#literally just a gifset of him talking

[pavlmescal]

Paul Mescal Plays 'Irish or Not Irish' for Variety

[armageddidnt]

Good Omens dropping hints that Crowley has apparently Forgotten at least some of his former high-and-mighty angelic status in heaven.

[jessmalia]

Mal's Avatar: The Last Airbender rewatch: The beach 3.05

[innerxsanctum]

Happy birthday to the reason I became a Pethead in the first place. There aren't enough words to express everything you mean to me, so I won't even try. But you've changed my life in ways I never thought possible. Thank you for being unapologetically yourself, and most of all, for being the driving force behind Pet Shop Boys.

“Writing new stuff and doing new projects and everything is really what I live for.”

[demadogs]

i always say i dont want a book to have a screen adaptation out of fear of them doing it dirty and then i think of the most perfect casting ever for the main character and im like FUCK now i wont sleep until i see this happen

[waugh-bao]

Keith and Charlie interacting during dinner (1989)

[dennisboobs]

.

[jourke-rourke]

via SyFy's Dark Matter (2015) , S01xE03

bonus:

[lesenbyan]

I think it says a lot about the narratives we're still not allowed to tell that I always feel immensely more kinship with sci-fi and fantasy biracial characters than those in fiction that more mirrors current day

[emilyaxford]

this is definitely my fault for reading facebook comments in the year of our lord 2023 but i can’t believe how stupid people STILL are about john mulaney and annamarie tendler’s divorce. has it ever occurred to them that perhaps a man in the throes of very serious addiction might have been a bad husband well before olivia munn entered the picture. why is it so shocking that an addict made some bad decisions in his personal life.

[superprofesh]

When I tell y’all I SCREAMED in the theater when he did this

This fire gag's real.

[joanna-lannister]

tumblr recommended me the Jaime tag and i checked it out of curiosity BAD IDEA 😭😭

[dameronswife]

girls when poe has a personality that isn't being obsessed with a man he's had maybe ten scenes with in the first two movies and has his own agency and doesn't always agree with his mentor instead of bending over backwards to constantly say she's right (when she isn't):

[percheduphere]

LET'S TALK ABOUT "HE'LL MAKE IT BACK"

Special thank you to @mmobiuses, @starrose17, and @stevenrogered whose gifs make-up the lion's share of this post. Thank you to all the other amazing gif artists as well, without you, my metas won't be possible.

This might come as a surprise to a lot of people, but I actually wasn't big on Lokius until Season 2. I thought Loki and Mobius made a cute ship in Season 1, but that was the extent of it. In truth, I lost interest in the Loki series by the S1 finale and had 0 interest in watching S2. I didn't give the series another try until I saw positive reviews on Tumblr. I therefore started watching S2 when S2E4 dropped.

LOKI SEASON 1

Enjoying the potential love story between two characters is a deeply personal and subjective experience. So take what I say as my personal experience observing Loki and Mobius's relationship.

I fully believed Mobius loved Loki in S1 in the platonic sense. Tom Hiddleston has given a few interviews on Loki's and Mobius's relationship and seems to believe in this sentiment as well [see 5:30-7:30 and 10:57-11:00]).

That is to say, in S1, I didn't feel, "Oh, my god ... he loves him." It was more, "Yes, he loves him", there is no question, his actions prove it.

There is wiggle-room for unrequited love in the S1E4 interrogation scene, but the jealousy Mobius exhibited could have just as easily been a combination of anger on behalf of his murdered colleagues and platonic jealousy.

However, I felt the first hint of unrequited love from Mobius occurred during his goodbye scene with Loki in S1E5. Specifically, this look:

I had no expectations for that look to pay off in any way. Season 2 surprised me.

LOKI SEASON 2

S2E1 is amazing episode because, through subtext, it reframes how Mobius's S1 emotions may be interpreted with stronger evidence for romantic motivation. In this episode, there appears to be a subtle, gradual build-up to the moment that Mobius's love for Loki may be viewed as fully romantic. Let's break down the episode and look at the progression:

First, learning that Loki is at the TVA: *sigh* I can't find the "Loki's here?" gif.

Second, and perhaps the most infamous, the reunion and whole-body support Mobius provides Loki in the TVA War Room (physical comfort):

Third, Mobius bringing Loki somewhere safe and quiet, assuring him that "it's okay" (emotional comfort):

Fourth, Mobius insisting that Loki's condition must be fixed, not once but twice, in two different scenes. A third (writer's magic 3s!) instance occurs in the Heart of the TVA, just before the gangway scene (prioritizing the other):

Fifth, Mobius's admission that Loki's timeslipping looks horrible, and he can't look at it anymore. He repeatedly stresses to Loki how serious this is (emotional and physical empathy):

Sixth, Mobius taking Loki to exact right person who can help. This is particularly significant, because Mobius is the only person in MCU canon who has verbally expressed concern for Loki's physical well-being and took immediate action to stop the pain (act of service):

Seventh, the third time Mobius prioritizes Loki's wellbeing. He scolds Loki and reminds him they have only one shot at getting his timeslipping corrected before the temporal radiation becomes too high (prioritizing the other):

Eighth, Mobius interrupting Loki, insisting that he will make it back. The subtext here is that no other outcome is acceptable or thinkable for Mobius (emotional comfort):

Finally, Ninth, the clincher: "He'll make it back." (self-comfort)

This scene is everything to me. Moments 1 through 8 build-up to this singular moment. Let's do a micro-analysis on it.

After Loki timeslips, the camera stays on Mobius. It tracks him as he kneels down to pick-up the time sick, the last thing Loki touched. The camera then pans up as Mobius rises.

@stevenrogered, THANK YOU for this gifset. It's literally the only one I could find that captures the camera tracking Mobius after Loki disappears, and this is my all-time favorite Mobius scene.

Mobius stands for a moment, motionless, and the camera holds on his facial expression. He's staring at where Loki WAS for extended period of time (keep this in mind for later). He's holding his breath. He's worried, scared, and hopeful, not for himself and the danger he faces on the gangway, but for Loki.

Finally, he exhales as he says to himself, "He'll make it back".

This entire sequence--particularly the moment when Mobius picks-up the time stick and holds it in silence--made me feel, "Oh ... Oh ... he loves him."

The camera stays with Mobius, capturing his reaction to this high-stakes situation for a significant amount of time (@loki-us, maybe you can get this timed starting from the moment Loki disappears and Mobius starts to kneel to pick-up the time stick?). Cinematographers don't do this type of hold unless they want to illicit a strong emotion from the audience regarding the character we are focusing on in the moment.

My insides swooped, which rarely ever happens when I view film or television.

And this camera hold, this pregnant pause, is mirrored by Loki's stare in S2E5:

[fuckyeahisawthat]

i rewatched Dune Part Two recently and one of the most striking shots for me was the one of the Fremen attacking the Sardaukar on wormback, while holding the Atreides flag.

Like, we just saw the Sardaukar forming up with their numerous flag bearers, even trying to maintain their flags raised after the nuclear detonation (in a shot that mirrored the famous "Raising the Flag in Iwo Jima" statue to me btw, nice nod to imperialism).

And then the Fremen arrive, but they're not bearing their colors, their flags, not fighting in their own names, instead it's the Atreides colors. The colors of their new, imperially appointed rulers. New pawns in the warfare between Great Houses, soldiers instead of freedom fighters. Urgh. Wish i could make gifsets.

Yeah yeah yeah it's horrifying!! You are watching a national liberation movement get successfully co-opted by a superpower and it's awful!

They did such a good job making it feel creepy and foreboding when the Atreides symbols and motifs start re-appearing in the last hour or so of the movie. The second Gurney shows up he immediately re-introduces the Atreides way of looking at the world, and it's disturbing how easily Paul falls back into thinking like that, seeing the planet and its people as tools to be used in an inter-imperial power play. (It's right after Gurney tells him about the family nukes that Paul has the signet ring out for the first time since the beginning of the second act and we're like OH NO.) This is before he drinks the Water of Life; he is already starting to think like a colonial duke again some time before he declares himself one.

After the opening montage where we see the piles of bodies being burnt, we don't see the stylized Atreides hawk symbol for most of the movie. The next time it appears is on a vault of nuclear weapons, which are never treated as anything but a curse. It's so important that Stilgar and Chani are with Paul and Gurney when they open the vault so we can see their horror at these weapons and the gleeful, casual way Gurney talks about them. Chani is also seeing an aspect of Paul that she hasn't really witnessed before--Paul, the Future of House Atreides--and she does not like it.

And then of course the whole ending battle is making the point over and over again with repeated imagery that Atreides and Harkonnens are exactly the fucking same. All the imagery from the initial Harkonnen attack on Arrakeen in Part One--which at least shows the Atreides as brave in the face of overwhelming odds--gets inverted into something that's supposed to make us shudder. That scene of Gurney hacking his way through the crowd of soldiers with someone carrying the Atreides flag behind him? Nightmarish.

All of this stuff is super important to what the movie is trying to say because it is very very easy for us to buy into the Atreides' propaganda about themselves being the good guys. If we're paying attention to what Chani tells us in the literal first 3 minutes of the first movie, we already know we should be viewing them with a bit of critical distance. And while I think there is plenty in the first movie to make us side-eye their noble image (Leto saying we will bring peace to Arrakis?? fucking yikes dude), it's easy to forget that because Leto generally seems like a good dude to the people close to him, and he dies tragically so we never get to see much of what kind of colonizer he would have become. And I think it's easy to start thinking well if only Leto the more reasonable parent had lived then things wouldn't have turned out this way.

But fucking desert power?? That was Leto's idea. This is Leto's dream being realized. The plan was always to use the Fremen as pawns in the power struggle between the Great Houses. Maybe not quite in the way that Paul does cause he definitely goes off with it, but the end result is just as much a product of Atreides imperialism as it is of Bene Gesserit religious colonialism. The Atreides aren't inherently any more noble or benevolent than the Harkonnens in their intentions, they just have better PR. But the end result is exactly the same: a pile of dead bodies being set on fire.

[emblazons]

"How many years I know I bare— I found something In The Woods somewhere."

Phoenixflare x Hozier's "In The Woods Somewhere" "Lost in the Woods" Secret Santa Prompt for @february13rose "In the poem, the protagonist finds himself in the woods, and is terrified by beasts until his love interest in Heaven sends a mentor to pull him out of the woods and set him back on the virtuous path he had lost." (x)

To me, this gifset is a very loose 'retelling' of Dante (Dion) moving through the "circles of hell," though primarily the version of the stories presented in Hozier songs (both In The Woods Somewhere, which these lyrics come from, and most of the phenomenal album Unreal Unearth: Unending, particularly Hymn to Virgil) which that draw very heavily on the imagery and themes of The Inferno, albeit in that more romantic way only Andrew Hozier Byrne can be. In my mind, we are following a Dion reflecting on the madness inflicted on him by Ultima, both the slow degradation of his confidence in his father and his ability—and how, after what he did in Twinside, he considers himself lost and unworthy of saving. At the start, he is waking to a version of himself he cannot face, one burdened by regret & a lack of desire to live–but who is slowly led back to "the surface" and forgiveness by "the voice from heaven" (Joshua), who is also in a way his Virgil in that he is the authoritative guide leading him through things he doesn't understand.

In my original vision, the ending of this set is a lot sadder—more in alignment with the tone of the game and Hymn to Virgil (where Dante refuses to leave hell because he won't leave Virgil, and...they are trapped in hell together lol). In this, he escapes that hell with Joshua (out of respect for Luna's desire for a happy ending), both because he #DeservesIt and also because of the Phoenix's proverbial and literal ability to "revive" him, whether through love or his powers. Either way, the redemption and forgiveness he desires is achieved through his alliance with Joshua–which is actually kinda like the story told in canon, at least to me!

Also, side note: the grid was done in reference to Dion’s talk of his gilded cage in the quest Clive does for him in the Hideaway. It just struck me as poignant to give to him here.

Hope you enjoy your gift! :)