feyd-rautha, after paul used the voice on the reverend mother: i could take him
the emperor: yeah, in a fight, right?
feyd-rautha:
the emperor, quietly: in a fight, right?
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DUNE: PART TWO (2024)
- dir. Denis Villeneuve
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The fact that Blackthorne turned out to be a total red herring may be my favorite way that Shōgun subverted expectations.
Because the show followed his journey, we assumed he would have some greater importance as part of Toranaga's eventual victory. Maybe he would have come to the rescue, heroically using his ship and the guns to attack Osaka castle, giving him prime of place as an ally and as a vital part of Toranaga's plan.
In the end, though, Toranaga had Blackthorne's ship destroyed — and was prepared to destroy any others he might build. Blackthorne himself turned out to be a funny foreign distraction, unimportant to the cause beyond just making headaches for Toranaga's enemies, kept around simply because he made Toranaga laugh.
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"The Portuguese and Spanish are so arrogant. They have divided the new world between themselves"
Sir with all due respect but you are English
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'you wouldn't pirate a-' i would steal anything from any company. anything in the world. i dont even want it i just hate you
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tbh the fact that cats purr was an unnecessary bonus we don't always acknowledge. they're already cute and baby and little and soft and make silly noises and do funny shit. but they also like to cuddle and make a soothing pleasant noise to indicate they are happy when they cuddle you? huge. huge for the human race.
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late night with the devil was so disappointing? how anyone can enjoy that movie is a mystery to me. have people no imagination?
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Get to know Olivia Cooke in 60 seconds
via The Sunday Times Style on Instagram
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whenever i'm trying to talk myself out of buying something i don't need i always hear my old russian professor's voice echoing in my head: "WHAT??? WILL YOU DIE THE RICHEST MAN IN THE GRAVEYARD?" and then i make an unwise financial decision
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For all its profound tragedy, there was something magnificent in Mariko's death because it was an act she chose for herself.
Not only did it serve a purpose — by dying, she lays bare the tyrannical nature of Ishido's regency and furthers Toranaga's broader plan — but it was a fulfillment of the duty she believed she owed her father and her disgraced family name.
For years, she has asked for permission to die — from her husband, from Toranaga — and been denied. Even her foreign lover protests against the sacrificial choice she wants to make, begging her to remain alive if only for him.
In the end, she does not ask permission. She reclaims herself — Akechi Mariko — and chooses her fate, one that belongs to her alone.
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