#this man is going to disappoint me

[respectthepetty]

twitter (.) com/VivienneActing/status/1696107618799079704

i'm not sure if you've seen this before, but you were the first person i thought about as soon as i read this tweet 🫠

ANON! You GET me!

This is the screenwriter for Only Friends, and as I was scrolling through his posts, he has continued to 'like' posts such as this: (*cough* Sand is confirmed Pan *cough*)

And this: (@forcebookish, he likes your post!)

And he is my kind of man.

Because I truly believe the show is telling us that people have treated Top solely as a sex object, which is why he has been regulated to tight spaces. He is restricted and limited in movements because he is seen as a sex object in those spaces.

For example, people tend to forget that Top has a job. He is doing it here.

And he is doing it well.

Yet the conversation turns to his sex life.

Which makes sense since the plot of Only Friends balances on these characters' messy sex life, but while everyone else is allowed to have conversations about their lives, Top is always connected to sex.

Which is why Boston only views Top as a sexual being. There is no intimacy involved in Boston and Top's sexual encounters. It's sex. It doesn't need to be comfortable. It doesn't need to be nice. It doesn't even need to be enjoyable. And unlike Nick who has sex with Boston anywhere, Top is boxed in with Boston.

The photo booth - quick, standing, tight space.

The shower - hand job, standing, dark.

The car - cramped, quick, raining.

And all the spaces are public.

Because Top's entire sex life is public for all to speculate and comment on. Nick just didn't get a recording of Boston having sex. Nick captured Top as well, and nobody seems too pressed about that. Top is shoved into tight spaces for sex, yet his entire sex life is fodder for public consumption.

So what must be going through his head when he lays in a spacious bed with a person, not having sex, in a room with a closed door?

To provide something beyond sex.

To not be limited in space or action.

And perhaps be capable of not only keeping some of his life secret, but holding others' secrets as well.

I mentioned this before but Top doesn't appear to have friends. It was common for his parents to be away when he was a child. He is alone at the bar when we first meet him, and the second Mew lets him in, he inserts himself into the group.

Wonder why a guy who has been boxed in with his whole sex life on display would want out of that?

A slut tiger can't change his stripes . . . right?

Oh, look! Actual stripes.

Say "no" to sex Top. Do it for the narrative.

[c-tepx]

i love how in true dad's fashion chilchuck jokes are incredibly unfunny

like he's VERY good at sarcastic remarks and banter. but jokes? it's clear that he likes to spend his time in the tavern drinking

in my heart i believe that he makes terrible puns too

[chihirolovebot]

on a real note that bit near the end of the video was genuinely haunting. hearing somerton talk about how gay writers are erased from history was one thing (with all the irony being that he stepped on the backs of numerous underpaid, underprivileged and uncredited queer writers to build his youtube channel) but when h revealed it wasn't even somerton's quote in the first place? the worst, most crushing sort of irony. how do you lament about the erasure of gay people and gay writers in history... whilst erasing a gay writer and taking his words as your own?

[iguessthisisanewobsession]

Just once I would like a Peter stuck in Gotham story where Tony gets dragged along with him for the ride.

Like they drop down and Tony is like

“Not an ideal situation, good news is we’re not dead. Bad news that looked like a one way trip for us. We’ll cross that bridge when we get to it. Now we should focus on short turn goals: food, water and a place to stay, everything else can wait.”

I want Tony to be out there working his ass off from helping people with broken items then getting a job at wayne enterprises and starting a technology revolution in this dimension because he just can’t stand how out of date everything is and then running to pick up Peter from the rich kid school and the two of them trying to do reconnaissance and failing miserably.

Peter for his part is having a great time with school and his new vigilante gig.

Peter’s vigilante friends in school are worried about how bruised Peter looks sometimes and think that Tony is abusive before breaking in and just hearing Tony being a mother hen.

Then one breakout things are not looking too good and Spider-man just says

“Karen, activate Papa Protocol.”

And then like ten minutes later in comes Ironman with a bone to pick with the rouges.

Bruce doesn’t know if he loves Tony or hates him but his kids find him hilarious.

[vaguely-concerned]

having seen at least the rough outlines of all the romances now I have to say that I think emmrich's is probably objectively the best in terms of coherence and completeness of story arc (with the understanding that ultimately the 'best' romance is whichever one makes YOUR heart sing anyway so objectivity is a silly thing to claim that way, it just felt like it's the arc with the most well-paced focused content and the least dangling threads)... but lucanis' is my favourite haha. just. the whole kneeling before your beloved full of reverence but without any of the distance that usually implies??? his complete undramatic certainty and calm in every scene with rook after this, having spent the whole game caught between fear and longing???? mr. lives in a pantry but it says nothing about my psyche don't worry about it it's purely for tactical reasons that I keep myself contained in a small dark room not entirely unlike a cell, love among the parsnips -- finally coming to rook in their room and it's so comfortable and comforting???? after all the times rook supports and comforts him through the game he's finally able to return the same to them when they need it while being so calm and steady and it's so fucking sweet and feels so effortless and with no price attached?????? he basically assigns himself the role of your bodyguard and he WILL stab a god over it??????????????? the turn to protector (which was in his heart all along longing to get out and find a place) of it all????? he sounds like he's found himself unexpectedly stumbling into such a soul-lightening state of revelatory existential relief, full on 'you only have to let the soft animal of your body love what it loves' mary oliver style, and he goes and he shares that with rook and protectively envelops them in it when they're hurting??????????????????????????? hello for the maker's sake hello can anyone hear me?????

[rawliverandgoronspice]

Always a bit puzzled by people saying that anyone who wanted long-term consequences for TotK Zelda's sacrifice are "edgy".

I'm not even particularly in the camp that she should have remained a dragon forever (I think this should have been Ganondorf's fate, it would have been sooo much more impactful than to explode him and move on but anyway). To be honest, I wish the rules for turning back would have been 1) clear 2) active gameplay on the player so that it feels like it's something we have earned, and 3) not make her have amnesia about it and/or at least having her gain some crucial insight because of the experience.

(also: doesn't she crave knowledge? isn't that insanely mean to have her watch over every civilization and every bit of history ever and then take it away from her? kind of dislike how totk privileges the comfort of the player's feelings over what the characters would actually want or need tbh)

To be perfectly honest, I fully expected us needing to turn her back before engaging Ganondorf so we would fight him together, especially since Zelda as a compagnon exists in the game code already (though in a very subdued state). It feels very very strange to me that all of this mechanic of Sages following us existing and yet we never have the very climactic cool Zelda-staple moment of facing Ganondorf or Ganon together (OoT, WW, TP, ST and probably more that I'm forgetting all did this in some way --even BotW had Zelda more involved than in TotK). I'm not sure Mineru was a compagnon that was needed over Zelda honestly, especially given the kind of non-insight she gives us on the zonai (even if the idea of the mecha is cool, it really could have been Zelda using her zonai + sheikah knowledge to pilot one for us or something).

But anyway: yeah, even if this isn't what I would have wanted personally, I think wanting Zelda to remain a dragon is kind of arguably more respectful of her relationship to Link, in a way, that what the game ended up doing. When she enacted this sacrifice, Zelda decided to trust him to such a extent that she lost herself, reciprocated his trust in her and his devotion to her, and now the future of Hyrule exists beyond her and beyond what Hyrule once was, but she trusts them to follow through and be happy and she will watch over them from the stars moving on. It's fine if we manage to save her from that fate, but even if we don't, honestly this sounds like a beautiful story/tragic romance to me, if you want to read it that way. Tragedy doesn't necesserily involve edginess. Fictional pain isn't always mean, or out to get you.

[carpe-mamilia]

Ghosts’ Larry Rickard Explains Why They Chose the Captain’s First Name

Photo: Monumental,Guido Mandozzi

It couldn’t be a joke. That was one rule laid down by the Ghosts creators when it came to choosing a first name for Willbond’s character. Until series five, the WWII ghost had been known only as The Captain – a mystery seized upon by fans of the show.

“It was the question we got asked more than anything. His name,” actor and writer Larry Rickard tells Den of Geek. “Once we got to series three, you could see that we were deliberately cutting away and deliberately avoiding it. We were fuelling the fire because we knew at some point we’d tell them.”

In “Carpe Diem”, the episode written by Rickard and Ben Willbond that finally reveals The Captain’s death story, they did tell us. After years of guessing, clue-spotting and debate, Ghosts revealed that The Captain’s first name is James. At the same time, we also learned that James’ colleague Lieutenant Havers’ first name was Anthony.

The ordinariness of those two names, says Rickard, is the point.

“The only thing we were really clear about is that we didn’t want one of those names that only exists in tellyland. It shouldn’t be ‘Cormoran’ or ‘Endeavour’. They should just be some men’s names and they’re important to them. The point was that they were everyday.”

Choosing first names for The Captain and Havers was a long process not unlike naming a baby, Rickard agrees. “It almost comes down to looking at the faces of the characters and saying, what’s right?”

“We talked for ages. For a long time I kept thinking ‘Duncan and James’, and then I was like ah no! That would have turned it into a gag and been awful!” Inescapably in the minds of a certain generation, Duncan James is a member of noughties boyband Blue. “Maybe with Anthony I was thinking of Anthony Costa!” Rickard says in mock horror, referencing another member of the band.

Lieutenant Havers wasn’t just The Captain’s second in command while stationed at Button House; he was also the man James loved. Because homosexuality was criminalised in England during James’ lifetime, he was forced to hide his feelings for Anthony from society, and to some extent even from himself.

In “Carpe Diem”, the ghosts (mistakenly) prepare for the last day of their afterlives, prompting The Captain to finally tell his story. Though not explicit about his sexual identity, the others understand and accept what he tells them ��� and led by Lady Button, all agree that he’s a brave man.

Getting the balance right of what The Captain does and doesn’t say was key to the episode. “It wasn’t just a personal choice of his to go ‘I’m going to remain in the closet’,” explains Rickard. “There wasn’t an option there to explore the things that either of them felt. That couldn’t be done back then – there are so many stories which have come out since the War about the dangers of doing that.

“We wanted to tell his personal story but also try to ensure that there was a level at which you understood why they couldn’t be open, that even in this moment where he’s finally telling the other ghosts his story, he never comes out and says it overtly because that would be too much for him as a character from that time.

“He says enough for them to know, and enough for him to feel unburdened but it’s in the fact that they’re using their first names which militarily they would never have done, and in the literal passing of the baton”.

The baton is a bonus reveal when fans learned that The Captain’s military stick wasn’t a memento of his career, but of Havers. As James suffers a fatal heart attack during a VE day celebration at Button House, Anthony rushes to his side and the stick passes from one to the other as they share a moment of tragic understanding.

“From really early on, we had the idea that anything you’re holding [when you die] stays with you. So it wasn’t just your clothes you were wearing, we had the stuff with Thomas’ letter reappearing in his pocket and so on. And the assumption being that it was something The Captain couldn’t put down, it felt so nice to be able to say it was something he didn’t want to put down.”

Rickard lists “Carpe Diem”, co-written with Ben Willbond, among his series five highlights. He’s pleased with the end result, praises Willbond’s performance, and loved being on set to see Button House dressed for the 1940s. He’s particularly pleased that a checklist of moments they wanted to land with the audience all managed to be included. “Normally something’s fallen by the wayside just because of the way TV’s made, it’s always imperfect or it’s slightly rushed, but it feels like it’s all there.”

Rickard and Willbond also knew by this point in the show’s lifetime, that they could trust Ghosts fans to pick up on small details. “Nothing is missed,” he says. “Early on, you’re always thinking, is that going to get across? But once we got to series five, there are little tiny things within corners of shots and you know that’s going to be spotted. Particularly in that very short exchange between Havers and the Captain. We worried less about the minutiae of it because you go, that’s going to be rewound and rewatched, nothing will be missed.”

The team were also grateful they’d resisted the temptation to tell The Captain’s story sooner. “We’d talked about it every series since series two, whether or not now was the time, but because he’s such a hard and starchy character in a lot of ways you needed the time to understand his softer side I think before you had that final honest beat from him.”

“What a ridiculously normal name to have so much weight put on it for five years,” laughs Rickard fondly. “Good old James.”

From Den of Geek

[taylorkellysburneraccount]

Ignoring how fucking annoying specific parts of this fandom will be, yeah, this feels like everything involved was misaligned. Like, having Henren's story end in two-three episodes, continuing the series regular tradition of doing nothing with Josh if he isn't either taking up Maddie's role when she isn't there or being her gay bestie, making every scene with Eddie about how straight he is, and now doing the most out of nowhere break up for the only other main queer couple since Michael's actor torpedoed the last one.

I think, we might have to come to terms with the fact that...this is getting to be glee levels of bad. The shout out was a warning, we are about to get terrible plot lines from the worst parts of fandom because everyone involved were not ready for the actual implications of making a bisexual main.

And the way Oliver talks about bisexuality, I am sorry I know he's like your fave but as a bisexual man it sounds like he has never talked to a bisexual once in his life. I genuinely am kinda grossed out with the way he talked about Buck needing to immediately have a sex montage but ~gay~ now that he's bisexual. Like, that's all you can think to do with his character? Are you 15, you are a grown man Oliver maybe Josh should've given a gay speech to YOU.

That's probably the most disappointing thing, because it feels like they genuinely don't even want to do Buddie, so this breakup won't even satisfy the weirdos who went full homophobe to defend a ship that wasn't even under attack.

Like at least Glee had in universe reasons to do things, they took place in a school so adding replacements to avoid cutting out the school sets they had while splitting the run time with the now graduated cast members made sense no matter how poor the execution. It genuinely feels like the writers took the first thing they saw in the tags, and went "lets actually give NO PAY OFF."

Also is it just me or was Maddie written weird as fuck in the josh and buck scene. The "turning men gay" joke about Abby came out of nowhere and kinda uncomfortably so?

[danwhobrowses]

I have to say when it comes for episode 107 I'm on the camp of this feeling wrong. Like, two gods' plan is to just let Ludinus just have his way? And just assume that the vessel won't get them? The Wildmother showed Orym the time Predathos came to town, it took out two of them in a blink and the Titans did the heavy lifting, it chased them from Tengar to Exandria without concept of navigation so it's foolish to think they won't do the same this time around. Running forever isn't a life even the infinite should be pursuing. Corellon is cheeky and flirty but it's a mask for being deflective and honestly a little cowardly. What you're asking and trying to persuade with gifts requires the Hells to entertain sacrificing one of their own, which they shouldn't (and I'm hopeful they won't, because that'd be to me at least be a character betrayal since they have always prioritized each other over the gods) consider doing even for any kind of promise, and treating it like it's a necessity, as if leaving like you've decided you want to do now is your 'sacrifice'? Even if being a vessel and still being of sound mind was a viable option with proof that it can work that way, there are too many unknown factors that it seems not even the gods have answers for, so it should all trail back to the fact that this is STILL not a risk worth taking and Ludinus should not be having his way.

I guess part of this feeling comes down to the fact that this was not what I was hoping to get out of the episode; I'm always open to being surprised (because I often am) but it has to be in a good way, this was not a good way. But we'll have to see where it goes, this is a proposal of two gods against a majority yet to say their piece and could still be heard out, I still trust Matt's vision and Abu DM's like smooth butter, but the god debate admittedly continues to wear on me - we were already in a state where we were open to talk but now they're conspiring against one another too? Can we not just focus on Plan A: Unite to Stop Ludinus from releasing Predathos? Evoroa literally said Ludinus' plan is to divide why are we sowing more division? Couldn't just kill Zathuda and take his dragon for Fearne...this should've been Bell's Hells' big win to make up for Otohan but now for me at least it feels a little sour.

[captain-mozzarella]

Anakin being haunted by his mother once he becomes Darth Vader and having an Azula from Atla style breakdown where Shmi tells him something along the lines of "this isn't the life I wished for you/you're back to being a slave" and Anakin smashing a mirror

[lizzybeeee]

Listen, if your Lavellan would be happy in the Fade with Solas forever - cool, no problem. But mine would be BORED AS FUCK. I cannot imagine her being stuck in the regret prison with that man with no one else to talk to and nothing to do and not able to talk with Dorian and not able to ride about on her elk and not being able to hunt and not being able to see her Clan and not able to feel the wind in her hair or the rain on her face and-

[fighting-naturalist]

"So we're a million years late?" "Probably more." "That's very late."

[boycaca]

I think its somewhat telling that the gnosis was placed inside the shouki no kami rather than scara containing it in his chest the same way that venti did with his gnosis. I get that its probably more so because scara needed a much grander body for his god form and the electro gnosis just so happened to be at the centre of it… but i cant help but think of it as the games way of telling us that he truly is not fit to contain the gnosis, even in peak form when all his powers are unleashed, he still needs to build a whole new body as the gnosis’ vessel, that the so called “heart” he thought was rightfully his would not actually make him satisfied or fulfilled, as it seems to be the embodiment of all of scara’s obsessions

[hikarisbeam]

Go Ayano ◇ 地面師たち /Tokyo Swindlers (2024) Ep. 1

[marimbles]

i miss carpisuns sometimes </3

[daftpatience]

man rodeoh hasnt added my not so good review and now im starting to wonder if theres some suspicious reason they dont have any reviews under 4 stars