#i hope this thing is coherent

[neilarmstrongssmile]

Ok, I need to talk about it. The Five x Lila thing is uncomfortable and kinda gross to me. But mabye I'm not seeing the vision/my discomfort is not the reason it's a bad idea necesarilly. So... here are some reasons besides that on why it's just a bad idea:

1. Why give Five a love story at all? He had a love story, has had it the whole show - love for his family. I'm not saying he doesn't deserve romantic love (with an actual human), but knowing it's the last season and knowing they have only 6 eposodes mabye don't? Introducing the romance in the second to last episode? And developing it through a montague? It's not enough time

2. What's the purpose of the subway station to the story? The only characters on it are Five and Lila (later also Lila's family + Claire), they don't accomplish anything with it, don't find anything useful, don't learn anything new. It's an excuse to have them get lost there, so that they could fall in love. IT'S THE LAST SEASON! Don't waste a cool location like that! Why didn't other characters get there? Why didn't they get Bennifer there and put Ben on one train and Jennifer on another while they think of another permanent safe solution? Use the subway station for actual plot or get rid of it - and that way we don't have the out-of-character falling in love crap

3. Ok, thay are lost, it's been years, they are loosing hope, they are clinging to the only other real thing. There's no guilt? No talk of Diego, Lila's children? There's no false start? They just kiss, remark it's not weird and live idyllicly together? I don't need depressing scenes of them crying for their family and hating themselves for being together, but what we got was not a relationship created by necessity but a normal falling in love story as if Lila isn't MARRIED CURRENTLY to Five's BROTHER! There should be some weirdness, some discussion of what exactly their relationship is, what would happen if they managed to come back. It's inconsistent (with previous characterisation but that's another thing) - are they genuinly in love, or using each other? Is Lila trully happy and in love, or pretending, while being desperate to come back to reality with Diego and her kids? They seem really in love, but after Five finally (5 months!?!?? WTF that's gross) shows Lila the notebook and she leaves she makes it seem as if she's choosing Diego and her marriage. But then she cannot answer 'Do you love him?', gives Five longing glances, is holding his hand... I know that she could be confused and unsure but it doesn't seem as if she doesn't know, it seems like she acts in the way for all the scenes to be dramatic even if it contradicts what happened previously.

4. So they manage to go back, Lila doesn't immedietly confess to Diego, and when the truth comes out Five is mad? He is in the wrong! He went after his brother's wife, he should be apologetic, he should feel weird to be in Diego's home, not combative. Yeah, your love life is complicated and not everything is roses after your return but it's on you YOU WENT AFTER A MARRIED WOMAN! WITH KIDS! And you're mad at her husband for being mad at you? No, he should be ashamed. And ok, get mad later, say that you were finally happy, and now it's gone, scream it at Lila or Diego, but not from the get go. That makes him seem like such a scumbag .

5. You wanted Five to have a romance. In my opinion unnecessary, but do you. You wanted it to be with Lila. In my opinion very weird choice, but sure. Why have Lila and Diego married? We have a 6 year time skip. They could have been just co-parenting and no longer together (and never married). Why make a subplot where Diego thinks Lila is cheating on him (as a joke) to then make it a reality? Why not have Diego and Lila have this season to grow close as friends and co-parent as a unit after years of conflict and have Diego be supportive of this weird incestuous relationship? (TUA unfortunately is no stranger to that, and UA already has weird and complicated relationships all around) instead of falling apart in such a fashion? IT'S THE LAST SEASON at the very least have all our main characters go out without conflict with each other. Five's lat words to Diego were 'I'm gonna kill you'.

It seems they made this whole thing as messy as possible, but then didn't dive deep into the mess to have some actual drama, didn't adress the mess, didn't vindicate any of those characters. And if you're just creating mess and don't engage with it, and it's THE LAST SEASON mabye you should've just left it alone - Lila and Diego together and happy, and Five doing everything to be with his family, safe. I'm dissapointed.

[daftmooncretin]

spock’s room decor is actually fucking bonkers. The weapons??? the big red velvet curtain??? like ok phantom of the opera go crazy.

for reference jim’s room has some photos and a plant so we can surmise this is uniquely a spock being a dramatic weirdo thing

[egophiliac]

buckle up lads we're going BACK INTO THE BOOK

[alicornze7]

Silly guys goin' on silly adventures:]

@rorydrawsandwrites's puppeteer au but the only difference is that jax gives consent

My contribution to this wonderful au has been long overdue:')

Rambling in tags ehe (cw: ribbun:p)

Well maybe it's not the only difference

[hauntingofhouses]

We all already know Mizu and Akemi are narrative foils. But you know what? Lemme just say it, here's what I think:

Taigen and Mikio are foils.

Not necessarily to each other as individuals in the way that Mizu and Akemi juxtapose each other, but mostly in the contrast between their relationships with Mizu.

I've covered specific parallels between Taigen and Mikio in other posts I wrote; but as the number of parallels I'm noticing between them keeps piling up, I'm compelled to just compile them all in one post. So! This is, thus, the post in question.

First of all, let's look at their similarities.

1. Their status in society is the same. They are both samurai who lost their honour and have dreams of reclaiming it.

2. They are also both diligent as they strive to achieve this goal, they both care deeply about their work, but here as they begin to contrast, as the work in question and way they go about their goals is different:

For Mikio, his work is in taming and rearing horses; in order to prove himself, he must tame Kai—a willful and strong horse—and present it to his lord. For Taigen, his work is in sword fighting and martial arts; in order to prove himself, he must kill Mizu—a willful and strong swordsman—and present her dead body to his lord.

In the parallel above, not only are Taigen and Mikio contrasting each other, but Mizu and Kai are placed in comparison as well. And of course, Kai is Mizu's horse, and represents her. Which is why, when later, Mikio sells Kai off, it represents the way he is tossing Mizu (and their relationship) aside.

From there, the rest of the details of their character begin to contrast and juxtapose each other more clearly. So let's look at those differences, shall we?

Their backstory:

Mikio was a great samurai who was banished. A somebody to a nobody. Taigen was a fisherman’s son who rose to the top. A nobody to a somebody.

2. The first time we meet them on-screen:

Mikio is an adult. An older man. Mizu's superior in age. He is Mizu's to-be husband. A love interest. Taigen is a child. A young boy. Mizu's peer in age. He is Mizu's bully. An antagonist.

3. Their maturity and growth:

Mikio is mature, but stuck in his ways. Taigen is immature, but capable of changing and learning.

4. Their overall attitude:

Mikio is generally relaxed, easy-going and unfussy. Taigen is uptight, irritable and severe.

5. How they talk to and conduct themselves around Mizu:

Mikio is aloof, soft-spoken, and serious. Taigen is obnoxious, brash, and sarcastic. Mikio is quiet, speaking only when spoken to, even when Mizu turns to smile at him and shows openness to be near him. Taigen is loud, talking while others are silent, even when Mizu turns from him and shows no interest in conversing with him.

Mikio doesn't show much of who he is to Mizu throughout their marriage, despite their growing affection. Taigen openly shares his traumas and life story to Mizu during their brief alliance, despite their mutual antagonism.

6. Their external vs internal selves:

Mikio is calm, gentle, and considerate on the outside. Taigen is hot-headed, rude, and selfish on the outside. Mikio is cowardly and deceitful on the inside. Taigen is brave and loyal to a fault on the inside. Mikio tells Mizu that he wants to know and see all of her. But he scorns and betrays her, the woman he loves. Taigen tells Mizu that he wants to duel and kill him. But he endures torture to not betray him, the man he hates.

9. Their hair, a symbol of their honour:

Mikio's topknot is untied by Mizu during their spar. This humiliation occurs in private, the two of them alone in a rural location where no one can see them. Taigen's topknot is cut off by Mizu during their duel. This humiliation occurs in public, the two of them being watched by many others in the Shindo Dojo.

10. Their power dynamic with Mizu:

Mikio believes he is Mizu's mentor. He teaches her to throw knives, how to ride and care for horses, and about the tactical benefits of using a naginata. Taigen believes he is Mizu's equal. He views Mizu as a samurai like himself who received all the same teachings he did, and who possesses the same values.

11. Their perceptions of Mizu:

Mikio sees Mizu's feminine side first. He sees her as sweet and gentle, but also clumsy and incompetent. Taigen sees Mizu's masculine side first. He sees her as terrifying and deadly, but also strong and skilled.

12. The way they approach sparring with Mizu:

Mikio only spars with Mizu once. As the fight progresses and she is beating him, he tries to put a stop to it. When she teases/provokes him, he starts taking the fight personally and seriously, finding no enjoyment in it. Taigen spars and brawls with Mizu all the time. No matter how many times Mizu beats him, he doesn't back down. When Mizu challenges him with a chopstick, he is eager to compete with her and gladly rises up to the challenge.

Mikio and Mizu's one and only spar is a friendly match; Mizu is smiling and having fun while he grows increasingly frustrated. Taigen and Mizu's last-seen spar is a playful wrestling match; both him and Mizu are having fun and laughing.

Mikio cannot deal with Mizu being better than him, so he scorns her and walks off, avoiding her thereafter. When Taigen cannot deal with Mizu being better than him, he follows her to observe her moves and continues training in hopes to eventually beat her. After being bested by Mizu once, Mikio leaves her and sells the horse he'd previously gifted to her. After many times losing to Mizu and fighting alongside her, Taigen commends her and admits she is better than him.

13. When Mizu pins them down in a friendly spar:

Mikio sees Mizu's whole face objectively. Taigen stares at Mizu's mouth and eyes.

Mikio gets angry when she kisses him, throwing her off of him and snapping at her, calling her a monster. Taigen gets aroused, apologising, so she pulls herself off of him.

14. Mizu's blue meteorite sword is a reflection of her soul. She believes most are undeserving to face it, let alone hold it. And on that note:

Mikio is the first person (chronologically) that Mizu fights against using her sword. Taigen is the first person (we see on-screen) that Mizu fights against with her sword. Mikio is the first person (chronologically) to ever hold her sword, as she passes it to him, letting him wield it. Taigen is the first person (we see on-screen) to ever hold her sword, as she passes out, and he picks it up and carries it for her.

15. Then, last but not least, in Fowler's fortress, when she is drugged and in pain, she hears Ringo's voice in the dungeon. She then follows it to an open cell:

Mizu first sees Mikio as a hallucination, the sight of him haunting her and causing her to lose her grip on reality. Her eyes glow a surreal blue to represent this. Her Mama appears then and says Mizu's name accusingly.

Mizu then sees Taigen, but he is real, the sight of him a relief and grounding her back to reality. Her eyes return to their normal blue colour to represent this. Taigen looks at Mizu weakly and says her name softly.

Then, later, when facing Fowler, her revenge awaiting her, she instead chooses to follow her conscience (represented by Ringo's voice in her mind), putting aside her vengeance for a time, in order to save Taigen.

So that's basically all the ones I've noticed so far, but even then, I feel there's already so much that forms a contrast between these two.

What makes it especially incredible about these juxtapositions is that Mikio was Mizu's husband, the man she had fallen in love with, the one person she had ever been intimate with, the man who made her begin to accept herself, to put down her desire for vengeance and instead live a life of peace and happiness.

So for Taigen to have so many parallels with him... Do you see what I'm saying here!

Not to mention that Mizu clearly already has some burgeoning attraction to him, as indicated by how she thinks of him when asked about her desires. And Taigen clearly has shown interest as well (see: him getting a boner after their spar, him holding her hand and telling her, "We're not done yet.").

And on the topic of speculating future possibilities of this relationship, this post by @stromblessed has pointed out yet another parallel between Taigen and Mikio:

Mizu promises Taigen to meet him for their duel in autumn. Mizu fell in love with Mikio and duelled him during autumn.

With all that said, I do believe Mizu and Taigen's relationship is definitely hurtling towards something. But whether they will actually end up together in a sustainable relationship and have a happily ever after? Well, that is a whole other story; we'll just have to wait and see.

[dandylovesturtles]

havin' all these Splinter and Leo thoughts. augh.

this is partly the fault of @/turtleblogatlast's post about Leo just wanting to make Splinter proud.

post-movie

...

Seven days post-invasion, and Leo is feeling (relatively) pretty good. Sure, he's still on a truly ridiculous amount of painkillers and he can't walk two steps without collapsing, but he's able to stay awake and talk to his family and considering where he thought he would be right about now, well... that's everything.

So yeah, he's feeling pretty good. He just finished his lunch of soup and a protein shake, warm and a little drowsy while he listens to April talk about some of the more ridiculous conspiracy theories that have started spreading on the surface. Donnie's tinkering with one of his smaller inventions while he listens, Mikey is nestled in Raph's lap, and everything is calm and cozy in their makeshift medbay.

And then his dad walks in and says, "I would like to talk to Blue, please. Alone."

And suddenly Leo doesn't feel so good anymore.

"Aha, wait," he says quickly, reaching out and grabbing April's sleeve just before she rises from her chair. "Whatever it is, you can say it in front of everyone, right?"

Splinter shakes his head. "This is a conversation I think it is best we have in private." He makes a shooing motion at the others, and April pulls her sleeve from Leo's fingers with a helpless shrug.

"See ya in a few, Leo," she says, then walks out. The others look from Splinter, to him, then back to Splinter, and one by one they each get up and shuffle out, too, with their own hasty farewells.

Traitors, every single one of them.

The door closes, and Leo finds himself alone with Splinter for the first time since coming back from Staten Island. Or at least, the first time he can remember. He was pretty out of it the first few days; most of what he remembers is muddled and confused. And embarrassing. He cried a lot more than he'd care to admit.

Splinter hops into chair April was sitting in and pulls it closer; he has to stay standing to be anywhere near eye level with Leo. He wishes he could read Splinter's face, but his expression is giving nothing away. Sometimes it's easy to forget he spent a not-insignificant part of his life as an actor, until something like this happens.

Leo decides to speak before he can. Head him off at the pass, or something.

"If you're going to yell at me, just remember my eardrums are already damaged."

Which is true - turns out being 1, too close to an exploding alien spaceship and 2, getting punched in the head repeatedly by an alien very mad about said exploding spaceship is bad for the ears, even when you don't have outer ears like a human. So super loud noises are a bad idea right now, and thus Leo cannot be yelled at. Flawless logic; maybe he can keep using that every time he gets in trouble.

For the first time, his dad's expression shifts, just a little. A deeper frown, a heavier set to his brow.

"You think I came in here to yell at you?"

Leo feels his stomach twist. Does he have to spell it out? "I mean, didn't you? That's usually what kicking everyone else out is leading up to."

"I see..." Splinter is still unreadable, looking a little too intensely at Leo. "And what do you think I want to yell at you about?"

He really does want it spelled out. Leo suddenly realizes that there won't be any yelling because this is his punishment: to admit everything he's done, to speak all his sins for his dad's ears. Lay it all out in his own tongue and show that he understands, really and truly, the depths of his screwups.

Oh, he understands. He understands it so well he may choke on the words.

"...For losing the key," he says finally, and it stings on its way out. He hasn't talked about it since it happened; every time he tries to say anything to the others, they shush him, saying, "It's okay, Leo, everything is fine now."

It's not okay, and everything isn't fine, and this is when he finally hears about it.

Finally, an identifiable emotion on Splinter's face: horror, dawning clear and present. And Leo doesn't understand that, because doesn't Splinter know he lost the key? He was there for that conversation, wasn't he? Leo's memories of that day have grown a little hazy between the drugs and the recovery and the fact that thinking about it for too long makes him go fuzzy around the edges, but he's pretty sure he remembers Splinter being there. He flicked popcorn at Leo's head. He probably should have done more than that; maybe then Leo wouldn't have made such a mess of things.

Splinter doesn't say anything right away, just stares at Leo with that horrified expression, and the silence is so scary that Leo starts filling it without even thinking.

"I was kidding about the whole... not yelling at me thing. I know I deserve it. I mean, I was fooling around, doing what you and Raph told me not to do, and I doomed the whole world doing it! Some leader I am, right? And I know I'm not exactly your favorite son to begin with, and that's fair, because I keep letting you down, but this is definitely my worst screwup to date, and you yell at me when I don't close the fridge door all the way or throw balls around the TV room so why wouldn't you yell at me for destroying the planet, right...?"

His voice peters out at the end, too hoarse to continue. That's the most words he's strung together over the last week, and for the first time he's glad for his injuries, for stopping him from spewing any more embarrassing word vomit just to fill the air.

Splinter is still looking at him with that same horrified expression. If anything, he just looks more upset, which means that Leo at least accomplished his goal.

Leo's waiting for the yelling to start, but when Splinter finally says something, it's, "You think I have a favorite son?" throwing Leo for a loop once again.

"Uh, yeah?" he says, because that's all there is to say. He's always assumed it's Donnie - the "funny one", the one who fixes Splinter's TV when it's broken, and the only one of them likely to get a real job and move out of the house. But even if it's not Donnie, it's gotta be Mikey, or Raph. His brothers are amazing and talented, and all Leo has ever been good at is winning the Lair Games.

Splinter closes his eyes a moment, and when he opens them his face moves back to a more neutral expression. "I do not have a favorite son," he says, firm and serious. "I love all of you just the same."

Leo thinks that can't be true - if it is, he feels bad for the other guys. But he doesn't think he can just say that, so he says, "Yeah, Dad, of course," instead.

Splinter looks a bit crestfallen. "You don't believe me?" he asks, and shoot. Leo has no idea how to respond to that.

"...I know you love us," is what he says. And that's true, it is! He just doesn't know how his dad could like him as much as the others.

Splinter's expression turns sad. He reaches out and lays a furry hand on Leo's arm, careful of his bandages and all the many wires he's hooked to. "You think you doomed the world?"

"I lost the key," Leo repeats. "It was all my fault. It's why I had to..." His voice fumbles over the words, and he revises. "It's why it had to be me."

Splinter's mouth twists. He climbs out of the chair and onto the mattress, careful not to jostle Leo as he settles down on his knees.

"Blue," he says softly, gently palming Leo's face this time. "None of this was your fault."

Leo's stomach twists again. He thought he was being punished, but somehow this is worse.

"Yes it was," he argues. "I lost the key," for the third time, "and... and I ignored the order to retreat, and got Raph captured, and and and, I ignored the guys and tried to force our way into Metro Tower, and it was me who told Donnie to try to fly that stupid ship, and because of me Mikey had to-"

"Leonardo," says Splinter, sharp, and Leo goes silent. His dad looks devastated, but he keeps his hand on Leo's cheek, brushing with his thumb, and for the first time Leo realizes his skin is wet. Splinter sighs heavily, his entire frame seeming to droop with the weight of it.

"Leonardo," he repeats, softly this time. "You did not doom the world."

"But-"

A furry finger on his lip quiets him.

"You did not doom the world," Splinter repeats, once again firm and serious. "You did not take the theft of the key seriously, because you did not know what it was, the threat it represented. But it was the Foot Clan who chose to use that key, fully knowing what evil it would unleash. That is not on you, my son. The responsibility falls squarely on them."

Leo doesn't know how much he can believe that - isn't it their job to stop the Foot Clan? But Splinter looks so sure as he says it, and his hand is still tender on Leo's cheek, and for the first time a little bit of doubt seeps into Leo's heart, telling him that maybe, just maybe, this wasn't all his fault after all.

But still...

"Even if that's true," he says, with heavy emphasis on the if, "everything I did after that-"

"You are young," his dad interrupts. "You are inexperienced. You are learning. And the amount of growth you showed us all, even over just that one day... You shined as brightly as I know you can."

Again, Leo's stomach does a twist - but it's a happier one, this time. Splinter's voice is sincere, leaving no room for doubt, and Leo can almost, almost believe that this is true, that his dad has believed in him from the very beginning. Has seen something in him, whatever it was that led him to make Leo the leader, that lead to him putting trust in Leo.

He just wishes he felt like he'd done more to earn it.

"You did not doom the world," says his dad again. "You saved it. But, it never should have been like that to begin with. You should never have been facing down such a fierce foe so young, especially as alone as you boys were. And you-"

His voice becomes choked up, and Leo's heart lurches.

"You... sacrificed yourself to save us all. I... I am your father, and I... could not protect you."

He's crying. His dad is crying, and Leo feels panic, reaching out to try and stop this.

"Dad-"

"No." Splinter holds up a hand, giving his head a hard shake. "All I ever wanted for you boys was to save you from the sacrifices asked of our family. And yet I could not - and for that, you paid dearly. You almost paid the ultimate price, and we almost lost you forever."

A thick knot forms in Leo's throat, and he can barely get out, "I'm okay, Dad, I'm here."

"Yes you are." Splinter squeezes his shoulder desperately. "You are here. You are safe. But that doesn't change that it should not have been you to begin with."

Leo watches in dawning horror as Splinter steps back, then kneels over on the mattress.

"This is why I came in here, Blue. Not to yell at you. To apologize."

He presses his forehead against the sheets.

"I am so sorry that I could not protect you."

He's crying. So is Leo, openly now. He reaches out for his dad, fumbling for his shoulders and urging him to straighten up.

"No, Dad... This wasn't your fault!"

"But-"

"No! It was just... it was just a really, really shitty thing that happened, okay? It was the Foot Clan, and the Krang, but it wasn't- it wasn't..."

Splinter raises his face and looks at him, and suddenly the words he's been trying to get Leo to believe for the last several minutes barrel into him and Leo crumbles.

"...I didn't have to do it," he says.

"No." Splinter gets up, coming closer. "You had nothing to atone for. You did it because you are brave, and you are kind, but this was never yours to fix."

Leo sucks in one harsh breath, then another, and then he's sobbing harder than he ever has in his life, and his dad hugs him tight, his arms warm and his fur soft where Leo buries his face in his shoulder.

All the feelings he's pushed aside - the ones he didn't think he had the right to feel, because he'd had to do it, he had to make up for his mistakes - bubble over, gripping him with grief and despair but also relief, that he's still here to cry and be hugged by his dad.

"I was so scared."

"I know."

"I thought I wouldn't see you guys again."

"I know. We thought we had lost you, too."

"I just... I didn't know what else to do... I couldn't let him... I couldn't..."

"Shhh, it's alright. It's over now. We're all safe."

Leo hugs his dad back, as tightly as he can with his injuries, and sobs and sobs until he's all out of tears. And all along, his dad tells him he is safe, he is good, and he is loved.

Later, Leo feels even better than he had before.

[paintpanic]

Res AU Joronia drawings. Character rambling and bonus doodles under cut.

This AU takes place a good while after the events of Triple Deluxe happened. Since then, Taranza's mostly recovered mentally from everything. He was able to move on from his grief and (somewhat) forgive himself. Now that Joronia's in his life again, seemingly back to her former self, some of those wounds he'd thought were fully healed have started to ache again. He still feels ultimately guilty for what happened to her.

He's thrilled that Joronia's been given a second chance at life, but is somewhat wary deep down. This feels to good to be true, that she's just back with seemingly no strings attached. The other shoe could drop any day now, and he could lose her all over again. Fearing this, he wants to make the most out of what could be a short time to be together again with his friend.

Joronia senses that there's a distance between the two of them now that wasn't there before. It shouldn't be surprising; he's probably still hurt from what she did. Other people definitely are. She's determined, though, to work hard to make it up to everyone she's hurt, and to prove to them (and herself) that she's not really like that, that she's capable of being better.

The Mirror's influence twisted her mind and her perception of reality. It made her feel like she was inadequate, and that everyone else were enemies to be subjugated. Now, she's supposed to be normal and better, but she still feels like there's something wrong with her head. She still doesn't feel good enough, and it still feels like everyone hates her. It's hard to trust herself. She's not sure if it's some lingering effect of the Mirror, or if there's just something inherently wrong with her now. She's scared.

She's afraid that something will happen, that she'll revert to how she was as Queen, and that she'll hurt Taranza again. Someone who'd always helped her, who'd stuck with her even when she was absolutely horrible to him, and who's kindness she's relying on again now, staying at his home as she worked on getting her life back together. She's a burden on him, and she always has been. She hates it.

Still, her deepest, most selfish wish is that they could be real friends again.

---

These two need to have a long, honest discussion about their feelings toward each other and themselves. Both of them are absolutely terrified about that prospect, though, because they each think that the other secretly resents them to some degree. If they actually talked through it, they'd quickly realize that they both want the same thing.

[temtamtom]

Please ignore the fact I accidentally posted this and then deleted it okay anyways

These two have had a myriad of personal conflicts over the years. They had a difficult relationship as children and then spent the rest of their adolescence and early adulthood separately. They interacted, of course, and they saw each other as brothers, but that was it. We are related by blood, but I don’t see you as FAMILY family. If that makes sense. But if I had to pick their biggest fight, it would be:

Tl;Dr: Emotions were running high and unchecked after Italian unification, leading to a blow-out fight when Romano announced that he was moving to America for a little while.

I need to provide some context and explain my headcanons, so this might be a long one kjdfgk I hope it makes sense! Also, a warning because my Feli isn't all that canon-compliant ;; but I think he's a bit more accurate to the northern attitudes of the time

There's a common headcanon within the fandom that Romano was entirely against unification and resisted it from the start. I think this is a bit of an inaccurate and an over-simplified perspective. By the early and mid 1800s, there were many instances of uprisings against absolutism in Southern Italy, which strove for more liberal ideals. The revolutionaries wanted a constitutional monarchy, or even a republic. Through their uprisings and the creation of a secret, revolutionary network across the peninsula, revolutionary ideals began to spread throughout and inspire others.

This is of course a gross oversimplification of the history, but I’m bringing this all up to illustrate the idea that Romano was starting to grow tired of the “status quo”, and was desperate for a change. Unification wasn’t necessarily what he had in mind at first, especially when we consider that he and Feliciano were pretty distant at this point in time. However he soon got swept up in the fervor and optimism of the patriots, and he began to believe in their vision. He believed in a future where he could finally be truly independent- free to call the shots and live his life freely without the worry of being tossed around and claimed by other European powers. He believed in a future where, maybe, he could have a family again. To fix what was broken between him and Feliciano. Romano may come across as quite crude, but he’s a very passionate man. Someone who loves and craves so deeply, to the point where his heart/imagination can far outrun him.

So imagine the betrayal felt when he realized that unification wasn’t working in his favour. He was practically discarded, and seen as “lesser than” his northern brother. His brother, who treated him as an oddity, and had an air of moral superiority over Romano. They kept each other at arm's length, as though they were roommates forced to endure the other, rather than two brothers sharing a home. Disillusioned and hurt, Romano felt like a fool for believing in a dream that didn’t come true. 

Feliciano struggled with many emotional grievances, which Romano wasn’t privy to. He lost his long-time husband/partner just a few decades prior, and instead of taking the time to confront the grief, he picked himself back up and turned his attention towards independence and unification. He threw himself head first into uprisings, wars, political negotiations, and rallies- all to achieve this patriotic goal of forming “Italy”, and perhaps to distract himself from the loss (though he won’t admit it). He also thought, maybe foolishly, that his life would get better after unifying with his brother. That he would have a family again, that he wouldn’t feel so alone, that he would love and be loved and they could hold hands and skip happily into a field of sunshine and rainbows and everything would be okay– 

What should have brought them together, they both realized, seemed to drive a deeper wedge between them. The reality was that they were incompatible. They couldn’t stand each other. To Feliciano, Romano was nothing but an uncivilized brute who only complained and never wanted to work, and lived to insult him every day. To Romano, Feliciano was a pompous, stuck-up elite asshole who refused to acknowledge the very real pain and disillusionment of his new, southern citizens. Both brothers felt as though everything- all the blood, sweat, and tears- was just a massive waste.

As you can imagine, it was a VERY tense and unhappy household for many reasons. They began to argue. A LOT. Fights that were far uglier than the scraps they had as children. It got to a point where they couldn’t even stand to be in the same room as each other.

It all came to a head, however, when Romano announced that he was leaving. He had his motives, reasonable ones too, but Feliciano didn’t see that. All he saw was his no-good, lazy brother abandoning him and their country after all the effort they put into creating it, leaving him with all the stress and work while he galavants off to America. This was the straw that broke the camel’s back. The announcement devolved into an explosive fight. Things were said that, to this day, haven’t been fully forgiven. With all the anger and tension, they probably threw in a few good punches as well. Romano eventually left, and Feliciano thought to himself “Good riddance”. However as time wore on, they couldn’t help but think about the other, wonder how they were doing, and reflect on how they parted ways. 

Things were still a bit tense when Romano returned, and they didn’t acknowledge the fight for a while. However, they began putting a bit more effort into rekindling their relationship. It took some time, and it wasn’t an easy journey, but they’re in a much healthier place now than before. They’re glued at the hip, they share everything, they know every little quirk and detail about the other, and they’ve begun to love each other as family (though teasing and head-butting is a common occurrence). 

If you asked them back then if they would go through unification, they would be incredibly iffy. But if you asked them now, they would likely say yes. They wouldn't trade their brother for anything in the world.

[windcarvedlyre]

Thinking about Venti's role as an archon and how he might be doing his job- as Celestia intended- better than we think.

Archons, in Gnosticism, rule over the material realm and prevent souls from leaving it. Barbatos, in the Ars Goetia, "reconciles disputes between friends and those who hold power".

Everything we know about Venti implies that he hates Celestia and opposes all forms of tyranny, but if their goal is to keep humanity from advancing, realising the truth of the world and taking actions that could threaten the status quo...

...isn't the best way to prevent rebellions and slow progress to make the people you rule content with what they have?

Venti is all about making his people's lives leisurely and seemingly free (I'll get to that in a second). It's in his gemstone quote, the thing which summarises his approach as an archon:

"Still, the winds change direction. "Someday, they will blow towards a brighter future… "Take my blessings and live leisurely from this day onward."

We see this reflected in Mondstadt's culture and economy. There are still hardworking individuals in the Knights of Favonius, the Church of Favonius and the Adventurer's Guild, but this attitude isn't universal even within those organisations and the rest of Mondstadt's people generally have a slow, relaxed approach to life relative to other nations. They haven't produced any internationally notable industries outside of alcohol, and why would they? They have everything they need, graciously provided by the anemo archon himself*, so why strive for more?

This has already left them vulnerable to the whims of more powerful nations, incapable of meaningfully opposing the Fatui without inviting consequences they can't handle.

*Also see Jean's story quest for a scaled-down version of this. Mondstadt's general population relies on her hard work a bit too much and she enables them.

We also see Mondstadt have a softening effect on outsiders multiple times in-game. There are at least three cases of people questioning their life choices because its people and/or scenery are that nice. Two are branches of hangout events, one is a soon-to-be-ex treasure hoarder chilling on Cider Lake's coast. I've joked that Mond is a lotus eater hotel scaled up to a nation based on this, but what if that's somewhat intentional?

But why would he do this?

It could be an unintended side effect of efforts to improve people's quality of life. He was allegedly naive enough not to forsee the aristocracy situation, after all. But at the same time... he's a god of freedom and hope in a world where his people have no hope of freedom.

-Harmost's Notes (II), Remuria.

He knows what happens to human civilisations that advance too far and attempt to rebel against this world. He likely knows a god much like him, themed around music and desperate to free his people from fate, tried and failed horribly. He lives in the shadow of a celestial needle. The Cataclysm would only reinforce this perceived futility of resistance. He still hopes for a brighter future, but he may be pinning all of his hopes on a descender taking pity on Teyvat's people and choosing to help them. To quote the description of Mondstadt Statues of the Seven:

A monumental stone statue that watches over Mondstadt. Legends say that it was sculpted in the image of the Anemo Archon. "Seeds brought by the wind will grow over time." The statue silently anticipates the arrival of a noble soul to arrive, while thousand winds of time will soon unfold a new story...

Apart from that, what else can he do besides be passive and complacent? Besides make his people comfortable and hope they don't rock the boat too much before liberation is actually possible?

And the thing about resolving disputes with those in power worries me. It could just translate into his pacifism, but it could also mean he's less willing to act against Celestia than we'd hope. Why did the Tsaritsa, the only archon named after a saint and willing to take a stand against Celestia, fall out with him? He has reasons to be pissed at her methods but I suspect that won't be the only factor.

All we can do is wait and see.

[0ann3]

"It's been a long time, hasn't it friends?"

"Or maybe our last meeting was only yesterday for you-"

[just a heads up but I got a whole lot of text below for some thoughts/ramblings and headcanons of the event lolol]

Ngl, I was kinda expecting that he's dead since he did give off some vibes that he's from a distant past

But I was still hoping that I was wrong and maybe he's really just from a distant or isolated island, and he'll pop up at the end of the story as one of the visitors during the Halloween event KAJSHDAKSLDJH

That or maybe he got reincarnated

The idea of Skully as one of the ghosts in Ramshackle is so nice and sad at the same time though. Like imagine if he's just hovering around the academy for years and then after some centuries or so he senses some sort of familiarity with certain students and just watches over them. Then when Yu came around he got the urge to protect them and stick around them the most.

So maybe when the students got suck into the book he also got dragged into it and he gets to see his younger self and the whole event that happened as a ghost, which is why when they finally got to leave he gets to remember the whole thing. Then he kisses everyone like he did the first time around as another greeting because he finally knows why they felt familiar! (Although they don't remember he doesn't mind-)

And he did it as a 'it's nice to meet you in the real world this time' kind of thing

...

Anyway

This is why I might try to be on a lookout for some Oc x Skully or Yu x Skully because I think it has so many potential and possibilities with this ending (Reincarnation AU? AU where Skully is a ghost in Ramshackle who's looking out for Yu and is the one who protects them, which is why they leave fights unscathed while everyone just thinks they're lucky? Modern AU or one when they meet once Yu is able to return home from Twisted Wonderland?????) 😭😭😭 His ending was kinda bittersweet ok, I want to see things turning out in a happier note

[kaseyskat]

okay since they said that the san diego show is gonna be the only one Not recorded, i'll do my best to summarize the show for y'all!!!

-glenn's dad fact: the glenn close trio instagram (? i think?) is full of pictures of glenn standing next to a picture of the real glenn close

-darryl's dad fact: he and carol go to san diego very frequently because darryl likes the breweries and carol likes surfing! they have not "had sex" there once, but they HAVE made love (statements that made me cringe out loud)

-henry's dad fact: he and mercedes make a fake san diego burrito for themselves and the twins. it sounds awful.

-ron's dad fact: he thinks san diego is a type of eggo waffle

-the prompt that we rolled was called DADDY BABIES. the plotline? the dads (and paeden) went to the dimensional witch tilt toblerona to ask her to give them the strength of their youth back so they could find their kids. instead, tilt turned them into babies.

-the dads still have all of their memories of who they are as people and they can talk to themselves and to paeden (tilt does not understand them though, tilt only hears baby noises) but physically Being a baby affects their mental state just a bit

-ron wanted to stay a baby forever. henry tried to explain the concept of ageplay to him, darryl got confused thinking that ron just wanted to HAVE a baby like with samantha, henry had to explain fetishes

-during the baby section, henry is the most "adult" and ends up having to corral the others. darryl is a close second, but glenn and ron both Suffer Immensely

-while tilt is making. applesauce? the babies scheme on how to escape, involving an elaborate scheme in which henry uses mold earth on playdoh to make fake versions of themselves blue in the face and choking in a plastic bag and ron throwing his voice to sound like a baby crying. beth made the worst fake crying noise ever but then also gave us an INSANE dolphin noise when anthony called her out on it

-(also the dads had to roll object permanence to see if they thought tilt was gone forever when she was out of their line of sight. glenn failed this check very badly. darryl even played peekaboo with him to demonstrate object permanence and it failed. anthony made a horrible horrible joke that glenn's not a bad parent he just has bad object permanence even when it comes to nick)

-somehow this works? they trap tilt toblerona (glenn using illusory mind prison to make tilt think SHES the one choking on a plastic bag, henry casting stone wall on her to build a lego wall around her and effectively cask of amontillado-ing her) and then wander around the house looking for a way out.

-they realize they need tilt's key to escape, but first they watch an episode of bluey! henry is the only one who saved on a roll to Not be sucked into watching bluey and ends up unplugging the TV and going on a tangent about how screentime is bad

-(which is really fucking funny because he very explicitly says "lark and sparrow are well behaved because we set boundaries and have them play outside instead of using screens" and we all know how lark and sparrow are like. not???? not well behaved. henry im so sorry to break this to you but they are not well behaved-)

-anyways they get back to tilt, find and steal her key, and then open the door, promptly getting sucked through dimensions

-(darryl thinks for a second that he's in the rapture and tries to baptize himself in case his baby form isn't baptized. henry tries to help but goes on another tangent and they miss the opportunity)

-when they awaken, they find themselves now as teenagers in a classroom! and they see a GOTH PUNK SEEKER OF DARKNESS (phrases that made the entire crowd erupt in screaming, myself included)

-this time, darryl is the most stable of the dads! glenn coming in second, and then ron and henry were both. very teenager.

-darryl immediately offers to play ball with link. link is interested but ultimately gets shot down by tilt, who explains that they are in interdimensional detention forever

-glenn and taylor immediately bond over how cool they are

-scary asks ron if she can copy his math homework because he seems smart with a tie. ron agrees to let her but is very nervous about it (we later find out this is because he is not very good at math)

-teenage henry is a fucking delight yall. he sits there staring out the window at the trees and writing poetry (with long hair! long hair teenage hen is real!!!) about the trees and enjoying nature

-scary has to roll not to fall in love with him the second she finds out that he writes poetry (she fails)

-normal tries to bond with his grandfather. henry brushes him off entirely. its heartbreaking and also hilariously funny

-normal goes fucking apeshit yall. he gets so fed up of henry ignoring him and the others not talking to him and being trapped in this small room that he takes a crossbow and threatens tilt with it. she calls his bluff and he SHOOTS HER?

-at least, he tries. she catches the bolt and then tells him that if he's serious he needs to actually stab the bolt into her heart himself. he does. he's unhinged.

-tilt tries to explain her entire sob story backstory. darryl interrupts to boo her and call her a loser.

-glenn and taylor throw a desk out of the window to break it open. going out the window Will Kill You.

-ron paints the window like a slip and slide to try and trick tilt into going into it. it doesn't work. however two guards come in and it DOES work on one of the guards

-the other guard eventually gets physically thrown out of the window by taylor, who proudly declares that this will not affect him at all

-henry goes to talk to scary. scary gets excited, but then henry just asks if she thinks that teen darryl would go out with henry because even though he's "not henry's type", something about him is captivating. scary is heartbroken.

-darryl overhears this and rejects henry on the basis of him still dating carol! but offers to set henry up with carol's friends.

-glenn and taylor use awful fireworks to blind tilt, the other guard (that taylor kills), and normal since he was in range.

-scary tries to be bitter and calls henry out for being blind, but henry wasn't hit with the spell and immediately says some fakedeep shit about seeing more than most people do. it is insanely funny i cannot stress how funny teenage henry is

-link is now convinced that public schools were a mistake and he needs to leave Right Now. he rolls a nat 20 on taking the key, but uses it for himself to fucking dip. he just ditches them. he bolts for it. normal even tries to give him a high five and link completely goes NOPE.

-when nobody else has another form of escape, henry takes out his sketchbook? that apparently he always has as a teen? and uses summon creature to draw a boar and bring it to life. the boar smashes through the door and now they are saved!

-it is here that it is revealed this was all a dream but specifically a dream set pre-canon. darryl makes a comment about link being a narc. glenn tells taylor to never change because he's perfect exactly the way he is. scary tells ron that he sucks at math (and ron is very confused about scary's existence he doesn't know who she is).

-HENRY. tells normal to be the best version of himself. AND TO HELP HIM WITH THAT. he draws. TEENY. TO GIVE TO NORMAL AND INSPIRE HIM TO BE HIS BEST SELF. and that is how normal came up with teeny the teen as the mascot of teen high

-it was such a fun show, i'm so glad i got to attend! shame that it isn't being recorded

[purpleelephantsocks]

Thinking about how in the nest Kevin used to distract the ravens from Jean being injured by being a raging bitch. Also how when the FBI showed up in LA after Jean had gotten the news about Elodie, Neil kept the attention on himself by being an insufferable little shit so Jean could hold it together

[red-revival]

Pristine cut Fury is hitting everything I love about body horror and it's hitting hard... I'm gonna go on a long ramble below the cut. Not only did this update give us so much more wonderful gore, it also goes into the more psychological and emotional side of body horror that I love so much.

I'm so happy this exists, and that I get to see the same feelings I have about body horror in someone elses work. This is beautiful.

I got obsessed with body horror after developing several chronic illnesses one after the other. It was therapeutic. This new side to the Fury is perfectly reflecting everything I love about body horror.

Like yeah there's the gore and blood. But there's also the fear of losing the people you love because you can't recognize them or they cant recognize you anymore. There's the loss of autonomy and having your own will, living a life you can't escape because you weren't given a choice. There's the identity crisis, not knowing who you are without some kind of pain or complication. There's the ways that warps you and how you see yourself, how abuse and being trapped and hurt not only changes your mind but the constant living in survival mode physically warps your body.

Chronic fatigue and pain can develop because of trauma. It turns out spending years in survival mode with almost no chances to properly rest causes damage to your body, sometimes to your individual cells. Sometimes you don't ever recover from that damage.

And then there's the choosing to accept it. Coming to terms with being different, with having to live a different life that's not the one you were looking forward to. Accepting that you've changed, and the people around you have changed, and that the change is part of living. Accepting that you can't do what you used to be able to anymore. Accepting that you're nothing like the you that you recognize, and that maybe thats ok.

Moving on from the life you wanted and learning to live with what you are now.

Seeing all of these reflected in both the princess and the long quiet felt like being told I wasn't alone anymore. Like being really seen and understood for the first time since my health spiralled.

There are people like me, just as lost and trapped in their bodies as I am, just as traumatized by their health. Enough people like me, like us, that these thoughts and emotions are reflected back sometimes.

And the chapter ends like it always does. When everything is quiet again, you go to wipe the mirror clean. This time, it doesn't disappear.

This time, you can finally see your reflection staring back at you. You've grown.

[b4kuch1n]

wizard of both ways

[herefortheships]

Do you think Dolores still likes him? he might like her a little he wears her ring so it might mean something

Personally I don't think either ever even truly liked the other to begin with. There was passion, yes, but it was all wrapped in lies.

Delores took a man she found scavenging around, who was likely struggling in life and in a very vulnerable position, and decided to prey on him to perform her ritual. As for Betelgeuse, he was approached by this gorgeous, dark, beautiful lady one night, and she mesmerized him. Of course he might have believed himself in instant love with this woman who so easily offered herself to him. I headcanon that Betelgeuse had always craved falling in love and being in love with someone (he's definitely a romantic underneath it all), and that kind of love was something he never had the opportunity in his life to have, until he met Delores.

There is a possibility that, while she was using him, he did become infatuated with the idea of her. And notice I said the "idea of her", because Betel might have only "fallen" for whoever Delores pretended to be to lure him into her trap. I honestly don't think it took too much for Delores to convince him to marry her; as I said, this man craved love, and here she was, a gorgeous woman so easily offering it to him.

At the end of the day, though, Betelgeuse was just being used and deceived, and Delores had only a little fly caught on her web (poor Betelgeuse, tbh).

That said, he never truly loved her, and I think it's clear with what the story has shown us about him and how he acts around someone he truly is in love with. Betelgeuse would have been devastated and betrayed beyond words by Delores poisoning him, if he was in love. To the point he'd have collapsed there on the spot just staring at her, no doubt. He wouldn't have reacted by hacking her into bits. The reason I can conclude that is by comparing his behavior toward Delores with his behavior towards Lydia in a moment of betrayal.

Consider how he didn't become vengeful of Lydia when she didn't marry him the first time, and completely allowed her to banish him this second time around (please he tried nothing to stop her saying his name), and didn't force her into anything; he looked betrayed and sad, more than just angry, and he didn't do anything to harm her as she sent him away (even cracked a joke before going poof back to the Netherworld). I make this comparison because this movie made it very clear that Betelgeuse truly is in love with Lydia.

As for Delores, in the afterlife she does appear to be desiring Betelgeuse romantically (the way she behaves and calls him her beloved, was jealous of Lydia, etc), whilst still being after him for revenge. He did take her immortality away from her that night when he didn't allow her to finish the ritual. I always say she "fucked around and found out", with Betelgeuse. He hacked her into pieces and she never got to complete her ritual, so her soul is stuck in that mode; her drive as a spirit is to get Betelgeuse and finish what she started. Is there love underneath that? I don't think so. Maybe some dark, possessive desire of the "only I can have your soul" kind. But not love.

Whatever romantic inclination she has towards him might come from a ghostly attachment she might have around the events of her death; she died on her wedding night, so she's stuck as Betelgeuse's dead bride as a spirit. But does she have true romantic love toward him? I don't think so.

Betelgeuse clearly wants nothing to do with Delores. As for the ring on his finger, I have a theory about that which I wrote about in this post. To summarize it, he might just be bound to the ring as his ghostly attachment, due to having died a cruel death on his wedding night; it might be the symbol of his curse. Read the post if you want to know the long version.

I hope this answers the question and I'm sorry I took so long to answer! There are many questions still in my inbox so it's taking me a little time but I will get through all of them, promise. 💙

[secriden]

love sea episode 2 rewatch thoughts:

in hindsight, this opening should've clued us in that this episode was going to be horny as fuck.

ok so if episode 1 was about establishing mahasamut, i think the purpose of episode 2 is really to give us a much more nuanced introduction to tongrak. what's fascinating is that the show chooses to impart this insight to us through a rather unusual medium: sex (and, specifically, tongrak's attitude about sex).

we open with kinky kinky beach sex and it tells us that tongrak is impulsive, hedonistic, and tends to give into the emotions of the moment (something that, as the series develops, he does with increasingly self-sabotaging results; eg. when he lashes out at mahasamut after the 1st run in with prin or when he runs off to appease jak when he gets fearful in episode 9).

it also tells us that tongrak is very comfortable with his physical wants and needs. sure, mahasamut kinda flusters him because he awakens desires that are more intense than he's is used to, but tongrak's still grounded enough in his sense of self that he can roll with it pretty quickly and becomes an active, willing, even enthusiastic participant. (it's not going to be his physical desire that drives a wedge between them; its going to be the emotional connection that ends up being terrifying to tongrak.)

this episode also lays a ton of groundwork to set up why and how intensely mahasamut and tongrak are drawn to each other.

a lot of it, early on, is purely physical.

mahasamut and tongrak clock that they're compatible in their (D/s) kink immediately and they embrace this with gleeful abandonment. other people have made this point a lot more clearly than i could ever hope to (see @williamrikers excellent analysis of mutrak's kink dynamic), so i won't belabour the point, but i would like to point out how thoroughly the show wants the audience to know that these two are a perfect match physically and sexually (specifically with their particular kinks) and that they are incredibly comfortable with that.

(an aside: one thing i adore about peat's portrayal of tongrak's submissiveness in the beach scene is the way he starts out being the initiator in the kiss - in the gif above, it's tongrak that grabs mahasamut and yanks him into the kiss at first - but once its clear that mahasamut is on board, tongrak is almost constantly angled up, head tipped back, responding to mahasamut's cues but making no attempt to direct whats happening. there's so much surrender in the pliant way peat holds himself as they kiss and the way he goes from pulling mahasamut into the kiss to just clinging to his torso as he lets mahasamut take control. even when he reaches for mahasamut's dick, the second mahasamut pins him down and gives him an instruction, tongrak makes no attempt to redirect and just goes with what mahasamut wants. there's just such great detail in this portrayal of surrender.)

but what makes this encounter different (from the many, many other ones they've both had) is going to be how neither of them were able to keep this connection as purely physical for very long. (this is what episode 3 is for, though, so lets put a pin in that thought.)

back to insights into tongrak's character: we also get an escalation/confirmation about how tongrak views sex (and relationships) as purely transactional. tongrak's entire backstory is grounded in the idea that 'everybody has a price' because that's what his parents showed him. to tongrak, every human interaction is about finding the right things to give (usually money in his case) to get what he wants and this has allowed him to rationalise that feelings and emotions (both his own/the other person's) don't matter.

tongrak firmly believes that as long as he's offering something of sufficient (monetary) value, he's perfectly within rights to demand what he wants without consulting mahasamut's feelings, wants, or thoughts about the matter. in fact, he thinks of mahasamut as kind of an object for his sexual gratification and/or convenience. this is why he feels no remorse about kicking mahasamut out after they have sex even though mahasamut clearly wants to cuddle/come down from the physical high together. the next morning, it never pings to him that he should be guilty about how he treated mahasamut.

(look at his face. he's such an entitled diva. i love him so much.)

not only is this attitude - in reality - a very inaccurate way to view human beings (because as a species we are creatures very much led by our emotions), but it is the source of tongrak's own dissatisfaction and unhappiness. he never acknowledges any of his own emotional needs and so cannot manage or address them in a meaningful or healthy way.

so to summarise tongrak understands and is comfortable with his physical desires but does not know how to even acknowledge his emotional ones whilst impulsively being led by them in the heat of the moment: already we can see that this is a recipe for disaster and tells an unspoken story of pain and trauma.

(i also want to mention how well mahasamut continues to respond to tongrak's specific brand of caustic entitlement. he doesn't bother making a big deal about tongrak throwing money at him, but he also never names a price for his 'services' either. he blatantly refers to tongrak as his "owner" but also makes it clear that it's not tongrak's money that's keeping him around, but rather mahasamut's own desire for tongrak. it's like he'll act in tongrak's play but he won't quite stick to the script either. its so, so effective because he doesn't trigger tongrak's fight or flight response but he's still undermining and proving tongrak's assumptions wrong at every turn. this is what allows mahasamut to worm his way behind tongrak's walls whilst simultaneously chipping away at them.)

one last little bit of (this time non-sex-adjacent) insight into tongrak: he has a great capacity for compassion. (which will, eventually, turn into love.)

mahasamut, at this point, is mostly just an incredible lay to tongrak. but already he shows care and concern for mahasamut that's separate from what he can offer tongrak. he's concerned at a (relatively minor) hint that mahasamut has been mistreated in the past and then again concerned that mahasamut will suffer the repercussions of any hit to his reputation. [note: this is informed by a backstory regarding homophobia on the island that's from Khom/Connor's story in Love Sand, but even without that insight we can see tongrak's concern is for mahasamut.] (again, this is something the show is setting up to callback to later when tongrak gets offended on mahasamut's behalf when he thinks the waiter made fun of mahasamut.)

these little glimpses give us such a contrasting perspective on tongrak compared to episode 1, where he was mostly just a rich, entitled, and fairly unlikable character. we're being shown that what we've seen so far is really a mask as tongrak's true character slowly starts bleeding through as he has more interactions with mahasamut.

and then the episode closes on heartbreak: You're aware aren't you? Love is just a figment of our imagination.

tongrak's expression right before he says this is filled with resignation and disappointment. he hates that he has to say it but he feels its his duty to burst mahasamut's bubble. he genuinely believes this and so to him he's just doing mahasamut a favour by telling him a Truth about life. for us, this is the final crack in the mask and we see just how lost and fragile and hurt tongrak truly is.

(and the way peat sells this part - the cold almost clinical look in his eyes when he says the line. the tiny pout of his lips like tongrak can't help but feel sad about it, even though he accepts it as reality. the cold, flat tone peat uses to deliver the line when tongrak's usually quite expressive and uses lots of inflections and intonations in his speech. ugh <3)

but this is also really important because this is why we, the audience, start to care about tongrak. mame takes us on this journey, sets us up to wonder why tongrak's the main character when he starts out kinda of awful and then shifts the ground out from under us by showing us his soft, wounded underbelly. we can't help but want him to be loved, now, and this is why we become invested in 'tongrak mahasamut'.