#you know your way to a man's heart

[captainbored]

WHY ARE YOU SO ADORABLE T-T

I am?

[topnotchquark]

Nico saying that Lewis gives his daughters boxes of presents every Christmas just got caught in my mind.

Imagine you were a mixed race boy born in Hertfordshire, different from everyone else around you. Bullied in school, being raised by your father to compete in a sport where money is very much of essence and you and your family do not have a lot of it. And then you meet this other boy who comes from the kind of life you dream to live one day. You're friends and fierce competitors. You find solace in each other. You visit Monaco for the first time with your friend, dreaming up the life you will have when you make it, when you beat out of the mould that the world thought it could capture you in.

And then you two grow through the ranks and you're at the pinnacle of your sport and you have what it takes to win and the world recognises that you can win. And you win. You win with your friend and fiercest competitor by your side fighting with you for those wins, and this fighting ruins something something that was valuable to both of you when you were still innocent and unsullied by life.

But despite everything that went into the doing and undoing of this relationship, you still realise that this person you once called a friend has a life and family beyond your bitter dynamic. He has children, and children need love and affection and good memories. And you're a better man now so you understand that. So you make sure the kids get gifts on Christmas. And you make sure of it every year. Afterall, if you met someone you loved deeply when you were both kids, wouldn't you feel a pang of nostalgia when they had kids. Wouldn't you try to extend the warmth that you couldn't find for your friend to his children. Afterall, whatever happens during childhood basically remains with you forever.

[souenkun]

Larry's random conversarion lines 🍙

Pokémon Masters EX spoilers ahead!

Random conversation 1:

Ever since I met a certain individual, I now find myself gazing up at the sky every once in a while. There's scenery you'll never even notice if you stick to flat, well-trodden paths. Just something I've observed. I don't dislike the vast, clear sky... But I don't think I can reach it. It's nice to know that there's something like that out there, though.

Random conversation 2:

Pasio seems to have many good restaurants. Ah, I'm not asking for specific recommendations, though... I actually enjoy walking around and looking for a place I might like. That's part of the experience. I seek the exceptional only when it comes to food. Pasio has a variety of cuisines to choose from, so it's hard to stick to just one.

Random conversation 3:

(Player), which do you tend to favor: the exceptional or the average? I was thinking of inviting you to have a meal sometime. Casually figuring out your client's preferences is a special skill that you learn as a salaried employee.

Random conversation 4:

Lunchtime is one of the few things that a salaried employee like me can look forward to at work... We can decide whether to spend that precious time eating something familiar or trying out a new restaurant. It's not just about the meal. The decision-making process leading up to it is also something to look forward to.

Random conversation 5:

People, Pokémon... There's no need to overcomplicate things. Nowadays people only seem to want a shock factor. Something weird, something bizarre. When all's said and done, simplicity is strongest.

Random conversation 6:

You don't necessarily have to follow every instruction from your boss. But I pretend to follow them, at least, so I can avoid hassles later on. That's a technique you can use to get by in the workplace. Keep it in mind.

Random conversation 7:

I'm here in this famous tourist spot, but I can't really spread my wings while my boss has her eye on me. I guess I'll do what I usually do on my lunch break and find a spot to Roost...

[curioscurio]

not to be a freak but I think when Trump loses he will either kill himself or Putin will let loose the real assasins. it's just the smart move like he knows too much and he's losing all the power he used to have lol. like if I were putin I'd be worried about what kind of information a desperate man like Trump is willing to surrender once he's caught 👀

[swordmaid]

i am wide awake thinking about that post canon jb au again when I should be sleeping …!!! such is the nature of the jbrainrot…

[undead-moth]

I know I've been on about this for a while now and I'm being a hater but you're telling me SydCarmy was "always meant to be platonic" even though there are two seasons of writing making use of tried-and-true explicitly romantic tropes, themes and writing signals, and SydLuca is going to be romantic because...he was nice to her on screen for a few minutes?

I don't even care if people ship SydLuca, or if they just prefer it, but you can't honestly tell me that you believe Carmy was always meant to be a friend but Luca is an obvious love interest.

Just because Syd and Carmy haven't kissed or confessed their love to each other doesn't mean that isn't very obviously the direction this show is going. The Bear has already shown you who is endgame. It has shown you every episode of the show so far.

Honestly I really don't think The Bear fanbase understands this show or cares about these characters or the story being told here, which is unfortunate because this show is shockingly well-written in comparison to most shows right now, and we should be so grateful for it but all we're doing is complaining that the writers led us on by not making a ship canon fast enough. It's just. Sad.

[kickedin17]

I'm seeing people point out that the Craving (at least the single version) is about SAI being perceived by a lot of people as a flop album & I think that's probably correct but I also think it probably applies to Lavish, because I truly cannot imagine why else they decided to include it on the album? Like don't get me wrong I love Lavish but narratively it reads as the most 'expendable" song on the tracklist. Yet Tyler allegedly wanted to leave off Navigating (which they gave the lore video to, lmao) and kept Lavish. Which is fair because it's a banger and a nice break from everything else, but it's also just telling to me that they very intentionally did a song about industry bullshit on this album, the most direct they've gotten since Lane Boy.

Like either their label or someone in the industry did something to piss them off that we don't know about, or it's a generalized frustration. I have to imagine it would hurt to be Grammy noms/winners two albums in a row and then be paid dust the minute you do something a little different. Or (purely speculating here) to experience label pressure to have another album cycle like blurryface, when that's virtually impossible to replicate unless you're, like, taylor swift specifically, and when it inevitably doesn't happen they start pulling back on financing/promoting you/helping you get nominations the same way they used to. They're fucking you behind your back and you can't really do much about it because they're the ones with the money and the influence, and you're supposed to trust them to take care of/care about your work. Like tøp has never been a band that values itself on award or critical recognition, it's always been for us, but creatively speaking the whiplash of going right from your most commercially successful album, to your most critically acclaimed album, then to your most criticized - and to a degree you now just assume your time as a critical/commercial darling has passed, which Tyler seems to - would have to hurt. It would have to.

Honestly tho he probably just knew he cooked with the proctologist line and needed everyone else to know too

[thefrogdalorian]

I think on this fine Saturday afternoon it's a good opportunity to take a breather and remember that there are really no ethical paparazzi pictures. Every single one is inherently exploitative.

Just because photos were taken on a movie set, when someone is 'working,' does not make the practice any less invasive and creepy. Imagine just going about your day, doing your job and having some weirdo snapping pictures of you to sell without your consent for others to endlessly repost online.

There are thousands of pictures of your favourite actor online already. Plenty taken with his knowledge and consent. I'd really like to see more of them on my dash, rather than the creeper shots.

And don't get me started how disseminating these pictures directly leads to people going to said sets. What starts off as admiring how good someone looks has real world implications.

No, hanging around a movie set and disrupting people doing their jobs is not harmless fun or a way to show your appreciation.

If you hang around a movie set, you are a stalker.

Don't tell me that it's okay to take your online admiration for someone offline. You may admire him but he does not, and will never, personally know you. He will never be your friend/boyfriend/daddy. He is a stranger.

The only way meeting your favourite actor is going to happen is at a convention or maaaaaybe a movie premiere if you're incredibly fortunate. You know, places they appear specifically to meet fans (or not in the case of premieres, where the purpose is to promote a movie. Which is also completely understandable if actors don't stop. You are not owed an interaction).

Of course, you cannot help it if you randomly run into someone you admire in the wild. Even then, consider that they probably won't be all too thrilled to be approached in public by a complete stranger. It's up to you to gauge the situation, but remember there is a person at the heart of all of this.

Boundaries and respect are a kindness which deserves to be extended to each and every human being regardless of their looks/talent/fame/wealth.

Fandoms blur those lines a little too often for my liking and I think just scrutinising what you're interacting with, or what behaviour you could be possibly falling down that slippery slope towards is nice to do every once in a while.

I mean no malice with this post and it is not directed at anyone in particular. It's something I cannot help but feel strongly about because I've seen this destructive cycle time and again in fandoms over the years. It's not healthy and it makes us all a little bit more disconnected from our humanity for it...

[carma-tjol]

“To know you is to love you.”

[catboygirljoker]

hey you ever think about how its implied that you have to be turned into a nobody to get norted, like, every member of the real org13 who isnt literally xehanort or literally possessed by xehanort is a nobody (except maybe vanitas but *gestures* thats a . different can of worms), and the people who were recompleted had to then become nobodies again in order to be in the real org13 and serve as a vessel for xehanort, like perhaps your heart has to be removed in order to make room for another heart,

and then do you ever think about the one character who canonically got norted before becoming a nobody and is still norted even after being recompleted and thus canonically didnt need to become a nobody in order to be norted, and then lose your mind a little bit

[thebekashow]

so.. sonic trailer huh?

(shadow simps reunite.)

[fullscoreshenanigans]

(Mystic Code Book Chapter 2 Bonus Comic for Chapter 48)

In case anyone hasn’t seen it yet or needed a reminder of how much these two love their older brother and how much it hurt them to see him at his absolute lowest point.

[agirlinthegalaxy]

It's been rolling around in my brain the last few days for some reason, but I still hate the family backstory reveals for Sophie and Eliot. I've seen some of the meta for it, but quite frankly, it still makes no sense. If it had been something actually thought of and intentional in the original, I think it could have been so fascinating. I mean, Sophie's willing abandonment of Astrid to contrast with Nate's loss of Sam or Eliot's adoption in contrast with Hardison's and Parker's? Could have been excellent! But they came out of nowhere in Redemption and don't work with these characters.

Sophie was still actively using the fucking alias that she met Astrid under! She met with someone from her past on the show! Like. Quite frankly, that one is unequivocally bullshit that they made up and threw in and pretended could fit with the established canon. (And I'm sorry, but the idea of Sophie abandoning Astrid and never telling Nate about her just... So much of Nate's trauma was rooted in the loss of Sam, and I think that introducing this element after he's gone and unable to respond to it taints Sophie and Nate's relationship in a way bc I'm not exactly sure how Nate would've responded to learning about this but I think that it's something he'd have needed to know. I don't know how to fully express my thoughts on that but yeah.)

As for Eliot, I don't like the adoption aspect literally at all. The way that he would interact with his family and the memory of his family would be different, and I think that it's flat out ridiculous to think that he'd have never mentioned it to the team in the original show, especially when dealing with the kid cases. (I also dislike the biracial adoption as its own element because if Eliot was actually raised by Black parents in the... idk what 80s/90s? That just. doesn't feel congruent with how they write Eliot interacting with PoC, not necessarily in a bad way, but babe, he's written like a white southern man raised in a specific kind of culture that does not jell with that. It also makes Eliot look... really bad that he was apparently raised with the knowledge of how fucked up the military was and his parents' history and made the choices that he did.) Like the show may not have explicitly stated it but the implication of that relationship was vastly fucking different throughout the original show.

Just. These were not backstories that were congruent with their depiction and characters in the original show, and they're also just moves that I don't particularly like or find interesting directions for those characters. There's also something to be said about how it was apparently unacceptable for a woman to not have kids or someone not reconciling with their biological family when that was something that the original show handled a lot better. Out of all the directions to take Sophie and Eliot's stories, that's just not really one that I think was a good idea.

[shorthaltsjester]

begging twitter to stop showing me tweets of people with no reading comprehension misrepresenting things I said but since i was going to make this more in-depth post Anyway .

when i say imogen is better read as a metaphor for generational trauma than she is a metaphor for queerness or chronic pain, i’m not talking about legitimate traits she has as a character. obviously she is queer. obviously she experiences some form of chronic pain (though i would argue her magic better suits chronic illness not pain because she states that it’s Not always painful, but it does always influence how she lives her life).

when i talk about how well she’s understood as a metaphor, i’m talking about when i’m looking at her as a part of a story, as an arc that i am witnessing rather than in the more typical fandom way of this is a fictional person who interacts with exandria as real people do. and that is a fun way to interact with characters, i enjoy it a lot! but when i say imogen (to me, as i for some reason have to clarify on my own blog which implies that these are my own opinions and not absolute fact that needs to be accepted by people on the internet with different experience and opinions than me) is best read as a metaphor for generational trauma, it isn’t a dismissal of her queerness or her illness, it’s just me thinking looking at her from that angle is more compelling.

imogen has been one of my favourite characters and least favourite characters in campaign 3 because i tend to analyse her through a lens of generational trauma and she ends up looking extremely familiar to me as someone with a family that carries their’s heavily which is as comforting as it is frustrating.

for me the main thing that looking at imogen through a queer lens of literary analysis fails to account for is harm. on the one hand - the harm that imogen experiences, not because of how people treat her for who she is, but that exists simply as a factor of her being ruidusborn. on the other hand a the harm that imogen causes. not to say that she is some malicious villain waiting for her chance to harm others, but that there are things about being ruidusborn that very much do incline her towards violence in a way that she might not otherwise be - i think about the conversation after she went nuclear and chet brought up people being scared of her connecting that to her father keeping distance. the only harm that queerness provides comes from society, and that isn’t the case in exandria. even metaphorically, the thing that society fears in ruidusborn people (while it has certainly been exacerbated by centuries of superstition and practices like we saw in zephrah) is a tangible threat. imogen’s magic when not controlled can wipe out a city block, but queerness poses no threat.

that’s why i’m not compelled by imogen’s backstory as a queer metaphor. not because i’m some imodna anti (i very emphatically am not but this fandom kinda makes me wish i was sometimes) or because i think exandria’s lack of homophobia/transphobia means that characters can’t be viewed through a queer lens or that critical role doesn’t contain some of the most compelling queer metaphor i’ve encountered. imogen just isn’t one of those characters, not because she isn’t queer, or because i think her story shouldn’t resonate with queer people, just because i find the generational trauma angle more consistent.

it’s similar with the chronic illness angle, which i will refer to as illness but you’re welcome to emphasise pain, we all have different vocabularies for the experiences we face. but just to give context i’m running off laura’s comparison of imogen’s powers to her own sensory issues and anxiety which while often Lead to pain, fall more into chronic illness in imogen’s context to me. and i do think there’s substantial comparison for imogen’s story as a metaphor for chronic illness, but i think that was much more true earlier in the campaign than it is looking at her from the current context. her beginning motivation being her search for knowledge about her powers really resonated with me as similar to someone experiencing symptoms of chronic illness but who could neither figure out how to treat them or what they were caused by.

but then imogen got more information, specifically about her mother, and her priority became not understanding her powers but understanding her current state as a person - how had she become the person she is, inclusive of her powers but very much emphasising her lack of a mother who became more and more present in the unweaving web of ruidusborn lore. that’s when i was less compelled by the chronic illness reading and more compelled by viewing her as a metaphor for generational trauma. had that not been enough on its own, imogen’s visit to relvin and her recent thoughts on her mother would be enough to convince me.

the part that makes me hesitant about this post is that generational trauma is so intensely linked to the contexts under which it is created and perpetuated. so i can’t really point to specific scenes as evidence of specific things that prove generational trauma is the most compelling and i don’t really want to unload that much of my own experience to clarify my thoughts on a character. but vaguely, i will say that imogen’s relationship with her parents is obviously the clearest source for my reading her as a metaphor for generational trauma. the fact that relvin, the only person in her family without the thing that draws society’s ire, is also the person that she has the most willing anger at is also indicative of this to me. in general, imogen’s rage that so easily transitions into sadness and vice versa comes out a lot in conversations about parents. most recently, i think about ashton’s lovely speech about found family and his distrust about parents and how as they were speaking, laura seemed to be playing imogen as sadly in thought versus months ago when fearnes parents showed up with striking similarities to liliana and imogen’s words of wisdom were let’s hurt them all.

and like. to me that angersadnessvengeancegrief is particularly evocative of the feelings that arise when you are in a family with generational trauma, especially when you are aware of it. because imogen can and has followed the logical steps that have led her and her family to where they are. early on when recounting her relationship with her dad she seemed wistful but understanding of the distance between them. in nearly every encountered with a parental figure imogen seems to be some level of distrusting for the most part, but she’s still holding out hope that her mother will see the good side. and further, there’s the complication of how dire her losing her powers seems to be, and how inextricable her powers are from every aspect of her life. she’s also southern and from a blue collar family. this means nothing except it also means a whole lot.

this is messy and not well organised but if you want a good essay you’re gonna have to pay me money for it but tldr: i say things i believe on my This Is My Opinion Blog and i don’t think i need to explain my thoughts to strangers on the internet but this was already half written in my drafts and if people are gonna shit on my opinions please at least do it in good faith and shit on my actual opinions not the ones you’ve decided i have.

[daincrediblegg]

I know we've all been going insane about hari murder comeback of the century in envy of the entire wwe league but like. CAN WE FUCKING TALK ABOUT HARI "THE FUTURE IS WRITTEN EVERY SECOND! WRITE A BETTER ONE" ?!?!??!? CAN WE???? PLEASE????

[ghostforwhat]

when you’re off of work would you please elaborate on your hannibal service top agenda,,, please my family is starving

i don’t want anyone to starve so obviously I will extrapolate on the service top aspect of Hannibal Lecter o7!! I am going to get so carried away and I apologize in advance.

Alright going to start this off by saying I do think they’re vers but only in regards to each other, I think for canon relationships, Will has a tendency to allow himself to be directed while Hannibal loves to orchestrate. With each other, though, it grows increasingly and alluringly complicated. Arguments could be made and subsequently thrown out depending on what part of the show you’re watching and post fall is an entire free-for-all because you can’t tell me two grown men survive murder-suicide via cliff and then settle into the puritanical rigidity of who tops and who bottoms.

Okay that being said, honestly i could make the case that both of them lean more toward making sure whoever they’re with is getting the most out of the encounter (maybe for different reasons; the popular trope of Will’s empathy causing a sort of blissful feedback loop and in Hannibal’s case, it stands to reason the politeness overlaps with a challenging sort of hedonism, he’s in control and playful about it) but I think that specifically for Hannibal, Will’s reactions are what he’s constantly seeking and then hoarding. Like. Will responding to stimuli that Hannibal presents is basically the premise of the show and Hannibal very clearly gets off on that, maybe not anywhere explicitly but we see shots of his pupils dilating, his gaze always caught on Will, licking his lips, all in response to Will reacting to him. It’s very rare he’s outright hungry at the beginning of a conversation or interaction, he seems to maintain a sense of aloofness until Will snarks or baits or replies or even defers and then, it’s as though he’s desperate to see more. I'm not getting into the whole them eating meals together because I'll devolve very quickly but like. just keep in mind the way Hannibal watches Will eat, as though he savors Will instead of the meal he cooked. Right. Okay. He gets caught up in Will’s responses very quickly, enraptured and almost stupid about it and trying to immediately trigger more which!! Goes hand and hand with him doing very uh lets say unique acts of service (the malewife jokes are only half jokes); the breakfasts & dinners, the driving, the caretaking. Yes all that’s manipulative but to Hannibal, that doesn’t negate that it’s still getting him the responses he wants and that’s also maybe why he’s so quick to say they’re friends because he’s viewing it as a form of relationship building and quite frankly, that is the only way that man knows how to build relationships; he sets himself up as a crutch and then breaks your leg and unfortunately at that point, for Will, for Jack, for Abigail, for Bedelia, for Chiyoh, you are too grateful to be standing that you forget he’s the reason you can’t do it on your own. The others I mentioned learn either very quickly or very (in painful irony) rudely that he is only a crutch as long as he enjoys it, as long as he can benefit from holding you aloft.

However. In Will’s case, he tries to remove himself and finds that it’s him who can’t stand and he’s immediately resentful and desperate to take back that ability, leaving another gift, another act of service, for Will to prove that he can still provide it and detrimentally putting himself on the map for Jack and Mason in the process. He’s so eager to have Will’s response, he waits at his own fucking crime scene. Will gives him what he wants and he’s too overwhelmed to respond with any sort of power or immediate selfishness, he runs again. And then. Muskrat Farms and his surrender. I feel like I don’t even need to explain why that backs up my case here, that man is so so ready to rescue and then surrender all because Will’s involved; two things he’s never done in his entire life, they essentially reduce him to this almost pathetic thing and it doesn’t give him pause at all because again, they’re acts of service whether Will wants them at that point or not. Like Bedelia said it best, he’s obsessed, he wants every reaction, every word, every sigh and curse, he’s very single-minded about getting them and he doesn’t care who he has to hurt, himself or others, to get them. Now, combine all that and the cliff scene and tell me that man doesn’t spend every second they’re in a bed together completely and utterly focused on Will and Will alone.