#honestly this did come to mind

[applestorms]

L can be such a possessive character at times. he always strikes me as the type of person who is deeply aware of everything that he owns, both in a more literal sense and metaphorically-- like, he knows what money he has and how to use it, what resources are readily available to him and what he has to be sneakier to utilize, the habits and tendencies and emotional states of individuals and world governments both. the DN musical really puts an emphasis on the more computer-y aspects of how his brain functions, which isn't as obvious in the manga/anime but i think still works well as a way to follow his thinking. it's kinda what near does too: everything is a factor to them, every tiny detail a new opening to optimize for the best results, every person and location and object a part of a puzzle waiting to be solved. and as a part of that, L is deeply aware of every and any little thing he may or may not have control over, and exactly to what degree.

his habit of stealing titles as depicted in the LABB murders novel is such a good example of this. ryuzaki, eraldo coil, deneuve. he eats people alive and then takes their names for himself like some kind of fucked up fae or trickster god, creating new masks and personas to hide behind from the remains of the people he's devoured. i have to wonder if he would've used the title of KIRA for himself had he won-- i can hardly imagine what kind of power such a title could hold if held in his hands. of course, he could've just used the defeat of KIRA as a way to build up the L title even further, offering up the body of a dead god like perseus showing off the head of medusa. but L is so emotionally attached to the kira case, i struggle to see him allowing it to fade from existence so thoroughly as near does, even if it is only kept close on a private level...

this is part of why i think it genuinely makes a lot of sense that L's ultimate win state would include capturing light to some degree. even if the memory of KIRA somehow manages to fully disappear from the public consciousness, there is no fucking way L is letting light yagami out of his grasp. honestly, the moment that L truly loses this game is not when he starts investigating misa while still under rem's watch, not when light gets back his memories, not even when he dies, but the moment when he allows light to be freed from the handcuffs. the moment when he allows the other members of the task force to turn off the cameras and keep him from watching light and misa talk in the lobby. the moment when he gives up, lets light yagami go outside of L's personal sphere of control, is the moment when L starts the clock ticking down to the end of his own life.

this is one of the key ways in which i see light as a true equal and parallel to L, as after L's death he, intentionally or no, continues the same tradition and takes L's title for himself, twisting the two sides together into the L-KIRA amalgamation. only, the L title functions a little bit differently than every other persona or title that we see in the series-- because L's true name is L. that's all that he is. on a literal, legal, and emotional level, i don't think that L is anything more than L. he is the world's greatest detective, he's an incredible, weirdo super genius, but he does not afford himself much more than that, barely allows himself personhood or humanity outside of his work. light was the one to ultimately defeat L because he did not just put a stain on his character (as BB attempted), did not just kill him, but stole his very identity and took it for himself.

one of the biggest contradictions of L's character that i think you must accept should you attempt to portray him accurately is that he is both deeply detached from humanity while also having all of his work and effort and life be focused around saving it. it's one of the ways in which he is an exact opposite to light-- where light relies on humanity for external validation, to be Seen, while also looking down on it as dumb and immoral and spineless, L is so separated from it that he barely exists as a person, all the while dedicating almost every action he takes to helping it. remember: for all the emotional turmoil that wammy's house and the legacy of L may put on the kids living there, ultimately it's entire existence is nothing more than L's logical solution to his potential demise. if he dies, the world goes down with him, all of the cases that are yet to happen and he is yet to solve being left in the air. he has the foresight to set up a fail safe, but not to consider the emotional implications of what being that fail safe might feel like, how high the price of your own humanity is if you are not already alienated from it, the inability to have your own name on your gravestone-- though perhaps some of the blame also falls on watari's shoulders in this case, philanthropic old bastard that he is.

imo, playing his game really got it right in presenting L and light as one and the same, synonyms on either side of the mirror. in every action they take they are both so selfishly selfless, playing the game for themselves and their own pleasure but plastering the needs and will of humanity on top of it. L isn't invested in saving humanity for the sake of humanity-- he just likes the thrill of having the stakes raised so high. hard to shit on ryuk for wanting entertainment when the humans he finds are just the same as him.

[excaliefur]

There’s something about the fact that the first time gem didn’t immediately chase pearl away or continue the fake drama is when pearl literally couldn’t respond in a way that makes sense.

Gem had an amicable conversation with her when she could control the narrative, and in fact in her video she cut out a lot of their conversation with Pearl.

It’s interesting to see what kind of narrative Gem is painting from her POV. It doesn’t even seem to be justifying her actions it just frames it in a different light.

[puppyeared]

is this your card? ♦️♣️♥️♠️ it isnt but you dont wanna hurt his feelings

[dizzybizz]

😀 i love setting out to draw 1 character multiple times but ending up drawing multiple characters 1 time instead 😀 i love it so much 😀

[artfulacrostic]

jean moreau, and faith and religion and the absence of it.

the sunshine court, nora sakavic // the unabridged journals of sylvia plath, sylvia plath // "stay down" by boygenius ft. julien baker, lucy dacus, and phoebe bridgers // the denial of st. peter, caravaggio // salome with the head of st. john the baptist, simon vouet // henry iv pt. ii, william shakespeare // the rebirth of the arts, charles haslewood shannon // daredevil: "born again" (1986) by frank miller et al. // "ash-wednesday", t.s. eliot // map of hell, botticelli

[moeblob]

idk if it's a fun fact or not but! Right's favorite color is green. He never wears green but it's his favorite color. then I've been working on silly emotes for my OCs and they're "disappointeddad" and "tryme".

(Also there is an AU where these two are knights along with Paul and Evelyn while Brent/Caspian/Atticus are princes. Chris is basically Caspian's personal guard while Right just runs around trying to do everything to stay busy even when not on duty which stresses Chris out. But since he's kinda busy with the crown prince it defaults to Paul having to babysit Right.)

[hana-bobo-finch]

Shoutout to this draft I made a couple hours ago when I suddenly had an epiphany for how I could fix a part of my story and I was so excited that the only way I could express it is to write whatever this is but I couldn’t post it because I didn’t have internet

also it got marked as mature for some reason

[asgardian--angels]

I feel like this is a good time to remind my followers of the full-circleness of it all; the 2001 Queen of the Damned film with rockstar Lestat featured songs composed by Jonathan Davis of Korn, my absolute favorite singer throughout my teenage years (and to this day, lbr). Before getting into IWTV I enjoyed those songs on their own, having no real idea of what they were supposed to be about. Now, we're getting actual rockstar Lestat, and looking back relistening to those nu metal rockstar Lestat songs, knowing that the singer that's been absolutely formative for me is singing from the pov of Lestat (and Akasha), a character that's become such a big part of my life as well.

it's just yet another way everything is connected and the world's smaller than you think.

Anyway if you haven't heard his original compositions for QOTD that he himself sings on the soundtrack, they're really, really good- System, Forsaken, Careless, Redeemer, Slept So Long, Not Meant For Me... give 'em a listen! He's done all of them live many years later too, and there's great recordings of those.

(the live version of Careless is truly extraordinary imo...)

[relmint-draws]

The business partners are dancing!

[skitskatdacat63]

For everyone who wanted bullfighter Nando when I mentioned it the other day, here you go :D

+ this one I don't feel like coloring yet(imagine he's in Ferrari colors!!!)

[bardicious]

In a similar vein of my previous post, I wonder if Jim felt a little resentful of Robert April/Enterprise/Starfleet getting to Tarsus too late, and that a part of all his efforts and his refusal of "no win" scenarios was to do better than starfleet. Perhaps a duality between anger and gratefulness at being saved, but having to see so many around him die and suffer.

Makes me wonder, in general, of Jim's possibly pathological guilt when he can't save someone. Why he looked depressed when turned admiral because while being supposedly in a position of power, he actually couldn't do anything. It's all paperwork and no work. Constantly having that urge to follow a disaster but not being allowed. The same reason Jim always seems to jump to his death, but succeeds and lives anyway. (And of course the added loss of his soulmate who ran away from their friendship didn't help)

And while I sort of kind of really dislike lots of the movies past tmp (as star trek canon, they're fun movies), I'm wondering if that's part of what drives Jim to his death later. He's getting old, and slowly being incapable of helping those around him. For a man who can't sit still, who needs to help people, it's a bit like losing himself. So dying in battle is far preferred for a man who could never completely work through his traumas.

[crossbackpoke-check]

Why I Am Not Coming In To Work Today [abridged], Jess Zimmerman

part one | part two

[visdiefje]

Thinking that part of the reason why "love yourself, you are beautiful, adore yourself" falls completely flat on me is because I can't do anything with abstract instructions and it simply means nothing to me. But very funny is that I'm accidentally getting there anyway by entirely unconventional means (mind animal)

Love yourself: okay. How? What does that mean? How can I love something I have no particular feelings for? It just is. How do I have feelings on purpose? How do I make myself care? Am I supposed to pretend to have feelings I don't until it's real? I end up not doing this because it doesn't feel like an actual thing I can do

Dæmonism, apparently: okay, so imagine the other half of your mind voice, the one you bounce your inner dialogue off, as a person. Name them, find out what they're like, and now their opinions hold more weight. What do they want you to do? Would that benefit you? Is it possible that this part of you knows how to take care of you? Imagine them as a companion of your own, that is always with you wherever you go. Isn't it nice to be in your own company sometimes? You can represent them visually through an animal. There are many ways to determine what animal would fit. You see qualities of yourself in this animal, don't you think this is a creature worth of admiration, respect and love? Then why wouldn't you be? Build a relationship with this part of you, make a way of living with them, grant them kindness and feel love for them. But remember! They are you and you are them! OOPS you've been tricked into caring for yourself and holding yourself to a higher esteem!

[ask-my-memoir]

Kaine: "You shouldn't just walk up on someone like that...."

The stranger has identified himself as "Kaine."

Kaine's character page may now be accessed!

[ @ecoxlar-maybe / @ask-amaryllis-academy ]

[1/2]

[thoughtfulfangirling]

I don't know too much about the horrors Shelley Duvall underwent during the making of The Shining, but I've heard just enough to know that it was at the very least unethical. And sure we can marvel at her performance of fear and horror. It was impressive.

But it also manages, to people who are me, to fall flat in its lack of dimension.

People suffering the sort of torment Wendy are under are not only experiencing fear, confusion, and horror. They're also angry and vindictive and vengeful at times.

What if they'd let her fully act the fear so that she could have pulled back and displayed a glimmer of satisfaction when she hit Jack with the bat, a sense of the hilarious/humor as he went head over heels down the stairs? What I wouldn't have given for a sense of rage and fury as she dragged him through the halls of the hotel to lock him in the pantry. A woman dealing with the shit that she's been under would probably have a moment of sadistic satisfaction when he cries out that she may have really hurt him, he's dizzy, and now he wants that doctor she'd mention.

Sure those may be things that at the time might not have gotten written into a script because maybe at that time, women weren't like that(tm). But that's exactly why Duvall should have been left the choice to act with all her wits about her. Actors bring small nuanced moments like that to roles all the time because they are the ones trying to fit their minds into it wholly and completely and without consultation of any of the other characters around them. And they can bring insights into that role that others may not have thought to.

Think Furiosa re her scream in the desert. That was Theron's idea. And when asked where she found that rage—a question that maybe, in a different world, Duvall might have been able to make the space for—she responded that women just have that rage. A good actress will find it and put it where it's needed to go, in places her male coworkers might not think to put that.

Sure I don't think there was any performing better than she did during the bathroom scene, but almost everywhere else, I just got so tired of the constant fear/sadness of the performance, which I believe is exactly what was aimed at by the creators for the film. It was exhausting not in a way that makes me feel Wendy's exhaustion, but made her a caricature that she didn't deserve being.

There's nothing wrong with someone in her situation feeling mostly fear and terror, but it's absurd to think it's just that.

Fuck. Where was the disassociation? We got it maybe for the moment she sliced Jack's hand?

I dunno. I'm sure many people have spoken on this much better than me before and probably having seen it more than one (1) single time and have better, more sophisticated thoughts. It was a good movie. I don't recall anyone putting Jack through shit to get his performance and he did a great job, with lots of various emotions throughout. Let actors do their job.

[verflares]

saw spirit tracks zink earlier and it made me kind of sad actually because what are the odds we'll ever see that + phantom hourglass get ported or even remade...... :(