#robin rambles

[haowenyang]

airbuds weekly thing

@tboytavros @forflightlessbirds

Let’s play a game

Everyone post the most recent picture in your camera roll. You only get one sentence to justify yourself if you wish. This one is mine.

My boyfriend is rly good at Latin, so I was looking up how to say ‘I love you’ but found this instead :)

Your turn!

@bookmovietvworm

@myfairkatiecat

@i-am-a-fish

@valtsv

[thisrobinisred]

Not sorry for the crimes and atrocities I might commit if they’re not canon by the end of the show

[melonlthawne]

Babian being BETRAYED and burrito swaddled against his will by dick and Jason

[byrdtrollsunoreversearchive]

Donate to help get my friends out of jail here! Posting from this blog may be sparse as the protest continues.

[tearsofperseides]

My Roman Empire

[pleasantlycrazyworld]

Summary: Y/N is Eddie Munson's twin sister, no one from the gang has met her since she's been in college. One day Robin meets her only to find out so has Steve...and both of them fell in love....fuck.

Robin came into work with a skip in her step. She just met the most beautiful woman she ever met...well she just saw the most beautiful woman she's ever saw, before she could work up the courage to talk to her she was already gone. Clocking in she sighs dreamingly thinking of those brown eyes and curls. She needs to find out your name.

Steve watched his friend walk into work like she was walking on a cloud, "What got you all smiling and giddy?" he asks with a smirk, complete prepared to tease her on her newest crush. Steve has seen this look before, he has had this look before. Hell the day before he came into work with that look! He knew it had to be a girl.

Robin blushed and decided that there was no point in trying to hide this from Steve. "There's a girl...but god Steve! She was beautiful, a fucking goddess I'm telling you! You should've seen her, the curls, the eyes...Oh my god those eyes! They were a beautiful deep brown" Robin continued to ramble, making Steve's smirk drop. "Wait wait wait was she wearing like a leather jacket? A-A pair of like really beat up red converse?" Steve asked timidly, scared to finding the answers out. Robin shakes her head "I think she was, I mean I wasn't exactly looking at her feet Steve" she says rolling her eyes. "She was far too beautiful to look anywhere else" She shrugs before focusing her attention more on Steve's features before her own smile drop.

"No....no you're not telling me that was Y/N..." Steve nods pitifully.

"Fuck." They both mumble after a few minutes of silently staring at one another. Before either could say anything else the bell chimes signalling a customer. They both turn to greet whoever just walked in and as they do they freeze again seeing Y/N and Eddie Munson walking in and going to the horror section.

"Fuck!" They both say once again.

[running-out-of-spoons]

pain=no sleep

no sleep=pain

how do I win here, this is exhausting

[haowenyang]

i need him to kiss me until i’m too flustered to do anything but lean my head into the crook of his neck

[pinkeoni]

S1 and s2 (but especially s1) feel so intimate and grounded and personal. I am watching these character’s lives.

But s3 and s4 (ESPECIALLY s3) feels fake and removed. I’m watching a tv show.

[cherry-flavored-sigh]

a lil headcanon about the end of NPMD (spoilers ahead, obvs)

i was thinking about NPMD this morning (as you do) and i realized something.

by the end of NPMD, when max's soul is taken by the lords? who do you think is going to torture him the most?

tinky.

let me explain.

who was tinky watching like a hawk during "the summoning"? pete. another spankoffski. another prize for his toybox. he could hardly keep his hands off him. you could see that he wanted to lunge at pete and grab him right away. he probably even got a bit mad when wiggly stroked the boy's face.

but it was okay. because this would be perfect! he'd have a Petey all of his own! and then he could torture the brothers together and they can watch each other suffer which will make them BOTH suffer more-

but then. BUT THEN.

max stopped steph from shooting pete. and either max moves at super ghostly speed or some magic imbued in his undead form from the waylon place gave him time-slowing powers. but either way, he stopped that bullet.

pete was going to die. and he wasn't going to heaven or hell. he was going to be taken to the Black, where he would definitely be tinky's new favorite toy.

so how dare this shitty zombie jock use this ripoff version of his time-controlling powers. and ESPECIALLY how dare he use them to keep pete from getting shot and his soul falling straight into tinky's terrifying grasp?

then he has to watch grace and max have sex, which is absolutely fucking disgusting. he was already seething, but now he knows that he's not going to get a good toy out of this deal. he's getting this stupid shitty kid that no one liked.

and he's not a spankoffski.

so when the lords do take his soul, when max is pulled into the Black, of course wiggly is gleeful about this. all of them are. oh, how they'll enjoy torturing him for all eternity, exposing him to unimaginable horrors and unspeakable evils. what a fun new toy!

but they decide that their furious bastard of a brother should get first dibs. after all, they knew tinky was really looking forward to having a Petey. and it's the only thing they can think of to calm him down, because "rage" doesn't even begin to describe how tinky's feeling right now.

besides, now that they have grace as their fun little soulsnatcher, they'll have plenty of other toys to play with.

so they gladly hand max over to tinky.

max thought he knew what fear was. skele'ns, ghosts, people forgetting about him, his (probably abusive) father.

no.

this is going to be way worse.

he sees tinky's horrific, goat-like grin, feels his crackling, angry energy radiating in the Black and surrounding him.

tinky's voice is low, a deep growl that shakes max's bones. he wears a smile that is anything but happy.

"you're going in the box now, maxie-poo. i hope you have..."

"... a great time." 💛

[wandaslittlebird]

For “Her Special Girl”, I had the thought to introduce the induced lactation on Christmas morning and title the chapter “White Christmas”. And for this I deserve the death penalty.

I was also thinking about breast milk hot chocolate so I think that maybe it’s time I take a break.

[thisrobinisred]

Dear Capcom,

I and many others firmly believe that two of your characters, Phoenix Wright and Miles Edgeworth, should kiss. Not only because it’s essential to the plot, but because I just think it would be neat.

Thanks,

Robin

[melonlthawne]

Anyway baby damian biting Tim. Thanks for coming to my Ted talk

[robinwinged]

escapism in "the boy and the heron"

Interrupting my regularly scheduled programming of Good Omens brainrot for this attempt to process the wonderful, fantastical, and distinctly discombobulating experience of watching Hayao Miyazaki’s “The Boy and the Heron.” 

Miyazaki’s films, at least to me, have never been straightforward to follow. Spirited Away, for example, is a beautiful masterpiece whose meaning is difficult to decipher on a first watch, and is only fully unveiled when you dive headfirst into research of Japan’s context and the movie’s many symbolic themes. The Boy and the Heron takes this typical Miyazaki complexity and ineffability and turns it up to eleven. There are so many elements that seem random, so many narrative arcs and characters all warring for attention (what is the tower? why are the parakeets so goddamn bloodthirsty? why is the blue heron such a creepy old man?), that combine to create a whimsical but overall also very strange landscape. 

I know that art in general does not have to have “meaning” or “a message” to be deserving of our love and attention. Art can be touching, affecting, disturbing, provoking - any number of things that would give it credit - and damn it if The Boy and the Heron isn’t all of these combined. But. 

But.

This is also a Miyazaki movie, and he has proven once and time again why he is the master of hidden meaning, and so here, in no particular order, are my half-formed rambles on what I have personally think each movie detail that I struggled to puzzle out initially is about. 

(spoilers below, so proceed with caution!)

The tower, time, and escapism 

The tower is the central mystery point of the movie - a literal mystical rock that crashed down from the heavens and later lured Mahito’s grand-grand uncle (let’s call him the Tower Master for convenience’s sake) into its depths. Within the tower is a mirage world filled with magic but no real living beings, controlled by the whims of the Tower Master and nothing else that remotely resembles logic or reality. The tower also contains a series of doors that seem to lead to different points in time, if the ending is to go by and how the 13 blocks are meant to be pieces of worlds the Tower Master has visited. So what is this strange and fantastic realm, and what role does it play in the overarching narrative? 

My hypothesis is that the Tower is a pocket free from the influence of time (think like the TVA in Loki) - a separate island running parallel to the fabric of the universe that contains portals to different points of past, present, and future. By itself, the pocket has no life or substance; it must be filled by the imagination - pure imagination, untethered to reality - of its main (human) inhabitant. This is why most of the ships are illusions rather than real objects, why the parakeets are so ridiculously odd and behave nothing like real

birds, why the fish is the size of Kiriko’s damn ship. Anything that is real, has to be brought in from the real world (see: the pelicans, Himi, and Kiriko). This is also why the parakeet king immediately topples the tower: yes, he is not the Tower Master’s descendant, but he is also not inherently a real sentient being, and an imaginary object cannot in itself sustain a further imagination. 

So why does the Tower Master choose to sequester himself in this alternate space, where he can only exist alone with his own mysterious creations? I think the Tower Master represents those of us who wish to escape from reality, to inhabit worlds which we can control, where pain doesn’t have to touch us if we don’t wish for it (whether I’m projecting reallyyyyy hard at this point does not matter ok). He is an insanely avid reader, with books literally piled in small mountains throughout his living quarters, and don’t we readers (i.e me, again) always wish for escapism? The Tower Master, then, is an example of those who would rather become entrapped in our own minds rather than deal with the world beyond us - maybe, even in a way, a little like Miyazaki himself, whose imagination is so powerful but is also extremely singular and all-consuming, anchoring him to his creative work without reprieve of retirement until his reserves run dry (not to imply that the man is a hermit or that I want him to retire, quite the opposite in fact, but parallels, no matter how shaky, can still be drawn). 

This, too, explains why the Tower Master needs Mahito to control the world for him. It is not because he’s grown old, since he cannot be affected by time in the Tower, but it is because his imagination is stagnating - he is no longer capable of finding new ways to balance the tower, he cannot sustain the fantasy any longer. In itself, this can already serve as a message from Miyazaki - we cannot hope to live only within the confines of our minds if we do not interact at all with the real world, because then at some point we will run out of material, of lived experiences to build on top of, and threaten to crumble the fragile imaginary world we have created. 

Himi and her fire powers

Himi is a strange hiccup in the system - a rare occurrence of a living person in this fantasy playland that wasn’t brought into it during Mahito’s own entrance, like Kiriko. This theory is a little bit out there, I can totally appreciate that myself, but remember that one year in which Mahiko disappeared from the real world and then came back completely unchanged? I think she chose to stay there for much longer than a year, knowing that time didn’t work the same in this pocket world and she always had the chance to return to her original timeline through the handy door-portals. I think Himi has stayed there essentially until she met Mahito - so long that she actually grew into a part of the fantasy, developing impossible pyrokinetic powers and becoming a set part of the landscape in exchange for extended youth. But this stay didn’t come without consequences. In the real world, Mahiko passes away in a fire, at a younger age than would be expected. Perhaps this, in itself, is a punishment for cheating time - the universe reclaiming the years that Himi spent in the Tower. It’s also definitely not a coincidence that Himi can control fire in the Tower, and dies by fire in the real world; a form of lethal poetic justice, if you will. Seeing Mahito was the trigger for Himi to leave, to embrace her own destiny, because she could now see and be proud of the outcomes of her life and not have regrets about missing out on the life passing her by. (This interpretation would then necessarily imply a deterministic version of life and time, so it’s probably not everyone’s cup of tea, but I think it makes sense in this version because you see doors way farther down than the present which Mahito steps into.) 

The starving pelicans 

The pelicans are another anomaly because they, too, are not figments of the Tower Master’s imagination, but instead have been brought into this fantasy world, for one reason or another, likely against their will. And this is where the Tower Master’s escape from reality cracks and burns at the foundation - he creates harm rather than good when he brings in the pelicans, because he does not account for the fact that they cannot exist without a source of food, and they then are forced to eat the Warawara to survive. The movie states that the Warawara are like baby souls, who ascend to become new lives, but I think it’s a little more metaphorical than literal rebirth. For me the Warawara are metaphorical ideas or seedlings of inspiration, the only parts of the Tower Master’s creations which aren’t fully formed, but allowed to grow by themselves and escape into the world - like passing the spark of creation to others outside the Tower. And the pelicans, involuntary prisoners of the Tower Master’s fantasy world, must prey on the Warawara before they have the chance to become real. This can be seen (if you squint real hard and do some violent spins so your vision is hella blurry) as the beginning of the end of the Tower Master’s reign - the forceful inclusion of other sentient beings inside his imagination doesn’t help him enrich his internal realm, but rather snuffs out the genuine inspiration that he could be passing onto others, creating pain where the Tower Master hoped to be spared from it. 

Mahito’s rejection of the Tower

So with this central ��Tower as escapism” theory, what does Mahito’s rejection to take over for the Tower Master mean? There is a moment that was so subtly powerful in that final exchange between the two, when Mahito stops denying the truth by telling everyone that he got his scar from falling, and instead admits that self-harm was the actual cause. At the beginning of the movie, I viewed that moment of very painful self-harm as Mahito’s wish to withdraw from the challenges of life - to live in isolation away from the grief over losing his mother, the challenges of being the rich new kid in town, the overwhelming discomfort of seeing his father shack up with his aunt. His reality is agonizing for him, and the fantasy land is so beautiful in its strange way that it could become a safe haven away from his trauma. But when Mahito says “no”, he is choosing reality; he is choosing to do the hard work, to face all the hardships life can throw at him, because he feels finally strong enough to not need to use imagination as an escapist crutch. In those final moments, Mahito is choosing to live in a world that he cannot control, because no matter how tough things get, he doesn’t have to do it alone - and that’s what I think Miyazaki is telling us too. 

Of course, the movie also deals with themes of class conflict and war profiteering; grief and acceptance; continuing your ancestors’ legacies versus paving your own path, which many have already discussed and I don’t particularly have anything new to add to. Regardless, these themes are masterfully woven into the plot, as per usual, and serve to elevate the movie’s emotional impact into something heart-twisting and truly unforgettable. 

Alright, ramble over - back to fandom lurking! 

[rubberduckrobin]

THANK YOU RANDOM INSTAGRAM COMMENTER

They brought attention to the fact that in Round 6, Ivan starts singing at 1:43

143 means 'I love you'

And it's the fact there's a massive gap inbetween them singing that it makes it feel as it is on purpose...

I'm not gonna be okay for a while now 😭

[allamericanb-tch]

“byler this” “byler that” if nancy and robin don’t get together in season 5 i will riot.