#shut your eyes

[glittergroovy]

[froggieco]

Being a fictive is so weird like

You literally know someone in such intimate detail but also extremely not

Like you're my stepdad but also you're him from when he was 12 and doesn't remember me like shit is wild man

[poprocklyrics]

Shut your eyes and think of somewhere Somewhere cold and caked in snow By the fire, we break the quiet Learn to wear each other well

Shut Your Eyes, Snow Patrol

[michelristenpattsworld]

Snow Patrol- Shut your Eyes

One of my favorite bands

[vampyr3wife]

AND THROUGH IT ALL HOW COULD YOU CRY FOR ME??

[skyrigel]

Simon who's an attention whore. You cooking? So he's clinging on to your neck, grabbing away that spatula and kissing you giddy. You on work ? So he's leaning against the wall, brooding and whining and mewing. You out with your friends? He's sending that Little scratch he got, captioned with, “need kissies now”, he lowkey wants your fuckin' attention all the damn time and he's so shameless about it.

[cyrankaa]

this will never NOT be fucking crazy

[whollyjoly]

i want the whole SEASON of bucktommy

i want buck being wooed - flowers and being taken out and a little protective hand on the small of his back

i want to hear all the soft ways tommy can say evan and the look on buck's face when he does

i want to see them at tommy's karaoke trivia place because holy shit buck would love it (and didnt oliver say that we're getting buck singing this season cause uhhhhh)

i love that this is such a fling, such a happy thing for buck - he is finally feeling that puzzle piece click into place and it is freeing

and i cant wait to see all the small ways we see that play out!!!

let buck be happy challenge 2k24!!!!

[bunnieswithknives]

Thanks.

Prev

[carnivalcarriondiscarded]

i have a Scene - a Plot if you will - that backs this as context. y'all are gonna have to trust me on this one <3 or read the tags...

[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

[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.

[casualavocados]

…It's nice. You're so noisy. […] Actually, it'd be better if we died together. That way, neither of us would have to suffer the pain of losing the other, right? Shut up.

KISEKI: DEAR TO ME Ep. 13

[stagefoureddiediaz]

The Helena diaz of it all has me fascinated. I’ve said for a long while that Eddie’s real issues are his mommy issues and this episode just cemented for me that we’re gonna explore that and deal with it.

Because it’s Helena who forced Eddie to grow up to fast - because her husband wasn’t around much - so she pushed Eddie into de facto parent and husband role ls - selfishly filling her needs and ignoring the damage it was doing to her son (it is a form of abuse in my book).

Eddie then had the audacity to fall in love with and marry Shannon and get her pregnant. It’s why Helena was always so off with Shannon - she was punishing her. She is also punishing Eddie for all of this and his refusal to return to El Paso only cemented further her bitterness and resentment.

Now she does have Ramon back she doesn’t need Eddie any longer to fill that role so she is still punishing him and part of that is tied into her glee over now getting to parent Christopher - something she has always been intent on doing the doppelgänger just gave her the opportunity- as well as allowing her to further punish her son and his love of Shannon.

Her barbed comments about building a pool were all about showing what she can provide Christopher - how she is parenting him better than Eddie - it’s part of her mind games - making Eddie feel like more of a failure as a parent to his son.

The reality of course is that the reverse is true - Helena’s parenting is all superficial, flash and showy - it isn’t the hard day to day parenting when things get tough and you have to be the bad guy. While Eddie has made mistakes, there is nothing superficial, flash, or showy about his parenting. It’s why bucks comments about Eddie being a great dad are so important.

Eddie feel like a failure right now and that he is entirely to blame for everything. But in reality, while he does bear a bit of the responsibility, the truth of the matter is that he needs to learn and deal with the fact that all of it actually stems from Helena and her abuse of her young son - Shannon never stood a chance just like Eddie never has.

[kragehund-est]

you could point out how cool it is that snail shells and galaxies both have a spiral pattern, or how cricket chirps per minute plus forty equals the temperature in fahrenheit, and everyone's like "woahhh, scienc..."

you draw a similar parallel about menstrual cycles and the phases of the moon? well you are a woowoo feminist witch science denier. for some reason.

[literalite]

let's build a home, let's run away let's live our lives, in a distant place