#i love how intertwined they are

[glambots]

Kind of a personal HC, but I really like the idea that Moon speaks in "we/us" pronouns and Sun speaks with "I/He" pronouns. Moon is constantly of the mind-set that he's a part of the DCA and no matter how badly Sun wants to pretend that he can, he can't just erase him from existence. And Sun, of course, wants to do what he can to try and separate himself from Moon as much as possible. Sure, he's technically him, but He's the other him, which makes him not as bad, right?!

[catmask]

if you ask me. being a good storyteller and love are inherently entwined. you cannot tell a good story without loving the people in it and loving those you tell it to. because to tell a good story is to understand it and its impact. to love is to understand how something moves through others and how to deliver it the way it would be best received. and how to breath life into something that did not exist before. storytelling is an act of creation sure but i do believe in all creation, there is love too. that there must be

[hauntingofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[crescentfool]

judgement day 🌕

[ghoulie-gal]

The Lover's Lake has got me feeling things I cannot quite identify... LOOK AT THEM....

ONE OF THEM IS SO CLEARLY SOMETHING OTHER AND TWISTED AND STRANGE BUT. THEY ARE IN LOVE SWANS IN LOVE IN THE LOVER'S LAKE.... stares at the MC

stares at the ghouls

C'mon. C'MON

[strawbtea]

[spicyvampire]

4MINUTES (2024) EP. 7 // EP. 5

[aprilblossomgirl]

"I’m happy to have you all as my friends."

We Are (2024) | Ep.16 FINAL

[kernsing]

ORV as a story about fervid devotion through life and death/the desperate lengths taken to save the one(s) you care about more than anything/the paradoxically futile yet worthwhile endeavor to know and understand and love someone—all without ever developing into romance—is just so near and dear to my aromantic heart. Even past the grand gestures, the heroic journeys, the sacrificial acts, this one dream: “I want to buy a really big house and live together with everyone.” How do I encapsulate the amount of yearning inherent to my reading of that sentence. Like it was clawed out from the deepest parts of the soul. How wondrously heavy and real it feels, this hope for a future I can see much more clearly than any vision of dating/partnership/marriage.

I want to buy a really big house and live together with everyone.

Me too, Dokja. Me too.

[yellowyani]

through your eyes i see a smile you bring to me. to your joy, i tether. not a lot, just forever.

[legendoftherisingtide]

[intro]

Bakugou is a prideful, arrogant person. He holds himself to the highest standard; he is the best and everyone else is simply below him. Everything he has ever done was in pursuit of being number one, shining above the rest. He has to have a perfect victory, he has to be a perfect student, he has to win to save.

He pushes and pushes and won’t let anyone see his weaknesses or his insecurities. He can never lose, he can never fail, he can never show that he regrets or hesitates or that he hasn’t thought everything through. He must never be vulnerable in every sense of the word.

Then why is he standing in the rain.

To apologize shouldn’t be a sacrifice, but it is for Bakugou. To pour his feelings, to admit his wrong, to let down all of the walls he has built and be vulnerable. And in front of his whole class.

He is willing to sacrifice his pride, to fully sacrifice any superiority he could have, to bare his soul and even risk rejection. Because he knows Midoriya is more important. Because he wants him to come home, he wants him to know his true feelings, because he wants things to change. 

Because Midoriya has changed him. Midoriya has opened his eyes; by showing him he’s allowed to be open, that his feelings should be expressed, that he has so much to learn, and so much of that was learned through Midoriya just existing.

He isn’t sacrificing his safety frivolously because he’s expected to as a hero; he is doing it because he has grown. He is doing it because he has finally admitted to himself that he wants Midoriya to be with him and safe.

So I will sacrifice this for you. Not because it will change anything, as much as I want that I know that I can’t just fix all the wrong with just this. And I am willing to do as much as it takes to earn your forgiveness. But I don’t need that from you, not now and not ever if you don’t want that, I just need you to rest. I did so much wrong. And I am sorry for everything. You don’t have to do this alone. Lean on us. You are so strong and being supported doesn’t discount that. You’ve taught me that. 

I hate the rain. But I will brave it for you. 

He would do everything in his power, admit so many things, just to get Midoriya to take care of himself. We see him being the most vulnerable he has ever been in front of people that aren’t Midoriya. He does so much completely out of character, all in pursuit of being there for Midoriya. 

For Izuku.

He finally gets over himself and finally tells Midoriya the feelings he has felt for so long.

He lets go of this idea he is inherently better and finally acknowledges that his hatred for Midoriya has always been about his own shortcomings and insecurities. But he still wants to be better, they are still rivals. He isn’t going to sacrifice that part of him because that is just who he is; he is still going to push to number one.

But now it’s different.

There is verbal and vocal acceptance and respect. Before it was unspoken; their relationship had changed ever since Ground Beta. They were proper rivals, with mutual respect and care, they were actively making each other better.

But Bakugo finally verbalizes it and tells Midoriya, not only is he sorry, but he wants to actually have a proper friendship; he wants to continue to become better and earn his forgiveness. He wants them to push each other to be better, he wants to continue to fight for the top spot, he still wants to be the best.

But when did it become something else? 

When was the turning point when it started to shift from wanting to surpass Midoriya and be the best, to wanting to keep up with Midoriya and stay by his side?

Bakugou has already sacrificed himself for Midoriya before. His body moved on its own; with no hesitation, he would save Midoriya. He has already risked his life for him. But there is a layer to it that I don’t think people talk about. 

He tells Midoriya he shouldn’t try to win this on his own. 

He disguises his concern with an insistence that he’s in it to fight for himself when he initially joins the battle. But it is to fight by Midoriya’s side and support him.

But taking the hit for Midoriya, jumping in the way isn’t just support. This is sacrifice. This is giving yourself to ensure the safety of someone. And it was second nature. 

There are two reasons and both are a sacrifice of something in the moment.

It is knowing someone is so valuable, so great, in all senses of the word, that they must be protected. Bakugou is sacrificing his body and admitting that Midoriya needs to stay alive, for personal reasons and/or for the world. He needs Midoriya to be okay, Midoriya can’t fight alone and Bakugou will do anything to make sure he will be okay. 

But the sacrifice of ideology. 

With every development, he has relinquished parts of himself. When he sacrifices himself he is not only sacrificing his body but is admitting that he can’t do this on his own; he needs Midoriya too. This isn’t him wanting to be better than Midoriya, it’s him wanting to do it together.

Midoriya changed him.

He doesn’t die for Midoriya. He wakes up and just as his last thought was Midoriya, so was his first as he woke up. He runs to his side. People are dragging him back, trying to have him rest, knowing before he even said anything that he would lose his mind over Midoriya’s situation. 

Everyone sees how Bakugou feels about Midoriya.

He sacrifices himself because Midoriya can not die on him. Midoriya has to stay alive. Midoriya has to keep fighting. 

There can not be a world that doesn’t have him in it.

This is the culmination of what has been developing ever since the final exam where Bakugou finally works with Midoriya; the day that win to save, save to win was noticed. Then furthered after Ground Beta where they finally talked to each other and something changed within them both.

But the final sacrifice is the culmination of Bakugou’s character.

He knows what this decision will mean. Everyone screams for him not to. He knows that he is going to die. He knows he will not win this fight.

This isn’t dying for the cause. This isn’t just a hero complex. This is because he can help Midoriya and he will. This is for Izuku.

I will sacrifice myself for you. To give you more time, to give you even the slightest chance of winning. I will sacrifice myself for you because you are who can win. I am going to die. I am going to die and in my final thoughts, I will ask if I will still be able to be by your side.

It is no longer can I beat you. It is no longer can I surpass you. It is can I still catch up to you. It is can I still even be equal to you. He has already sacrificed the idea that he could beat Midoriya, that isn’t what he wants anymore. What he wants is to stay here with him.

I will sacrifice everything I am. I have wanted to be the best. All my life I have wanted to surpass you and everyone around me. But you. I will let that go for you. I let it go in my mind for so long now and I have never wanted to admit it. Is it even possible? Is it even possible for me to catch up to you? Is it even possible for me to stay by your side. I can’t be that anymore. I am sacrificing even that now. I will never be number one now. I will never become the person I always dreamed to be. I will never surpass you. I am forever sacrificing that now. I will die here.  

But can I still be with you?

The sacrifice of his life is him fully relinquishing everything he is, admitting that he can’t keep up, losing all of the progress he has made, letting go of everything that made up his character.

And the last thing on his mind is if he can still be able to be by Midoriya’s side.

He won’t let him go again. 

[gayofthefae]

We don't envision season 5 right when we talk because what is that actually gonna be like? This isn't a romcom. Mike finds out about the painting but Will is like throwing up blood and slugs in the corner.

edit: to clarify I wasn't saying "no time for romance" I was saying "it's horror show with raises stakes and angst. Mike will have to figure out how to bring up this truth bomb he discovered when more important things are clearly going on and there aren't the most conversational opportunities". I mean MORE juice, not less.

[anothermonikan]

I see a lot of sentiment within techum spaces about not understanding how tech actually works and considering tech divine or whatever and like. I really do get it's pretty intimidating, but you can learn how your machines work. In fact I think a lot of you would appreciate your objects even more than you do by learning about how they actually function. Demystify tech in your minds NOW!!!

[scarapanna]

Little blue-eyed beast, wanna squish its face and keep it in a little terrarium. Feed it bugs and severed fingers. I'm gonna name it Bluey, cause it doesn't look anything like shadows or milk.

One Bluey coming up!!

Remember to be careful when handling it!! Might bite if it gets too feisty

[zeb-z]

Gillion throwing down his sword, his destiny, at the feet of the Elders, spitting in the face of how they treated him. Chip struggling to hold Destiny’s Blade and using it to protect himself and the others in Gillion’s absence. Can anybody hear me

[whitehartlane]

HARRY KANE (10) & SON HEUNGMIN (7) OF TOTTENHAM HOTSPUR The greatest partnership to ever exist in the world of football. “When you turn, I will be always there.”

BBC Sport / Kane and Son break the all-time record for Premier League goal combinations / The Guardian / Kane-Son trademark celebration during Liverpool 1-1 Tottenham, 07th May 2022 / Kane-Son trademark celebration during Manchester United 1-6 Tottenham, 04th October 2020 / Kane-Son trademark celebration during Aston Villa 0-4 Tottenham, 09th April 2022 / Kane-Son trademark celebration during Tottenham 2-0 West Ham United / Kane on Twitter after assisting Son on 4 goals against Southampton / Tottenham 1-0 Burnley, 26th Oct 2020 / Nice to Mich You, Son Heungmin / Premier League / Kane and Son hug during Manchester City 2-3 Tottenham, 19th Feb 2022 / Kane and Son hug during Tottenham 1-0 Crystal Palace, 20th Sept 2015 / Kane consoles Son during the Carabao Cup final against Manchester City / Kane and Son celebrate during Tottenham 5-2 Southampton, 26th Dec 2017 / Commentator on the Kane and Son partnership / Tottenham 2-0 Arsenal, 06th Dec 2020 / Caption from ‘Heungmin Son and Harry Kane guess their Premier League goal combinations’ / Stray Kids, I am YOU / Kane and Son celebrate during a 6-1 game against Leicester City, 18th May 2017 / Kane and Son celebrate during a 4-0 game against Everton, 13th Jan 2018 / Kane on Twitter / Frank O’Hara, ‘Morning’ / Kane wins the Golden Boot 20/21 / Son wins the Golden Boot 21/22 / Kane assists Son against Southampton / Caption from ‘Heungmin Son and Harry Kane guess their Premier League goal combinations’ / Mitski, Francis Forever / YouTube: Record breakers! Kane & Son react to becoming Premier League’s most deadly duo! / FootballJOE on Twitter, referencing Son’s trademark goal celebration, the ‘camera,’ through which he is looking at Kane / Gang of Youths, ‘Achilles Come Down’ / Kane and Son celebrate their goal against Arsenal / Kane on his relationship and link-ups with Son / Son and Kane on Instagram / Kane and Son after Kane assisted Son on four goals against Southampton / Tottenham 3-2 Ajax, 08th May 2019 / cr. Shaun Botterill, Getty Images / Commentator on the Kane and Son partnership / Tottenham 3-2 Manchester City, 19th Feb 2022 / Caption from ‘Heungmin Son and Harry Kane guess their Premier League goal combinations’