#i am obsessed obsessed with this scene

[beingharsh]

normal guy

[fiumedivita]

"For God's sake, Penelope Featherington, are you going to marry me or not?"

Colin, love, she had no idea you had any feelings for her until 10 minutes ago and you literally spent that time trying to eat her titties while your fingers were exploring the unseen, give her a second

[maikhiwi00]

SENTINEL PRIME in

TRANSFORMERS ONE 2024, dir. Josh Cooley

[fan-a-tink]

another day, another gifset - some moments from my favourite episode: the case of the two dead dragons!

"You kissed?" - "Oi, keep it down!"

2. Charles' reaction to the "cash & condoms" (and Edwin trying very hard not to react at all)

3. "Brrrrr... this is far too much emotion for one day"

4. this Edwin walk™

5. two adorable Edwinisms from the scene that shall not be named

6. and finally, this last one is titled "moments before disaster"

other episode gif sets: 1 - 2 - 3 - 4 - 6 - 7 - 8

[cinematicnomad]

9-1-1 ▸ 7.05 you don’t know me

[gunsatthaphan]

"I love you."

[copia]

"It. Is. Going great, now. Innit."

PAPA EMERITUS IV and SISTER IMPERATOR in RITE HERE RITE NOW (with ASHLEY MCBRIDE and KEVIN "JESUS" KAUFMANN)

[alwritey-aphrodite]

Also the whole “do you know what they would call me if I was a man?” “strong?” “Reginald” scene literally had me laughing so hard I almost pissed myself

[dreamlesssolitude]

Only you can show me this.

[heretoobsessstuff]

This is the reunion hug we never got.

[laurents-secret-diary]

oh damen we're really in it now.mp4

[secriden]

Just going to cry again (see: my previous post about the parallels between the storage room scene and the abandoned factory scene) about parallels and juxtapositions in the store room scene vs the one in Styles bedroom:

Both these scenes have such a tone of desperation and are characterised by an overflowing of emotions, but in drastically opposite directions.

(Note, some of what I say in this post directly relates to concepts and themes I talked about here, so it may not wholly make sense without that context.)

The scene in the storeroom is filled with frustrated desire. Fadel kisses Style because he wants Style's body and also wants to take his frustrations at Style out on his body. He doesn't need to look Style in the eye (and in fact very intentionally only does so only in small snatches) because this isn't about a connection as much as it is about a release. Fadel's kisses come fast, hard, and are intended to bruise more than to adore.

But episode 5's scene is filled with much more quiet and tender sort of desire. Style is kissing Fadel so much more slowly and purposefully. He keeps looking back at Fadel, checking in to see how he feels and whether Fadel is enjoying it. Everything Style wanted in Episode 3, he now gives to Fadel here, pours the secrets of his knowing and choosing Fadel anyway into the way he presses his lips onto Fadel's skin. His kisses linger, they carry a weight but are not gentle, and contain meaning that Fadel's kisses couldn't in Episode 3 because in all honesty they were relative strangers back then.

There's also the way there's such a ferocity and carelessness in the way Fadel starts the encounter in episode 3 that is juxtaposed beautifully by the slow, tender, almost hesitant way Style slides his lips onto Fadel's. Both of them are in such different headspaces, between these episodes and its especially evident in the way they care so much more about the other person's comfort and how intentionally they showed that to the audience.

There's hunger present in both scenes but what this hunger is focused on is so drastically different. In the storeroom, they're both mainly focused on a physical release; its primal and visceral but lacked emotional resonance. Fadel gives Style what he knows Style wants (that hint of danger, with the hand on his neck), but its not because he really cares about what Style wants on anything more than a physical level. In Style's bedroom, however, Fadel is drunk (intentionally and by his own design) and desperate to open himself up to Style on an emotional level. Meanwhile, Style wants that desperately too, but knows that Fadel shouldn't because of his own terrible secret. So this kiss is what they both will allow themselves - an honesty and a hunger for this deeper connection they can only share in act but not in words.

In the storeroom, Style wants Fadel to want more than his body but knows (or thinks) he can't push for it yet, so he remains passive, lets Fadel do whatever he wants, lets him turn and shove and place Style how he wants because at this point, this is all Fadel will give him. Here, Style is passive in spite of what he wants. But in the bedroom, Fadel is passive because it's what he wants; he wants to let Style do whatever he desires to and with Fadel's body. He wants to lay himself as bare as he possibly can, which is only physical, and so he does.

And because the encounter in Episode 3 lacked that emotional connection, the focus is merely their respective releases. There's a sense of two people trying to find pleasure and 'finish' while remaining emotionally disconnected despite actively having sex with each other. Because in some ways, they didn't really need each other in that moment to get there (there's actually a lot of truth in what Fadel says about it being easier to just jerk off alone). In sharp contrast, the scene in Episode 5 isn't focused on the destination but on the journey. Style is taking his time and Fadel is letting him - Style is choosing to worship Fadel's body, with his fingers, with his lips, to respond to his vulnerability with gentleness and tenderness and adoration. The goal has stopped being about finding a release, it's about allowing both these men to revel in the giving and receiving of pleasure.

The point of these scenes is to show to us the ways in which Fadel and Style have grown to care for and, dare I say it, love each other in ways that are so purposefully portrayed by showing the nature of their physical connection. Because the ways in which these scenes are the same and yet so wholly different showcases how their touches are now no longer merely tied to their senses any longer, but also to their hearts as well.

[chaosgenasi]

It's hard for me to fathom why you think that whatever comes next isn't bad.

+bonus:

[personinthepalace]

My favorite bits from the Thinking Cloth

George's and Lockwood's doodles of each other

CEO of Cooking Cocking

Compliments :)

Mustard is the fools condiment ≠ Lockwood is a fool

Food

Locklyle grammar flirting

Literature quotes from Lockwood

To-do list

It's the cat again

The trio 🥺

the full thinking cloth (x) from Sophie Powell's instagram

[mischiefbuckley]

EDDIE SHAVING, DANCING AND BUCK SHOWING UP FULL SCENE

[cinematicnomad]

9-1-1 ▸ and i'm split in half, but that'll have to do