#i just can't fucking believe it

[cyclogenesis]

oh my god. oh my fucking god. everyone on this show is a lesbian. oh my goD

[brainrotcharacters]

the easy grip on the knife. the leg over the seat. the hand over the other seat. the sassy "come get it" move. you know the bitch is smiling behind that mask even as he said the line.

[paperlignes]

Will Graham and Hannibal Lecter Hannibal (2013-2015)

[propelbottle]

continued complaints. last semester during finals week, I asked all of my friends not to drink around me or ask me to parties so i could stay focused (distinctly remember asking "if you can help it, please don't even let me smell it" ​because i unfortunately have substance abuse issues which my friends know about) and she immediately (next day) walked into my boyfriend's room totally sloshed with a mixed drink from the best bartender on campus.

She doesn't drink other than that, by the way, is a horrible lightweight and a fucking pain to take care of when drunk (sleeping in random places and complaining nonstop), and talks at length about how much she hates the taste of alcohol.

[its-a-me-mango]

Hey guys do you like my SMG3 X SMG4 Song fanart?

[petricorah]

scenes i loved from Real Enough to Get Me Through by @marriedzukka <333 [ids in alt]

[saintaviator]

lineup fer an AU I've been slowly rotating in my head for a month or so.... sniles....

[BETTER LINEUP & FULL AU EXPLANATION HERE !!!!]

[whoslaurapalmer]

so in the book of bill there's a part where he gets a bunch of old ladies to make like, precious moments-style figurines of him called The Tri Angels Collection by PudgyLilDarlins, and I was immediately super amused and charmed by this one --

which I was then Compelled to recreate, out of model magic

[irenespring]

Really I think nothing shouts "my first Presidential election as a politically active person was 2016" more than the fact that when I feel hope and excitement for the future (possible President Harris) for more than five minutes I immediately get a crushing, all-consuming anxiety of "feeling this positive emotion now is going to make it so much worse when the worst thing possible happens" to the extent that I'll probably need my break-glass-in-case-of-emergency anxiety medication.

[biggest-gaudiest-patronuses]

putting my prediction on record now that the coming decade is going to see the rise of viral-marketed fancy at-home water filtration systems, driving and driven by a drastic reduction in the quality of U.S. tap water (given that we are in a 'replacement era' where our current infrastructure is reaching the end of its lifespan--but isn't being replaced). also guessing that by the 2030s access to drinkable tap water will be a mainstream class issue, with low-income & unstably housed people increasingly forced to rely on expensive bottled water when they can't afford the up-front cost of at-home filtration--and with this being portrayed in media as a "moral failing" and short-sighted "choice," rather than a basic failure of our political & economic systems. really hope i'm just being alarmist, but plenty of this already happens in other countries, and the U.S. is in a state of decline, so. here's praying this post ages into irrelevance. timestamped April 2023

[secriden]

God, Fadel is just so helplessly in love and so painfully resigned to his harrowing existence that it just fully broke my heart.

Because Fadel thinks that everything Style has told him -- every single facet of Style's frustratingly fascinating character, everything he thought he knew about Style -- has been a lie from the very beginning. In his confession, Bison never clarifies when he told Kant to find someone to pursue him, so Fadel is operating under the assumption that Style is, and has always been, a stranger to him.

Which is why we see Fadel constantly trying to 'figure' Style out in the episode. We see it right in the first scene when Style jokingly snarks, "I'm just curious to know what to expect. It's not like I can just turn the switch on, you know?" Now this should not have thrown Fadel at all, because the joke and suggestive tone and sassy little head flick is very much in line with Style's personality and way of communicating.

But Fadel literally just stops and stares at Style for so long that Style even starts looking a bit confused as he blinks back at Fadel. Fadel has convinced himself that Style is some master manipulator, and he's trying desperately to figure out what Style's plan is (escape? another betrayal?) that he misses the obvious answer which is that Style is just casually making a joke/conversation because this is just how Style talks.

Look at the way he turns so sharply with this startled, confused look (that starts to turn slightly wistful at the end) when Style calls him faen. This wasn't in the cards for Fadel and it's so frustrating and confusing (and painful) to hear Style throw the lie around so casually when it was something that mattered to him. Fadel thinks this is Style playing an angle but he can't see what it is or what Style stands to gain from it, and it leaves him utterly unmoored.

And in all this searching for hidden meanings and new deception, Fadel misses that Style is acting very much in good faith: the story Style comes up with about why they're looking for a missing person on their own like this (instead of, y'know, going to the police like upright, non-hitman citizens would've) was really good to explain their urgency/frustration and preempt any suspicion so that the auntie is unlikely to report them to the cops. Style is actively, genuinely helping Fadel out and using his excellent skills at playing Asian aunties to full effect for him.

Ugh, just look at how earnest and worried Style's expression is!? He totally disarms the auntie while I bet she would've been a lot more suspicious and distrustful if grumpy face on the left had come asking questions alone.

And Fadel literally keeps missing when Style is being honest. Or rather, he is wilfully refusing to believe or trust in that earnestness. Style hasn't made any attempts to run away or even hint to the auntie that he needs help, but Fadel won't trust him (because he's still, even now, waiting for the other shoe to drop; for yet another betrayal).

And Style keeps doing and saying things that don't make sense for the role Fadel's assigned him because why would a police informant who is just trying to get evidence of your crimes say or do any of this?? What does he stand to gain by keeping up the pretence? Does he know that every word that dangles his love like an impossible temptation is more knives in Fadel’s chest? But Style is all earnestness and something in Fadel can still recognise that and that’s why Fadel is constantly swinging from anger and resignation to agony and hope. Just the look of sincere, wordless, helpless bafflement on Fadel's face!? The way it screams 'Why are you doing this to me??!??'

I think this is why we get silly-goofy-funny music for the first half of Style's harrowing confession. Because this scene is shot from Fadel's perspective and he thinks, at first, that this is yet other play or ridiculous attempt to get a rise out of him. And it's not until Style starts talking about his mother that the comedy music finally stops and turns sad. Because this -- this is something that Fadel knows is real (at least he should know that Style's mom really did die when Style was a kid; that would've turned up in the background check), and it suddenly becomes clear to Fadel that this time Style is serious.

And oh, this shakes Fadel like nothing else has since Style said the words "I really do love you". Because Style gives this to him without any hesitation, with full vulnerability. Style is so openly, almost brutally honest in this moment. He's terrified and sad and hurting and it's horrifying because this sincerity forces Fadel to face the bitter truth that the journey his rage and his anger has set them on leads to only one conclusion.

Fadel simply cannot handle that right now. He's not ready to face the reality that his only real option, the only logical choice is that Fadel must kill Style. Because Style has now seen the full extent of his darkness; Style knows and has been hurt and shaken and terrified because Fadel has repeatedly threatened his life. Style's very existence is now a threat to not only Fadel and Bison's continued freedom but also his mother and Keen and anyone else that Fadel has ever been trained to put first.

Style lies next to him in bed, sobs wracking his body, and Fadel cannot let himself reach out because to do so is to acknowledge the truth of Style's words again. To do so is to open the door to trust, to admitting that he still cares about Style, that Style's tears still have the power to hurt him.

That Fadel is still so painfully, hopelessly, terribly in love with Style.

Because Fadel still remembers the last time he reached out and held Style in his arms whilst knowing that he was betrayed and that their love was a lie. Fadel remembers that even then, all he could do was cling even more tightly to Style and hope that the music and their shifting footsteps would be enough to hide his silent tears.

And just as his heart froze his finger on the trigger, so too does his fear hold him captive here. Because Fadel knows, he knows, he knows down to the marrow of his bones that if he allows himself to touch, then this time— this time, he won't be able to let Style go.

[marypsue]

Man, it's cool and all if you see a metaphor for marginalisation in the monstrous, and if you want the power fantasy of 'what if you could just eat anybody who threatened you/pissed you off'. Me too.

However, as soon as you start saying 'no, these monsters are a 1:1 on Specific Marginalised Group, and you have to treat them in the fiction like they are directly representative of real human members of the marginalised group', BUT you also, in the fiction, make them hurt/kill/eat humans? And then try to shame me, your audience, for noticing or engaging with the bit where they kill people, because you made them directly representative of a real-world marginalised group? You have lost me, and also, I think, the plot.

[vaguely-concerned]

obsessed with the fact that if you choose the last purple option in lucanis' romance chat before going off to tearstone island ("they MOVED the MOON!!!" still in the running for the best delivery in the whole game btw it's so ineffably hilarious to me), it's rook who flinches away just a little bit (if still warmly <3) and tries to change the topic and lucanis who's steady even though he's clearly still so afraid. 'don't tempt fate'/'*the softest fucking voice you've ever heard in your entire life* I don't intend to'. pain and suffering

lucanis looking at rook and helplessly, with a wonder that verges on despair, saying 'what would I do without you?' is soooo. especially at that point in the relationship and with what's about to happen. and for whatever reason rook can't quite stay with the fact that they do mean that much to someone, that they are so reverently and so groundingly 'I want to know what your favourite food is so I can make it for you any time you want it' everyday loved, it's too much and they have to deflect from it or the fear of losing it. can say some very interesting things about them, too.

(there is also a Pattern in that in my estimation lucanis frequently responds better to inviting humour than to earnest shows of concern -- it seems to help him be more engaged/online to be offered that more neutral space to meet you in and uh 'build' the conversation around something funny together than to be confronted with compassion head-on because that clearly mostly deer-in-the-headlights him, as we also see with some of the early flirt options haha. contrast this especially with bellara, who repeatedly gets genuinely upset if you try to make light of some pressing and painful situation she's dealing with (girl I'm so sorry I'm so jestercore and I canot change this but I'll try :'( for you). I think the times lucanis reacts negatively to the purple options are much more about you siding with other (frequently more charismatic lol) people against him or throwing him under the bus interpersonally -- like seeming to go along with illario's charm offensives, or telling teia lucanis didn't want to come help out with caterina's funeral and he'd just sit alone and brood about it if you didn't force him (???!!! hello??? unprovoked and deeply unkind out of left field???? this option is so fucking MEAN and for what fhdaskjfa you're telling me there's no way for rook to be a bit of a dick in this game?)

when it's one on one conversation he consistently seems to find it quite comforting, though... which makes a lot of sense because in many ways it's how he interacts with illario, just shorn of the resentments and hidden daggers and things they Do Not Talk About but really should beneath the levity that makes it sharp. it's gone ugly between them, but I think the affectionate instinct beneath is real and goes back a long way before all of that festered -- it's a form of play he does with people he loves. and uh. not really caterina huh. notably.)

[paperlignes]

hannibal lecter and will graham, hannibal (2013-2015) [x]

[coldflasher]

okay but re. that post about elseworlds!barry realizing that oliver woke up in bed with iris... if we coldflashed this, i feel that crossover event would have gone VERY differently because you're not telling me that leonard snart wouldn't have realized there was something wrong the second he woke up in bed with oliver queen

like picture this: you're leonard snart. you have years of trauma, hypervigilance, and experience surviving dangerous men (and, ultimately, being one). and you fall asleep next to barry, the man you love---who, don't get me wrong, IS dangerous, but is in most situations seemingly unaware of it; who appears nonthreatening and harmless unless riled, who, most of the time, just seems like a sweet and normal guy---and you wake up next to... something else. something that looks like barry, and sounds like barry... if you aren't paying attention.

this is a thing that walks without making a sound, like it has years of experience sneaking around and moves that way by default (like len does); it turns into a statue at the slightest sound and doesn't even seem to breathe. barry is always crackling with frenetic, fidgety energy, even when he sleeps; he has nightmares and thrashes until the covers are bunched up around him, but this thing slept stiff as a board, flat on its back without moving a muscle and barely wrinkled the sheets. this thing is wary, and quiet, and it moves like a killer, with a killer's instincts. and it's looking around their bedroom like it's never seen this room in its life

and len would KNOW.

[front-facing-pokemon]