songs on this record on a four-track that I got for my birthday. I spent a while recording ideas on it, sometimes we'd loop a bass and drum melody for five minutes and the fact that it was on tape gave it an incredible color. Then I'd sit there with headphones and a microphone humming melodies, or making up silly lyrics to start coming up with ideas. One day, while I was jamming, the words I wanna be yours came out and I remembered that they were the title of one of his poems. I thought it would be cool to use someone else's words – and especially his, I'm a big fan of his. It's one of my favorite songs on the record, the lyrics alone make it different from anything we've done before. And then I love the juxtaposition of the slow, sexy, flirtatious music and his words.

The party you talk about in No. 1 Party Anthem seems a lot more laid back than the ones you’ve talked about in the past, like the house in This House Is A Circus.

That’s true, but the parties we go to are still pretty messy. They’re just twice as long.

Am I supposed to be imagining some sort of indie celebrity party?

Indie celebrity party? [Laughs.] No, no, no. The slow tempo of that song gives it a bit of a Los Angeles feel. It’s a city that I’m told is very similar to what we’re portraying on the new record, and I’m starting to think that might be true. Not that it sounds like the Eagles, you know.

It's like your sound is becoming more and more American.

Yeah, maybe. There's something special about that part of the world. Everything that came out of California owes something to '70s rock, the spontaneity of those rhythms also comes back in West Coast hip-hop. But then came the fucking '80s and… a lot of fucking bands that don't fit into that theory. I think there will always be something English in our sound, it's something we can never detach ourselves from.

How much does Sheffield still mean to what you do?

Well, you know… [he taps two fingers on a tattoo on the inside of his arm: the Yorkshire rose and underneath it the word “SHEFFIELD”].

There are three songs on AM whose titles are questions.

You don't notice things like that until you sit there and write the titles of the songs one after the other. I hadn't noticed until then, there are also a lot of wanna.

The protagonist of R U Mine? is wrapped up in a certain western imagery, you portray her as “a lone cowboy riding in an open space.” And in All My Own Stunts you talked about “watching cowboy movies on gloomy afternoons.”

I love the western style. The leather ties, the belts… Hey, look at this one I’m wearing! [He stands up and shows me his leather belt, turning his back: it has “TURNER” engraved on it, on either side of the horseshoes.] A friend gave it to me for my birthday, this year was really nice, between this and the four-track. I also love western movies, especially the ones about Butch Cassidy. I also love Ennio Morricone’s soundtracks, obviously.

How do you usually celebrate your birthdays?

They’re nothing too devastating. I have a birthday in early January, everyone is still recovering from Christmas and New Year’s, so the average response I get is usually “forget it.”

Why'd You Only Call Me When You're High? brings back the drunken text messages you mentioned in The View From the Afternoon.

We've all done that at least once, come on. Those lyrics might have come off the first record, but the music is fully invested in what we're doing now. I just wanted to write something simple.

While we're on the subject: when was the last time you got bounced at the entrance of a nightclub? It's not like From The Ritz To The Rubble anymore, is it?

Shit, that was like four weeks ago! [Laughs.] We were in Stockholm, we were trying to get into an area of ​​the nightclub and there was no way we could get in.

What are those Mad Sounds you're talking about?

That song is about those moments when you put on a song and it's like it's talking about exactly how you feel. It's a song about those songs, and I hope it can become one of them. I get that feeling from some songs by Lou Reed, John Cale, or Harry Nilsson. It's like sometimes they really understand how I feel, and you're like, "What the fuck..." and you almost tell them to go fuck themselves.

The point where the song explodes is when you start singing a series of ooh-la-la-la. What is the la-la-la moment that sticks with you the most from the music you listen to?

Definitely the do-dodo-dodo-do-do-do-do from Walk on the Wild Side by Lou Reed.

By the way, who came up with the idea of ​​calling a song The Hellcat Spangled Shalalala? What does that mean?

It came up one day when we were making up names for guitar pedals – sometimes they have crazy names. The Blond-o-Sonic Shimmer Trap  would be perfect for a fuzz, for example. The Hellcat Spangled Shalalala, however, comes from a bar we hung out in a lot while we were writing the previous record. The room was full of glitter and there were a lot of weird chicks all winking, like cougars.

The lyrics to Snap Out of It revolve around hypnosis. Do you think there's any real power behind it or is it just persuasion?

I've never been hypnotised, but it all seems pretty real when you watch hypnotists on telly. There's this show in the UK where this guy, Derren Brown, gets people to do all sorts of things. Crazy stuff like, "rob someone!" Nothing I'd want to be involved with.

In I Want It All you say, “Leave me listening to the Stones 2000 light years from home.”

I’m actually a Beatles guy, no doubt. But I like them both, I saw the Stones at Glastonbury and it was great.

Don't you think it's better for a band to go at the top of their game than to keep going and going and risk having nothing left to say?

What the Stones have managed to do is really extraordinary. I mean, they're seventy years old and they're still on stage. It's very difficult to have an opinion on something like this because I don't think I've reached that level yet. I'm very excited about the new album, we've reached the point of being a good live band and, speaking as an artist, I think I've reached a certain excellence this time. I want to build on that, explore new things. We still have a lot of places to go.

I think the main difference between AM and your previous albums is the small amount of guitars.

This time we didn't want to sound like four guys playing in the same room, while that's exactly what we wanted to sound like in Suck It And See. We immersed ourselves in a more minimalist idea. The guitars are perfect, sometimes they don't even sound like guitars from the way they're played, or from the effects we put on them. They sound a bit "spacey," they would be good for the stereo of a flying saucer. Then we came out with some bass and drum parts perfect to be played at full volume through the speakers of a car. We also worked much more with the vocal lines, especially with the choirs.

There are actually a lot of songs where you put backing vocals and backing vocals, especially One For The Road.

Matt, Nick and I do them. Jamie is the only one who doesn't want to have anything to do with them. It all started with R U Mine? , the part where we all start going: [hums the backing vocals]. As soon as we tried that part we realized how good it sounded, we especially liked the fact that it was something we hadn't done before. So we just went for it.

[ruporas]

pet names

[ID: Black and white comic of Vash and Wolfwood from Trigun Maximum. Vash overhears a conversation from a nearby table at the restaurant they're seated at, the unnamed character saying, "Honey, can you pass me that?" Their partner says, "Sure thing, angel." The unnamed character begins again, "Say, did you hear the news from earlier?" In response, "Haven't got the chance. Tell me about it?" Vash smiles fondly, listening in as the conversation continues, "You'd never guess, babe! The runner--" Abruptly, the conversation is cut in by a "Needle nogging", Vash's expression changing instantly and no longer smiling. The panel cuts to Wolfwood who smiles lop-sidedly, pointing at Vash's plate and says, "If you're not going to eat that. I'll take it." Vash grabs the plate and holds it away and says, "Mine" while Wolfwood clicks his tongue. He pauses for a moment before asking slowly, "Hey, is there any reason you don't use cute names with me?" Wolfwood lifts a cup of water up to his lips, looking confused. He says, "I do though." Vash cuts in, "Spikey and needle nogging aren't cute!"

Vash continues with a shy expression, "Since we're together now..." he trails off and Wolfwood picks up, taking a sip of water as he says thoughtfully, "Together, huh..." Vash pauses in his sentence with a look of confusion before reaffirming, "We are together, right?" Wolfwood nods, "Right." Vash says, "Right", before continuing, his shy expression returning, "Then you can use stuff like... honey or-" Wolfwood cuts in this time and says casually, "You're not a honey though." A panel cuts of Vash's expression changing again, shocked. He asks, "Huh? Then who is?" Wolfwood says immediately, "Milly." Vash exclaims, "Milly?!" Wolfwood continues, "She's sweet, just like honey." A bubble pops up of Milly smiling as Wolfwood speaks. Vash continues, "Okay, true... What about sweetpea?" Wolfwood responds, "Kids. Kids are sweetpea. And pumpkin too." Vash continues, "Okay... What about baby?" Wolfwood says without hesitation, "Meryl." Vash exclaims again, "Meryl?!" Wolfwood explains," Noisy, like a baby." Vash mutters, "Hey, that's a bit mean..."

Vash continues persistently, "Then what about babe?" Wolfwood shrugs with a grin, "You are not a babe." Vash looks at him, slightly frustrated before exclaiming with flushed cheeks, "Then what am I?!" Wolfwood points at his hair and smiles softly, "I told you. You're the one and only needle nogging." A panel closes in on Vash's widen eyes, cheeks still red, pausing before he ultimately resigns, planting his face into the palms of his hands and muttering, "I give up..." At the same time, Wolfwood sneaks and grabs the plate of food that Vash left unattended, saying in response, "You get up cuaght up about the dumbest things, y'know that?"

The comic then picks up again to a jump in time, after they've left the restaurant. Wolfwood muses to Vash, "You said all that about the names earlier, but I don't hear ya using them for me." Vash looks to him excitably and asks, "Did you want me to?" Wolfwood looks at him with an uncertain expression, "Not really, but I guess I am curious..." Vash beams, "Then let's try some, okay... dear?" He fingerguns Wolfwood with a grin, little hearts surrounding him. Wolfwood just looks at him neutrally and says, "Okay," while thinking to himself, "Cute..." Vash exclaims, "So unenthusiastic!"

The next comic picks up at a different time, but on the same theme of pet names. Vash hugs Wolfwood and says to him, "Thank you, my love." A panel close up of Vash steadily opening his eyes before he sees Wolfwood's reaction up close, his eyes glancing away, cheeks flushed, and the smoke out of his cig forming soft hearts as he mutters, "Sure..." In a smaller, cartoonish style, Vash has a comedically exaggerated expression of shock and widened eyes as he grips Wolfwood by the shoulders while Wolfwood still wears a shy expression. He then nudges his head to the side of Wolfwood's with a close eyed happy smile, hugging him close and says, "So, there WAS one you liked!" Wolfwood, still looking away, but now with an irritated and embarrassed expression, grumbles, "Shut up..."

The final image is a short sequence. Wolfwood is working on something, spacing out as he does, while Vash from off screen calls for him, starting with "Babeeee? Babe? Beautiful? Honey? My love?" All of which gets no reaction from Wolfwood. Vash pauses for a moment before piping up again, "wolfwood?" Wolfwood turns around, finally noticing that Vash was calling for him and asks, "What?" A box at the bottom of the page says, "Unresponsive to anything other than his names." END ID]

[secriden]

*cracks knuckles* Okay lets talk about the elephant in the room: Style going to the support group for those who've suffered loss and telling what appears to be a fake story about losing his pet dog.

I'm going to point out a few things that I think provide a framework for Style's actions here. Not because I think it excuses what he did, but because I think a nuanced read is what the character deserves.

Point 1: An irresistible opportunity

The subs put the "Support Group for Loss" on the image in the notebook, but I'm not sure there's anything to suggest that Style would've known that was what this image represents until he showed up and saw the sign on top of the door.

In episode 2, Bison says, "He plans everything down from years, months, weeks to days" and then tells Kant:

So Style is literally just going to addresses/locations at given days and times, potentially not knowing what to expect. And as much as Fadel is certainly attending this meeting as a response to having that heartbreaking flashback (😭), this is also something he attends regularly and has planned to attend way in advance. So Style has no reason to think Fadel is attending this meeting because of a recent resurfacing of his pain.

What we, the audience, and what the characters know are very different things.

Now, should Style have turned his cute ass right around once he realised what this meeting was? Of course he should. But that wouldn't have been true to Style's character. We've been told by his best friend that he is "crazy" and been shown repeatedly that he lives right up to that description.

Style is impulsive. He's all base instinct and he acts on his desires without thought or contemplation. And by this point he is desperate for a deeper connection with Fadel. He's fascinated, captivated by the mystery that is Fadel and this is an excellent opportunity to finally see behind the wall Fadel so carefully maintains.

When Style sees the sign above the door, Style looks at the notebook (which, again, shows nothing but people sitting in a circle with the words RISE UP) like he's just realising what it means. He then gets this amused, almost rueful look on his face (like he's thinking "am I really going to do this?") before it shifts to determination and he walks through the door.

(My soul for the ability to once again gif something because FUCK Dunk is doing SO MUCH in this show!!)

To Style, this is just too good of an opportunity to give up.

Because let's be real, Fadel is so clearly lying and hiding something:

Fadel is shady as FUCK. He is simultaneously actually a really good cook (Style finally tries his burger so he knows, now), and also has the skills to work at a strip host club, and also can take on 3 guys in a fight, and also can break a man's arm with his thighs. Can you honestly blame Style for losing his mind just a little bit about wanting to get his hands on something, anything, to figure this man out?

Style is being absolutely consistent in his persistence to understand Fadel. This isn't about the car or about finally 'winning' the fight (thank you @airenyah for giving such a detailed framework to understand what Style's been doing until this point) anymore. This is about Style wanting to know Fadel himself.

Point 2: The potential implications of the setting

Now, what might give us a bit of insight as to why Style is this way? I have a theory (albeit one that could prove to be very wrong, but hear me out). I think this whole entire show is set in what could potentially be quite a small town/suburb.

There's a few things that make this theory plausible:

(1) Fadel and Bison are in hiding after Bison blew their previous cover. They're probably on the run from some section of the authorities and so it makes sense to settle in a quiet/out of the way place.

(2) Style seems to be really familiar with the people in the area. Like he grew up there and its the kind of small town where everyone knows everyone and everyone is in everyone else's business.

(3) Style is clearly the darling of the market aunties and uncles.

Style just lost her a sale and potentially a loyal customer, and she's still rooting for him? In episode 2, when Style asks the uncle to let him borrow his cart, it takes nothing but his word for the uncle to give Style his entire cart of produce for his ridiculous scheme.

Style is so clearly someone they all know well and have great affection for, and a very plausible explanation for this is that they all watched him grow up and the entire market (town/village) is fond of him.

And honestly?? Yeah, we see the way Style is actually quite sweet in that careless, guileless, thoughtless way. He goes the extra mile to fix his mistake with Fadel by replacing his car parts for free in episode 1. He helps out by taking orders in episode 2 without being asked and takes it seriously. In episode 3, he tries to drive more business to Fadel's store (bless him, he so clearly does NOT understand how restaurants work, but he MEANS well!!), and can we all acknowledge that it works?? He understands how to appeal to potential customers in the area because he knows the people there. It's not (entirely) his fault that Fadel wasn't remotely prepared for an actual rush crowd and Bison was off getting kinky with Kant and not doing his (fake) job. He is so clear about not judging Fadel's host job and tries his hardest to help him (to absolutely NO effect, but still) when the 3 guys gang up on Fadel.

Style is so loved and more importantly so very loveable.

Point 3: What this could mean for Style's character

So, potentially, Style is someone who grew up in a small town, who has been well loved, potentially spoiled and coddled, but also very much kept within the confines of the narrow viewpoint that a quiet, country town places on you.

It's in the way his dad scolds him as if he was still a child when he's at least in his mid to late 20s. It's in the way Style was so mad at Fadel for scolding him ("thanks for the lecture, dad"), like that hit a sore point for Style. It's in the way no one in the market takes him seriously; they're fond, but he's still a kid in their eyes. It's in the way he has an abundance of free time like he doesn't REALLY need to work at his dad's shop. It's in the way he sees Fadel beat 3 guys up with ease, starts wondering if Fadel is an assassin or a hitman, and is completely unfazed like he doesn't quite have a handle on reality.

It's in the way his best friend is a man who has no qualms about lying to him and putting his life in danger, and how Style seems to have no other friends or people (aside from his dad) in his life.

@wuxian-vs-wangji made a comment to me about Style being desperate for a meaningful connection, and I think she hit the nail on the head. Because along comes Fadel, a mysterious stranger with a suspiciously versatile set of skills who is also very hot and keeps giving Style these wonderfully complex reactions? Who sometimes wants nothing to do with Style, but at other times seems to be at war within himself about desperately wanting him? Who treats Style with anything but apathy?

This is catnip to Style; he never had any hope of resisting this.

Breaking news: Style is a complex and imperfect character...

Here's the thing, though: he was never going to try. The show has been incredibly upfront about who Style is as a person. Regardless of whether I'm correct about why he is this way (ie. that he is very much the product of the environment that didn't know how to handle a kid with Style's personality), episode 3 shouldn't have surprised anyone about Style. He's been incredibly consistent and true to himself.

He wants Fadel and he's "crazy" enough to go all in, no holds barred about it, and the Support Group was the biggest doorway to finally discovering something REAL about Fadel.

And its not just about sex or to prove his superiority anymore. Because if it was just that, then Style would have reacted very differently to their first time.

In this scene, Style is pleased and evidently enjoying himself, but he isn't exuberant. He isn't overcome with joy. If anything, he was more happy and excited when Fadel let him help out in the diner (I mentioned this in the tags in this post too) than he was when Fadel is literally fucking him. He lets Fadel set the pace; barely moves to touch Fadel except to hold him close. Almost like he doesn't want to accidentally mess this up, like he's worried he'll take too much, so he'll take what Fadel gives him and no more (please appreciate @braceletofteeth's amazing tags on this post). For a character that has been so aggressively on the offensive, this is shocking until you realise that sleeping with Fadel - while it's a step in the right direction - isn't Style's end goal anymore.

And he makes that abundantly clear in this episode:

Does Style even fully realise the weight of this desire? I doubt it. But I do believe that Style is in earnest. He doesn't fully understand his own feelings, but he also doesn't really care to either. All he knows is that he wants Fadel, wants his attention and his passion and his focus and his heart.

...but Style is also kind of, sort of, perfect.

Because he's exactly, precisely, breathtakingly exactly what Fadel needs.

Because Fadel is hurt and broken and bleeding inside. Because Fadel is barely holding it all together for Bison's sake, but has already given up hope for any true happiness for himself. Because Fadel can't trust anyone or anything in his life, when he's been used and used and used by the family who should've loved and cared and protected him.

Because it's going to take nothing short of this kind of unwavering, unshakable, uncomplicated determination to give Fadel even a chance of healing and opening his heart to love again.

[ratatatastic]

Vanha Kauppahalli date: en full, a 2 minute 50 second masterpiece...

Primetime Panthers | 11.6.24 (x)

[the-crooked-library]

I liked how in Nosferatu it’s shown that Ellen not only leaves Thomas behind, lets him go, but she effectively remarries, by dressing up in wedding gown and pledging herself to Orlok and then consumating their sort of marriage. Orlok came before Thomas as Ellen’s dark suitor and Ellen ended up in the end with Orlok, not Thomas. Lilacs as running theme also support it because they are associated with Orlok so even when Ellen was marrying Thomas with lilacs on her head she was involving Orlok into her marriage.

Yes, the lilacs!.. God, the lilacs. She wore them throughout the film, on her dresses, in her hair, as a scent - they're such a prominent motif, and it's very clear that she was never able to let go of her occult nature entirely, despite her very best efforts to conform. The way Orlok reacts to the scent of them in the locket is so telling, too!.. It must've felt like a secret note, passed in code - my first love, I've never forgotten you. Come to me. The hesitation, the slight trembling in his hands as he holds it. The way he keeps it without question, the way he can't resist opening it just to catch the scent - again, again, again. There is something so vulnerable about their connection, on either side.

I think that's why their consummation is so tender sdksjgdjh

[halfbaked00q]

Im soooo weak to when Bond is like casually being used or exploited at his expense for some ostensible Greater Good except the situation doesn't HAVE to come to that, not really, and he's so inured and even numb to it that he barely pays it any mind; meanwhile, Q absolutely minds and is very indignant on his behalf and works overtime to like either try to avert or forestall the situation before it gets to the point where Bond has to dig his own claws into more of his soft underbelly to offer up on the sacrificial alter of politics of all tawdry things, or to manufacture a way in which he does the needless "needful" so as to spare Bond at least one unnecessary additional wound upon his psyche.

bonus if Bond finds out and maybe after being angry or indignant about it - I don't need you to do my job for me, Q, this is what I'm here to do - and either Q tells him/lets slip or he deduces that like, this isn't Q thinking he can't get the job done, this is Q finding him precious and worthy of protecting, and like. he's just very in awe of that and does in fact feel very safe and cherished within the cradle of his Quartermaster's regard

[droodlebug]

Another small peek into my sdv portrait mod in the works... plus a look at some of the sprite work i've been doing for it. Particuarly george's wheelchair and his face that's in a whole different style which has always been annoying to see but even moreso since I started using a wheelchair myself and have become more visibly disabled................ I guess i should just call this a visual overhaul for the characters at this point lmao

[acourtofquestions]

Aelin.

He had no voice here, but he spoke her name. Threw it across the gulf between them.

Slowly, she turned to him.

It was her face—or it would be in a few years. When she Settled.

But it wasn't the slightly older features that knocked the breath from him.

It was the hand on her rounded belly.

She stared toward him, hair still flowing.

Behind her, four small figures emerged.

Rowan fell to his knees.

The tallest: a girl with golden hair and pine-green eyes, solemn-faced and as proud as her mother. The boy beside her, nearly her height, smiled at him, warm and bright, his Ashryver eyes near-glowing beneath his cap of silver hair.

The boy next to him, silver-haired and green-eyed, might as well have been Rowan's twin.

And the smallest girl, clinging to her mother's legs ... A fine-boned, silver-haired child, little more than a babe, her blue eyes harking back to a lineage he did not know.

Children. His children. Their children.

With another mere weeks from being born.

His family.

The family he might have, the future he might have. The most beautiful thing he'd ever seen.

Aelin.

[cornertheculprit]

Athena: Hee hee hee. You were so cute! ...And who's THAT fine-looking young man?

Apollo: That's Nahyuta, back when he used to smile.

[...]

Apollo: These pictures sure bring back memories. Nahyuta is cheerfully smiling in this one. That quiet smile he gives in court now seems almost fake by comparison.

[...]

Apollo: [...] (Before he goes, I'm going to turn back time by righting the wrongs that have been done. I'm going to restore Dhurke's freedom... ...and return a real smile to Nahyuta's face! I'm going to win this case. I just have to!)

[...]

Apollo: ......... (Dhurke, I hope you're watching. I proved your innocence... ...Nahyuta's smiling again... ...and that revolution you've always dreamed of... is finally happening.)

apollo's repeated reflections on nahyuta's smile throughout turnabout revolution and his desire to bring a real one back to his face instead of the fake one he's used up until then......augh. it's so fun to me

[thelilylav]

I’ve gotta admit as much as I know Darabella is a flawed ship (and some of the ppl who are anti for it have legit criticisms I love y’all for pointing it out cause it frustrates the hell out of me too trust) they’ll always just kind of be it for me.

Because as much as it was an “I can fix him” trope, as much as Rosabella could be selfish and Daring’s flaws got cranked up to 1000, she was also the first person to look at him after his destiny, the thing he dedicated his life to, failed, when people were questioning him as a prince and putting pressure on his and Apple’s relationship and tell him that, like, maybe it would be alright? Maybe this wasn’t his destiny, and maybe that was okay.

And the part that really gets me? She’s the first person after this happens to tell him that it doesn’t matter what’s on the outside, which as much as you can like other Daring ships or him whatever he desperately needed to hear. Not even cause he was selfish, that’s not what I’m saying, but bc he placed his whole identity on this image that people concocted for him based on him appearing the perfect prince. He was handsome, he was talented, and he was handsome! So who cares about him as a person?

Idk man. You spend four seasons (I watch the specials on Netflix so that’s why four idk if it’s three to some ppl or whatever tho) watching him be praised for his looks, watching girls fawn over him, and of course he enjoys it so nobody really questions how much he enjoys it. And then you get this girl, this girl who owes him nothing, this girl who (contrary to popular belief apparently) has a life of her own and people she cares about outside of him, and she’s nice to him. And she’s the first person after everything happens to just be nice to him, for the sake of being nice. Something about that will always hit different for me

[oceanwithouthermoon]

one of my favorite (/sarcastic but not really cuz its like funny idk) things in fandoms is when people make ocs or self inserts or 'x readers' being shipped with characters, but the oc/sona/reader is literally just another character from the source material.. its like youre shipping the characters but didnt want to admit it, so you made a kinsona and branded it as something else..

and its NEVER subtle, actually its super blatant every time and im always shocked when nobody points it out..

i have seen uncountable saiki k x readers where the description is like:

"saiki meets someone whose thoughts he cant read for the first time, and even though he doesnt trust her at first, she keeps proving that she is kind and has good intentions!" you mean nendo? reader is girl nendo?

"this time, he meets a girl whose thoughts honestly match up with her spoken words almost perfectly for the first time!" hairo. youre shipping saiki with girl hairo.

"saiki meets someone whose thoughts are too fast and jumbled to re-" ITS AKECHI, THATS AKECHI, ITS LITERALLY AKECHI.

"saiki meets someone whose just as immune to teruhashi as he is for the first and only tim-" this is hairo again, awe bae you secretly LOVE haisai ?!?

"saiki sees his old childhood friend for the first time in years after an incident caused them to be apart and then they fall in lov-" WHY DID YOU EVEN WRITE THIS AND NOT CALL IT SAIKECHI.

its even funnier when they say its like that characters little sister, but the way they write it is still literally just the character, like their personality, dialogue, even their relationship, is the same..

not all of them fit this exactly, but the ones that take a boy character and turn them into a girl oc to ship them with a boy, it reminds of how in equestria girls they couldnt make applejack and rarity endgame so they gave them boyfriends who looked IDENTICAL to each other.. thats what youre creating, guys, youre creating heterosexual rarijack.