#we don't talk about this scene enough

[wilhelmified]

"I dreamt of swords last night.

I dreamt of battles last night.

I dreamt I fought by your side

armed and strong, last night."

[hehehereliesmysanity]

I am still here.

[thechaoticfanartist]

Never forget that in (tcwganv)canon Grim once panicked and stole a trash can

[userarmand]

INTERVIEW WITH THE VAMPIRE "And That's The End of It. There's Nothing Else"

[girldadbuckley]

9-1-1 + scenes that made me cry 8/? S05E13: Fear-O-Phobia

[buttercupshands]

can you even call it a warm up if I'm going to bed without drawing anything big

and a sketch I made while sitting in the park today

[secriden]

Just going to cry again (see: my previous post about the parallels between the storage room scene and the abandoned factory scene) about parallels and juxtapositions in the store room scene vs the one in Styles bedroom:

Both these scenes have such a tone of desperation and are characterised by an overflowing of emotions, but in drastically opposite directions.

(Note, some of what I say in this post directly relates to concepts and themes I talked about here, so it may not wholly make sense without that context.)

The scene in the storeroom is filled with frustrated desire. Fadel kisses Style because he wants Style's body and also wants to take his frustrations at Style out on his body. He doesn't need to look Style in the eye (and in fact very intentionally only does so only in small snatches) because this isn't about a connection as much as it is about a release. Fadel's kisses come fast, hard, and are intended to bruise more than to adore.

But episode 5's scene is filled with much more quiet and tender sort of desire. Style is kissing Fadel so much more slowly and purposefully. He keeps looking back at Fadel, checking in to see how he feels and whether Fadel is enjoying it. Everything Style wanted in Episode 3, he now gives to Fadel here, pours the secrets of his knowing and choosing Fadel anyway into the way he presses his lips onto Fadel's skin. His kisses linger, they carry a weight but are somehow infinitely gentle still; Style's kisses contain a purpose that Fadel's kisses couldn't in Episode 3 because in all honesty they were relative strangers back then.

There's also the way there's such a ferocity and carelessness in the way Fadel starts the encounter in episode 3 that is juxtaposed beautifully by the slow, tender, almost hesitant way Style slides his lips onto Fadel's. Both of them are in such different headspaces, between these episodes and its especially evident in the way they care so much more about the other person's comfort and how intentionally they showed that to the audience.

There's hunger present in both scenes but what this hunger is focused on is so drastically different. In the storeroom, they're both mainly focused on a physical release; its primal and visceral but lacked emotional resonance. Fadel gives Style what he knows Style wants (that hint of danger, with the hand on his neck), but its not because he really cares about what Style wants on anything more than a physical level. In Style's bedroom, however, Fadel is drunk (intentionally and by his own design) and desperate to open himself up to Style on an emotional level. Meanwhile, Style wants that desperately too, but knows that Fadel shouldn't because of his own terrible secret. So this kiss is what they both will allow themselves - an honesty and a hunger for this deeper connection they can only share in act but not in words.

In the storeroom, Style wants Fadel to want more than his body but knows (or thinks) he can't push for it yet, so he remains passive, lets Fadel do whatever he wants, lets him turn and shove and place Style how he wants because at this point, this is all Fadel will give him. Here, Style is passive in spite of what he wants. But in the bedroom, Fadel is passive because it's what he wants; he wants to let Style do whatever he desires to and with Fadel's body. He wants to lay himself as bare as he possibly can, which is only physical, and so he does.

And because the encounter in Episode 3 lacked that emotional connection, the focus is merely their respective releases. There's a sense of two people trying to find pleasure and 'finish' while remaining emotionally disconnected despite actively having sex with each other. Because in some ways, they didn't really need each other in that moment to get there (there's actually a lot of truth in what Fadel says about it being easier to just jerk off alone). In sharp contrast, the scene in Episode 5 isn't focused on the destination but on the journey. Style is taking his time and Fadel is letting him - Style is choosing to worship Fadel's body, with his fingers, with his lips, to respond to his vulnerability with gentleness and tenderness and adoration. The goal has stopped being about finding a release, it's about allowing both these men to revel in the giving and receiving of pleasure.

The point of these scenes is to show to us the ways in which Fadel and Style have grown to care for and, dare I say it, love each other in ways that are so purposefully portrayed by showing the nature of their physical connection. Because the ways in which these scenes are the same and yet so wholly different showcases how their touches are now no longer merely tied to their senses any longer, but also to their hearts as well.

[chayatorns]

THE HEART KILLERS (2024-2025) เขาจ้างให้ผมจีบนักฆ่า dir. Jojo Tichakorn Phukhaotong

[shimera]

the last transmission

__

shmol leland as a bonus because yea

[theyaremycrocsyoudonut]

A CRIMINALLY underrated Gallavich scene is the one where Ian is admitted to the mental hospital. Holy fuck. I am not normal about it. Everything was executed to perfection. How Ian didn't sign the form until Mickey gave him a little head nod and Ian realized that this is what's best for him and everyone around him. How Ian said goodbye to everyone else, including Yevgeny, and left Mickey for last because he quite literally couldn't face him due to the guilt. How even then he couldn't get the words out without drowning a wave tears. How Mickey couldn't let him go without a hug, and not just any hug, THE hug, the mother of all hugs. And most importantly that question, THAT GODDAMNED QUESTION. "Can I go in with him?". Mickey didn't care about anything else. The world could be on fire and he wouldn't notice. It gives me chills.

[partrin]

when i read this all i could think was, "do you know how much i have to like you to commit to taking driving lessons with you?!"

...and that's on rinharu

[beanghostprincess]

Sanji and Usopp during The Sabaody Incident™ won't leave my mind.

Usopp standing in front of Sanji protectively because he is wounded and he can't fight, so Usopp will do it for him ("I'll do what you can't do").

There is just something about Sanji's expression when he realizes he might actually lose Usopp. This is my interpretation, at least. He is literally frightened.

Usopp helping Sanji stand up to run away. This is crucial for something I want to point out later: Sanji needs help to stand up. (Also, Brook disappears trying to protect them both and saying he will do anything to save them even if it costs him his life. I am feeling sick).

Sanji being self-sacrificing and blaming himself for not being able to protect them/act sooner is not new. But he does manage to gain the strength to fight when Usopp is the only one left with him and the possibility of losing him is even more real now.

The thing that I love the most about this is not Sanji sacrificing himself for Usopp, because he does that. He is like that. But Usopp not running away or moving in the slightest because he refuses to leave Sanji on his own.

Something I'd like to point out too is that Sanji actually touches Kuma before Usopp disappears. He tries to fight and protect him and Kuma could've easily sent Sanji to Momoiro Island right away, and yet Sanji was just sent flying far from the scene and forced to see Usopp disappear in front of him.

And I am not saying that "not being able to protect both Brook and Usopp (especially Usopp) is needed for Sanji to realize he has to become stronger and find more reasons to go back with the crew" but not being able to protect both Brook and Usopp (especially Usopp) is needed for Sanji to realize he has to become stronger and find more reasons to go back with the crew.

Not to mention that we can't deny (right after Water 7/Enies Lobby) that Usopp is one of Sanji's strongest bonds within the crew. This specific scene focusing on them both is more than enough to prove it.

Sanji seeing Usopp disappear in front of his eyes without being able to do anything to save him.

Remember what I said about Sanji needing help to stand up seconds ago? Well. This is him the moment Usopp disappears. What adrenaline and the power of love do to a mf.

They are so "I can lose everything, but not you. Oh God, not you" shaped.

[pennielane]

PAUL MCCARTNEY discussing JOHN AND YOKO The Beatles Get Back, Part II

[jacnaylor]

we don't talk about that brian x justin spanking scene enough as a society

[birthclod]

the memory scene with tabi and clown in chapter 1 still has me in a chokehold. literally the VERY first thing we hear not only from clown but in the scene as a whole is "Let me be the one to go. You have a longer life than I do, and you don't deserve to die." Which could mean nothing

[rackhamish]