#just shut up though

[notbecauseofvictories]

I don't know how strictly accurate this is, but one of the things I find shocking about watching historical dramas is how many people there are around all the time---according to Madame de... (1953) a well-off French household in the Belle Epoque maintains a workforce of at least 3, and the glittering opera has staff just to open doors. According to Shogun (2024) you can expect a deep bench just to mind your household, and again, people who exist to open doors.

Could people....not open doors in the past? Were doors tricky, before the standardization of hinges? Because otherwise, the wealthy used to pay a whole bunch of people to do it for them in multiple contexts, and I find myself baffled.

[egophiliac]

still ruminating over Lost In the Book With Spooky Skeletons Part 1, so here's a selection of some of my favorite little bits! (...some more loosely paraphrased than others) (I just feel like Idia has no room to criticize in general, okay)

anyway, I'm sure we're just going to have a fun time celebrating Halloween and nothing bad is going to happen whatsoever! :)

[poorly-drawn-mdzs]

PD-MDZS: The Hallmark Episode.

[nenoname]

With Stan constantly wanting Dipper to not take his shit and him relating to the Duchess, it really feels like Stan is projecting his wish of wanting to stand up against his own dad....

And while Stan always internalised the things Filbrick said to him, the fact that Stan decided to get that "daddy issues" book shows he's definitely aware he has major issues™️ so maybe one day he'll make progress...

(+ bonus Stan relating too much to Dipper and being painfully aware that he's putting them in danger...)

(Filbrick's impact on Stan post, Soos the Sonployee post)

[beebfreeb]

To all my long-term followers: You have to look through all of my art and deduct exactly what's wrong with me. I know you can do it by now.

[dr-mohan]

So.... All this, because I've ... because I didn't get you a desk? Not everything is about you, Mulder. This is my life.

THE X-FILES — 04x13

[wishchip106]

he misses his boyfriend 😔

[grandwretch]

honestly i like to imagine steve as a much happier, more accepted member of his friend group but the whole show is just a game of kids on bikes that eddie is running and steve's ass is NOT paying attention. eddie's first session steve is like yeah i wanna play the hot asshole and everyone laughs and he forgets his character backstory halfway through the boss fight. next two seasons he's getting his nails painted by erica and robin and keeps getting clowned on for not remembering any of the plot. he keeps rolling like dogshit, and the joke is that their cool loved friend steve is playing a guy who doesnt know what the fuck is going on and can't win a fight to save his life. character steve makes it through every campaign with one hit point and a dream.

they finally bully eddie into including himself since he insists on everyone playing themselves for this stupid joke game and steve immediately gives up on pretending to know what's going on in the game and just figures out how he can maximize his flirting time w/ his own boyfriend. eddie kills his own npc at the end so he can stop playing himself. dustin throws a notebook at his head bc he had to hear eddie call steve big boy w his own ears for NOTHING. steve is like yeah uh since my boyfriend fucking died i'm going to try to steal jonathan's girlfriend again.

oh and the steve and jonathan fighting over nancy thing is just a stupid joke that steve and jonathan made at the beginning of the game because steve and jonathan have been best friends since elementary school. they like to cause problems on purpose. they honestly thought nancy would shoot them down but they didnt know that SHE was the one who taught MIKE everything he knows about the finer points of roleplay. she hates drama in real life but LOVES it in her games.

jonathan at the end of season four like "who else was going to lead the party? steve? he couldn't explode a d4 in the last three sessions combined" and steve is fully half asleep in robin and eddie's laps like hey >:( (pssst ed what does that mean)

[cookiedough77]

something something ephemeral having a similar color palette to hawkmoth/shadowmoth

something something chat blanc and season 5 gabriel being all white

something something...

[pixlokita]

I was crying from pain at the emergency room and the nurses were bitching about me not dying so they couldn’t help right away even if I kept passing out and had been there for a long time, this sweet old Russian lady who was also admitted since earlier stood up and walked next to me and kept comforting me and asking how I was holding up, she kept checking in on me and being so sweet and going around asking if everyone was doing ok or just distracting family members of patients with nice conversations. She called out the doctors and nurses for not caring, she sat next to me and kept making sure I was ok and then gave me her phone number when she got discharged so I’d follow up with her. Honestly my day coulda been hell today but this one lady made it so bearable it’s not going to be remembered as a bad horrible traumatizing time, I got to meet an actual angel and I’m so happy about it.

[paperglader]

they really put alicent in bridgerton blue on the reunion and genuinely expected me to think that she didn’t in fact march all the way to dragonstone to get wifed up? bfr

[compaculaaa]

How much does b127 yap? And how do the others deal with him?(sorry if my spelling is messed up)

too much lol, usually mama knows how to deal with him, a good lick to the helm and maybe a snack is enough to satisfy little bee. but when mamas not around its shit. sentinel cant deal with the yapper and neither can orion or d as they just cover each others audials. elita just smacks him

[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.

[commanderofthegrey]

[ID: four pictures of the darkspawn from dragon age: origins, dragon age ii, dragon age: inquisition, and dragon age: veilguard. End ID.]

(i could not find a better picture for the dai darkspawn, sorry)

[wishchip106]

gay people and their need to judge and stare ominously at everyone else

and then gayly look deeply into each other’s eyes

[starlingstalk]

Ahhhhh Nyaaaaa