#honestly i love both very much

[kittenfangirl20]

While I saw people arguing over who would win in a fight between Anakin Skywalker and Paul Atreides, I was thinking about how bad ass it would be if they teamed up and kicked ass together.

[egophiliac]

What do we think, will we get Briar Valley Event somewhere in the future? And WILL WE SEE PRESENT PEEPAW ZIGVOLT? I wonder what Sebek meant that he looks older and I really wanna see Lilia and his relationship after retirement. What do you think?

god I hope so, I desperately want to see Briar Valley and whatever family member they throw at us. and if it's Baul I hope he's the exact same sprite but with, like, a mustache crudely pasted on. that's how he looks in my head and in my heart.

my entire KINGDOM to see one or both of Sebek's parents though, they are the best characters in all of Twst and they haven't shown up even once. 😭 though I think I might prefer his dad, because 1) show me the noodley dentistman, and 2) Mrs. Z is such a mythical figure in my mind at this point that reality could never compare (w-what if she gets a canon design and she isn't a hundred feet tall and could crack the earth by flexing her thighs, how could I go on) (jk jk she's so great that I would love her no matter what) (but also...)

of course based on past Twst events if they go to Briar Valley it's just going to go basically like this:

[turtleblogatlast]

I think a lot about Leo standing up for his brothers in the things that really matter to them.

Like- Leo is the one who immediately pushes Mikey and Donnie into finding Raph the second it’s clear that their oldest brother is missing because he knows Raph can’t handle being separated like that.

Leo is the one who stands up for Mikey when Mikey wants to go on a solo mission, actively vouching for him and being the one to convince Raph into letting Mikey go, because being independent and proving himself just as capable of standing on his own two feet as everyone else means so much to Mikey.

And Leo defends Donnie’s honor in particular when his brothers’ intelligence is insulted because Leo is well aware of how important Donnie’s smarts are to him - and how important having those smarts valued and acknowledged is as well.

All this goes right into just how well Leo knows his brothers. For as much as he’ll tease or fight with them, he knows them, and he loves them.

[secriden]

Not to be a Style apologist, but I feel like some viewers haven't quite picked up that Style's brand of wooing Fadel is quite likely intentionally designed (by both the writers and the character) to be as annoying and frustrating as possible.

Lets consider:

Style thinks his bff is in love for the first time in his life. He thinks Kant is genuinely down bad for Bison: let’s not forget his clear surprise when Kant agreed to give up the car. As far as Style is concerned, Kant is acting really out of character and it's because Kant desperately wants to be with Bison.

He also thinks the only thing standing in the way of True Love™ is Fadel, who according to Kant is being unreasonably difficult about Kant and Bison dating. He doesn't know that Kant has a secondary motivation, nor does he know about the mind games that Bison is playing with Kant. Worse, he has no frame of reference or context to make any of Fadel's animosity towards Kant reasonable.

Moreover, while I think we all agree that Style made a terrible first impression on Fadel, the same has to be said of Fadel towards Style. Like, yes, absolutely Style was in the wrong, but Fadel came off as not only condescending and impatient, but unreasonable (and very weirdly cagey) when Style tried to immediately offer a resolution. Again, Style has no frame of reference for why Fadel would first demand that he take responsibility for his actions and then immediately after claim to have no time to entertain Style's attempt to take said responsibility.

Also, it doesn't help Style's wounded pride that Fadel keeps 'besting' him at every turn. So at this point I think a significant portion of that initial attraction (in ep 1) has shifted to annoyance when it comes to Fadel. By the time he gets his hands on Fadel's information, I think he's more than a little invested in some payback. While I think Style very much still wants to help Kant (and Bison) out, at least a part of him figures as long as he keeps Fadel busy, he kind of meets his goal. And if he gets to embarrass, frustrate and otherwise harass Fadel along the way, all the better!

You can see him start to have some fun with it. He ramps it up SO much in ep 2. He gets to lean into that wild, brash, playful personality because he doesn't really care if Fadel likes him. Style gets to be dialled up to extremes, and I love that for him because he's honestly kind of justified because he knows so fucking little about what's really going on. I think it's only fair if the other 3 are playing 4D chess while Style only has the Uno game rules in front of him, he gets to be the most Unhinged about it.

So, yeah, while I absolutely agree with all the posts out there that recognises just how reasonable and polite and tired Fadel is, I do think we need to give Style some credit here. He's absolutely SO extra, but he's also the one, arguably, that has been lied to the most and I feel that he deserves some slack for that.

I'm so glad he figures out some things in the next episode because my darling boy deserves to at least somewhat even the playing field.

[ruporas]

honeymoon phase! (ID in alt)

[gingermintpepper]

One of my biggest pet peeves is the assumption that something has to be sad for it to be tragic.

I've always been a big believer of the 'Apollo has an awful love life'/'Apollo is plain unlucky with love' line of thinking but it does bother me that the general reasoning for that statement is given to the concept of 'Apollo is somehow undesireable and thus rejected' (Cassandra/Daphne/Marpessa) or 'his lovers die young and thus their love is unfulfilled' (Cyparissus/Hyacinthus/Coronis). I personally think that's a very unfortunate way of looking at things - not only because it neglects the many perfectly cordial entanglements and affairs Apollo has had, both mortal and divine - but because it presents a very shallow interpretation of the concepts of love and loss and how loss affects people.

Apollo can still grieve lovers that have a long, healthy life. The inherent tragedy of an immortal who knows his lovers and children will die and cannot stop it does not stop being tragic simply because those lovers and children live long, fulfilled lives. The inherent tragedy of loss does not stop being tragic simply because someone knows better than to mourn something that was always going to end.

What is tragic is not that Apollo loves and loses but that loss itself follows him. Apollo does not love with the distance of an immortal, he does not have affairs and then leaves never to listen to their prayers again. He does not have offspring and then abandon them to their trials only to appear when it is time to lead them to their destinies. He raises his young, he protects the mothers of his children, he blesses the households that have his favour and multiplies their flocks that they may never go hungry. He educates his sons, he adorns his daughters and even in wrath he is quick to come to his senses and regret the punishments he doles out.

Apollo loves. And like mortals, there will always be some part of him that wishes to protect the objects of his affections. Apollo, however, is also an emissary of Fate. He knows that the fate of all mortal things is death. He knows that to love a mortal is to accept that eventually he will have to bury them. There is no illusion of forever, there is no fantasy where he fights against the nature of living things and shields his beloveds from death. Apollo loves and because of that love, he also accepts.

And that, while beautiful, is also tragic.

[poorly-drawn-mdzs]

End of Empathy (time for violence)

[First] Prev <–-> Next

[casualavocados]

Learn from who? Learn from you? You are still a brat. What do you know? You're only three years older. Like you are any better than me. You're 21, and still a virgin. What are you proud of? I think you can't do it.

KISEKI: DEAR TO ME Ep. 06

[asbestos-11]

self indulgent focallette in one of many croatian folk dresses, except i skimped out on the details bcs man do i hate drawing patterns

[orcelito]

It's so fucked honestly that people genuinely believe that others Need to put effort into their appearances in order to be attractive. Like I dunno about you guys but I fucking love people's natural appearances, messiness and all. We are not the same.

[nyctolovian]

On one hand, bakudeku are FATED. They are soulmates and their lives revolve around each other for better or for worse. They are practically a married couple, and canon only serves to make them even more romantic because of how intertwined they are with the central theme of heroism by serving as two-sides of the same coin that eventually starts to meld into each other to become one whole.

On the other hand, todobaku is a comedy duo and i want them to be an old married couple.

[howtosingit]

banter and bickering at the top of the episode (plus sex) and at the end of the episode (with the promise of more sex)??

help I love them so much

[kanansdume]

I've recently been watching these very interesting Star Wars video essays on YouTube (yeah I know, a rare breed) and it brings up these comments Lucas has made about how he views Star Wars as almost like a silent film in terms of how important the visuals are to him in comparison to the dialogue. But this essay also points out how important Lucas finds all of the "rhyming" moments in his trilogies and the way he utilizes them to remind you of something else for emotional or thematic reasons. And there's so many of them, both in visuals and in dialogue, and it's interesting to consider how important this is to him, the repetition for a purpose as well as the storytelling through visuals above everything else and then to look at Star Wars since the Prequels came out and realize how little has really been able to match up to those ideals since then.

The ONLY thing that's come out since the Prequels that I think really hits these two things the same way is, in fact, Andor. One of the things I noticed about the way people discussed Andor as it was airing in a way I haven't really seen for any of the other shows or films was the visual SYMBOLOGY. So many times I saw people noticing the Imperial cog everywhere, from the aerial shot of Narkina 5 as the prisoners escape to the architecture of Mon Mothma's house. There were people picking up on the use of items in Luthen's shop that are familiar from other things to give this idea that Luthen is from another time, he's attempting to preserve this world he lost, that if you're not looking closely enough you won't notice what he's really saying or doing with this shop. The color choices for the different locations and people got analyzed because the people involved spoke about how they intentionally utilized color to SEND A MESSAGE about the characters and the world. We know that the people who made the costumes and sets really worked hard to treat Star Wars almost like a period drama and study the history of the franchise as if it were a real place so that the things they came up with felt like they belonged in this world everyone knows so well even if it's completely new. And of course there were all of the myriad references to things from Rogue One, the constant repetition of "climb", the sunset on the beach, etc.

Nearly EVERY SHOT in this show was created with so much intention behind it in order to say something meaningful about the characters, the world, this specific story they're in, and the overall saga of Star Wars itself. It's insane how much greater impact this show was able to achieve through the incredibly careful usage of visual symbols and thematic repetitions, much like Lucas did before them. It feels like they didn't just study the history of the galaxy far far away, but they studied the history of STAR WARS and what Lucas was trying to do and say with this story. They peeled back his onion a bit more and were able to create something that really has that same visual feel even when it's not created for a child audience. It also is experimenting with its narrative style through its structure and through Cassian's character being allowed to be somewhat more reactive than proactive, and while that didn't work for everyone, it does feel like it's following in Lucas's footsteps of experimentation through Star Wars. Push the boundaries of what Star Wars is and can be and what you can say with it.

But this only works because they peeled the onion back enough to TRULY understand all of the messages Lucas was sending with it. They got the heart of Star Wars and despite its lack of space wizards, despite the lack of most major characters in the Saga, this was a show that honestly got the message more than just about anything else Star Wars has put out since the Prequels. The choices between selflessness and selfishness, the themes about how you always HAVE to make a choice even when it feels like you don't have any (sometimes ESPECIALLY when it feels like you don't have any), and how important it is to make sure to choose the path of compassion above everything else. The themes of connection to others, the symbiotic circle and the impact even the smallest person can have on world around them, it's RIGHT THERE and it's CENTRAL to Andor's storyline.

So yes, it experiments a little with narrative structure, but it's possibly the most Star Wars thing to exist Revenge of the Sith because it honestly truly GETS what Star Wars was about, both in its themes and in its filmmaking. A lot of people said that Andor didn't feel like Star Wars to them, usually because of the lack of space wizards and the fact that it's not a story aimed at children. But to me, Andor is EXACTLY what Star Wars is and has always been. They're stretching the boundaries of what Star Wars can be, but it's saying the exact same things Star Wars has always said, it's just saying it slightly differently. This doesn't feel like fanfiction to me, not really. Unlike things like the Mandoverse or the books, Andor isn't just taking some of the toys out of the sandbox and going to play with them somewhere else. Andor is IN that sandbox. It's building a slightly different sandcastle, but it's still within the sandbox, using the same sand that Lucas did.

[total-drama-brainrot]

Assistant Noah AU, since Noah isn't a contestant, Ezekiel takes Noah's place as a member of Team Chris...

Ezekiel doesn't lose the stick, so there's no eliminations in the Egyptian Episode...

Ezekiel had become Lindsay's and Beth's platonic BFF, and now has a new better respect for women...

Ezekiel is also a bit smarter, and somehow sees through Alejandro's tricks...

How would Alejandro honestly feel about Ezekiel? 😉

I'll take any oppertunity to "save" Ezekiel from his canon treatment, and having him substitute onto Team Chris in Noah's place is a great idea.

But I don't think Alejandro would like him at all.

You've got to understand; Ezekiel is the equivalent of a very misguided, very lost puppy. He's not exactly sure what's going on at the best of times, and after Island his response to the culture shock between his homelife and his life on reality TV is to adopt a fake "cool" personality from whatever pop culture he's managed to consume... which only serves to make him more insufferable to the people around him than his clueless farmboy demeanour ever did.

Had he retained his pre-Total Drama personality and naivety, then Alejandro would tolerate him, if only as an exploitable pawn (much like Tyler). But it's repeatedly shown in canon that Ezekiel is unpleasent to be around by design. He's talkative and outspoken at the worst times, oftentimes with opinions that aren't exactly palatable, he doesn't understand the concept of personal space and acceptable social behaviour, he smells bad, ect ect. Pair this with him mimicking the stereotypical "rapper" demeanour, and you have the perfect foil for Alejandro's nice guy act.

Because Alejandro is very many things, but patient isn't one of them. At least, not in the context of being around people who annoy him. Just look at his canon relationship with Owen; if he couldn't stand to be around Owen of all people, then he'd really hate Ezekiel.

That's not to say that I think Ezekiel is a hateable character. Quite the opposite, really. He's so interesting to think about from a writer's standpoint, since he has a surprising amount of characterisation for a character who spends the majority of his screentime feral and non-verbal. Just enough to base characterisation on, and just little enough to expand upon in whatever way you'd like and not have it feel out of character.

In the given scenario, I'd have him form a friendship with Owen and and Izzy (by this point in the series he's been educated on how his father's mindset is very outdated and toxic, so he's more than happy to befriend a girl). The two of them aren't concerned with things like "coolness" and social acceptability, which would be a huge part of Zeke's character arc in this season - learning how to accept himself for himself, instead of trying to conform to his skewered perspective of what the media deems "hip".

Pairing this with the somewhat limited but amicable relationship he shares with Lindsay on Team Victory, and the intangiable but nonetheless just as impactful influence of Beth who's stuck on the Aftermath, and suddenly Ezekiel has a whole support system of genuinely kind people who can and will help him learn the ropes of modern society. (Give Ezekiel Friends 2k24‼️)

A direct contrast to Alejandro, who's whole deal is presenting himself as a perfect, infalliable person who doesn't really form any friendships. (Unless you count Heather and maybe Courtney?)

See here's where the two of them play the role of "contrasting narritive foil" for each other. Alejandro and Ezekiel are both fueled by their need to prove themselves by winning, but their methodology is entirely different; Alejandro's game plan is to be as fake and perfect as possible whilst sabotaging the competition and inadvertantly isolating himself, and Ezekiel is just doing his best to play fair whilst learning how to be the most authentic version of himself in the proccess with the help of his friends. (Something something the power of friendship...)

Something to note here: Both of them are trying to prove themselves to their families. Alejandro's trying to prove he can be more than second place (to José, or just in general), and Ezekiel is trying to prove that he can withstand the challenges of the world outside of his family's farm (which he never got the chance to, given he was the first boot of the previous two seasons).

As for Ezekiel being "smarter" and seeing through Alejandro's tricks; I'd like to veto that idea and offer you this instead.

Ezekiel has gullibility and naivety practically woven into the threads of his character, so of course he'd be in the same boat as Owen and Tyler. That is to say, he'd initially be one of Alejandro's most staunch defenders, since he doesn't have the intelligence or the instincts to see past his fake exterior, as Ezekiel isn't worldly enough to know how to spot a fake.

And that's exactly what causes Alejandro's downfall.

As stated before, Ezekiel is annoying by design. Pair his enthusiasm with an idolisation towards Alejandro (for being an objectively strong competitor, or whatever reason you want) and you've got the perfect recipe for Alejandro to blow up at Ezekiel once his already negligable patience snaps. Probably in a scene similar to the confrontation he has with Owen in the Amazon.

All of a sudden, Ezekiel has seen Alejandro's true colours and the rose-tinted glasses he's been blinded by come shattering to the ground - and the knowledge that's been painstakingly imparted onto him by Lindsay and Beth comes into play. Alejandro is a bad guy, just like Zeke's dad.

From then on, Ezekiel is hesitant around Alejandro. Quiet, uncharacteristically so. The sight of unapologetically loud and obtuse Ezekiel being subdued (scared?) of Alejandro has the other contestants beginning to question his performative geniality. If Zeke of all people doesn't trust him, it must be a bad sign.

[imminent-danger-came]

There is a distinct difference between "something good with flaws" and "something bad that's almost good" me thinks

[poorly-drawn-mdzs]

Culture Shock

[First] Prev <–-> Next