#sorry but I’ll die on this hill.

[exhaustedwerewolf]

I do love that tlovm is getting more people into the characters and allowing them to experience the story but very occasionally I will see a take about a character and be like “oh I can instantly tell you haven’t watched the stream. because you are so so wrong”

[supercorpstateofmind]

I think about this daily

I think about how the writers wanted to have them get together in the end but they couldn’t get the green light from higher ups so the writers gave us so much queer subtext and this scene because it was the best they could do and I cry all day over this

I’ll drown in my tears on this hill

[fandomdynamics]

Other than Tankhun, all of the Theerapanyakun cousins are pathetic losers

But specifically in this order:

Kinn: the least dangerous, but pathetic enough he gives Porsche an entire mafia family to head

Vegas: extremely dangerous, but so pathetic he falls in love after two days with someone he was supposed to kill.

Kim: the most dangerous, and the most pathetic loser to ever grace the face of this planet. Falls in love from making eye contact with a boy who brought him to his knees in one song.

[thekenobee]

so I have also been thinking about how many of hastings' lines also would make perfect arthur shappey lines and I just watched the adventure of the western star and was struck by how much this sounds like an arthur line: "I've started to keep this notebook. I've got two columns. The first is to write down all the things I don't understand. Then the second is to write down the explanation." It just sounds like something arthur would do

The lengths I’d go for you my friend, or this time- Timbuktu

[osaumu]

i’m gna say sukuna and uraume having a father/child relationship makes his happiness to see them even more moving …. THATS HIS CHILD !!!!!!

this is so important to me NOT TO MENTION including them in his “if there is to be a next time” this is the only thing that truly moved me

[capseycartwright]

deep in my belief that buck is fishing for information from gerrard because his raging adhd would not allow him to find any joy from golf. the one and only time he went with eddie, eddie asked the staff to ban buck from the driving range. buck is not playing golf for anything other than a just cause and the firing of gerrard.

[idk-tbh-idk]

Idc which Mischa it is, I propose for all the artists out there to make him a widow peak and the two falling strands cuz…

It forms an ‘M’ and I think that’s the ultimate Mischa move as the ultimate character representation

Lmao

[twentyfivemiceinatrenchcoat]

i am so lost and insane for an angsty idea of navigating poly!stsg where you join their established rl!!!!! i love your poly fics so much and it's given me these bedtime daydreams!!!

the insecurities and doubt and fear and sadness you might feel from never having a bond strong enough between urself and them and the angst and tension it can create because u feel like ur never enough for satosugu oh gosh and the sadness they might feel if you leave or distance urself from them and idk how to verbalize my thoughts but i hope you feel the energy i am trying to show🥺🥺🥺

ANON!!!! I DO!!!!!!! I DO SEE THE VISION!!!!!!!!

wahhhhh this is a common daydream of mine too…….. stsg have such a unique bond and i don’t think you could really replicate it :((( but at the same time i think that for the relationship to work, they’d have to see you as an equal!!!! this is just a pet peeve of mine but i rlly Cannot Stand poly stsg fics where they see reader as being beneath them… first of all they would Never second of all!!! they should all be in love. and they should all respect each other more than anything. it’s just a matter of realizing that you’re special to them in your own way, and that it’s in no way lesser than what they feel for each other!!!! but obviously the road there might be kind of tough…..

and gosh, they would definitely be heartbroken if you distanced yourself from them!!! :((( they just don’t understand what they did wrong and you don’t know how to open up about it…. i think they’d eventually corner you and kinda force you to do so (cue lots of crying and their desperate attempts at soothing you) and after that it’d feel a lot easier. if you’re precious to them then i don’t think there’s anything they wouldn’t do to understand you properly!!! and love you properly. they’re sweethearts and i love them <3333

[robertsbarbie]

videos that talk about if you have this undertone or this eye color of this hair type you can’t wear this color at all make me so mad 😭 it takes ANY fun out of make up and it’s also simply not true! you can make almost any color work for you depending on placement and tone as well as by acknowledging that it doesn’t matter and it’s what you like! it drives me crazy

[heteromenckenist]

It makes sense Roman acted like that she was literally iron deficient and yearning on top of everything else the whole series

[mister-lucky-bunny]

Okay, because this actually makes me angry to think about, I HAVE to ask:

Why does everyone shit on caravan palace (and electroswing in general)?

Like if your answer has to do with something among the lines of “the songs are samey” then ok I understand. I kinda dont agree but I understand.

But like, do you only hate electro-swing because you think it’s “bad” or do you think it’s cringey because you listened to a lot of it as an 11 year old TF2 player with no broader taste in music and you hate who you used to be?

[queenretcon]

I keep seeing out of context panels from new comics I don’t want to read of Ted Kord and Ronnie Raymond standing next to each other and every time I’m just

[t4r0tc4rdz]

I have lots of LGBTQ headcanons but this is the one I will love forever.

[ageofhearingloss]

$50… to experience the starcatcher universe… i-

[floral-force]

ok i just watched seven samurai (1954) yesterday and magnificent 7 (1960) today and i have MANY thoughts. putting them under the cut.

magnificent 7 (1960) is what happens when you take a good plot (seven samurai (1954)) with details and depth (training the villagers, exploring relationships, adding substance to the romance so it’s actually interesting) and change it so it satisfies americans’ white savior complexes, and avoids allowing masculine men to have emotions and depth outside of being cool, stoic gunslingers.

they never show the actually interesting moments that make the relationships btwn characters and the characters themselves likable so their deaths are more tragic and emotional rather than “necessary” (if that makes sense). the romance lacks depth and is just…bland. the last line is set up and consequently delivered with absolutely none of the gravity it deserves. at the end of seven samurai the remaining men are standing below their fellow samurai warriors'—i'd argue, friends'—graves, defeated and mourning.

they did the honorable thing. they helped save a village by training the villagers so they can protect themselves without them and sacrificing themselves in the fight. but the end just shows that these men won’t know peace or any other life; it's tragic despite the happiness we think we should feel. mag. 7 never builds those relationships that make the end tragic and impactful. it never shows you how the characters connect and interact beyond surface level stuff. they don’t have meaningful relationships with the villagers that make their deaths even more tragic (we see the villagers mourn with the samurai at their graves before the ending). hell, wild bunch (1969) and the dollars trilogy (1964-66) show more emotion from men and explores interpersonal relationships more than mag. 7.

what i enjoy about westerns more than other genres is how it explores morality and humanity. these cowboys set out to help a village not for the money (they aren't paid much for a six week contract) but ultimately because they have hearts, simply put. and we never see that humanity explored. one character has interactions with children that are a bit sad but…that’s it. i want to see these people grapple with their gray identities and how their perceptions and biases shift, and that can be from relationships with others. they're drifters; it isn't unbelievable for them to be skilled with socializing and making connections! cowboys aren’t good people, but they aren’t truly bad either. they’re the perfect way to explore humans. (i really think the man w no name exemplifies this throughout the dollars trilogy. i could write an essay on that alone.) they’re driven by money first (and almost entirely) and their hearts second.

but that can change, and that depends on their interactions and the interactions we see them have as the plot moves along. that’s what makes them likable and their deaths tragic. i think of 3:10 to yuma (i’ve watched the 2007 remake, the original is on my list) and dan, and how we come to empathize in a weird way with/somewhat understand the motives of ben through dan’s relationship to him. what makes westerns compelling extends beyond the stunts, music, fight scenes, and cool one-liners. it's the humanity underneath it all, and how at the end of the day, we might all be a little bit like those morally gray gunslingers in at least one way.

what disappointed me most about mag. 7 is how it took out those essential plot details for the sake of focusing on the cowboys only as one-sided reluctant heroes (again, i interpreted that writing/centering as a manifestation of the white savior complex). their deaths/fights were the only focus, not the villagers fighting back (who i’m supposed to believe they trained thoroughly from a few short montages?), and certainly not their interpersonal relationships with each other. these men could have had compelling stories and relations with each other, but it was scrapped for the sake of protecting the traditional image of masculinity. their growing friendships and relations w the villagers were scrapped in the name of the white savior complex; we only see the villagers as one-sided, meek people that we never really see defend themselves and fight like hell for their village in the final showdown.

anyways, i could write an essay on how the dollars trilogy--despite its flaws--explored this moral grayness effectively, and how cowboys and the western genre as a whole is an almost perfect medium for exploring humanity, but i won’t. for now i will conclude my mini rant/essay by saying: akira kurosawa, you created art; cowboys should show emotion (even if it’s subtle); guns are phallic symbols; western stunts are awesome. thank you.