#// *i have so much muse for these two

[crybaby-bkg]

cw: this got long sorry 😔 but creepy/perv bakugou, recording, film major bkg x art major reader, masturbation, coercion, dubcon before it just becomes con, voyeurism/exhibitionism

as an art major, you typically did some works for a few students on campus; for their plays, as background pieces while they danced, a cover for their released songs. it wasn’t out of the ordinary for people to ask you to create something for them, and you enjoyed it more often than not. but, you weren’t usually the art itself.

Bakugou is a friend’s friend that you’ve seen a few times, ran into at the library or at coffee shops. he’s a film major, and always looks so unhappy about the whole thing, as if he didn’t choose it himself. you joke to Mina that you think he’ll graduate and become one of those directors that hate everything and yell at the actors constantly and later on get sued for being a dickhead. you never say it to him though—you’ve never spoken more than a couple words to the man.

it’s why it shocks you when he approaches you one day. it’s after one of your painting classes, and he stands outside the door with a frown and his hands shoved in his pockets, his eyebrows scrunched as if pissed at the mere sight of you. he asks you, in that low and gruff tone of his, if you could star in his final project for the semester. says it’s supposed to be a film made with this criteria and that, but, you’ve kind of checked out on the conversation after the first sentence.

“You mean, you want me to create something and that be the star of your film?” you ask him, feeling so intimidated at his stature. he always seems to loom, his hair shadowing the lights above, creates a cast over a portion of his face, makes his eyes look…unsettling. like they’re looking straight through your flesh, can find the marrow in your bones. he scoffs like you’ve offended him, rolling his eyes into his skull, mouth pulled tight.

“No.” his voice is firm, gaze concentrated only on you, like the halls are empty and you’re the focus of his lens. “I want you to star in it.”

his words confuse you—you’ve never presented yourself as an actor before, never alluded to wanting to be in the spotlight if not for what you create with your hands. but he shuffles on his feet, looks desperate even. there’s some hemming and hawing for a minute or so—why not choose Mina?—she’s busy—why choose me?—‘cause you’d be perfect for my short film—what’s it about?—you’ll find out once you get the script.

and even after you hesitantly agree and get the script—you still don’t understand what you’re doing. why you’re here, why you’re the only person, why it has to be a solo film, why there’s damn near zero lines in the entirety of the have-to-be forty five minute film.

the scenes are all so long, and maybe it’s because movies aren’t your forte or chosen major, but you just don’t get it. one scene; you’re staring at yourself in the mirror while Bakugou holds a small, black camera over your shoulder. he’s eerily quiet behind you, whispers out a faint fuckin’ go when you have to wash your face in the sink, makes you do it over because your movements are too jerky and unnatural.

the rest of the scenes go that way; you doing regular at home activities, being put under a lens, quietly barked at to do this and move that way and fix your hair and remember to frown.

“Isn’t there another way to film this?” you ask him on the fifth day of shooting in his spacious loft. there’s a bubble bath scene coming up, one you dont understand the importance of, but Bakugou tells you it’s the most necessary part of the entire thing.

“No,” he grunts out, looking at you from under his lashes as he sits on the lid of the toilet. “But I’ll make it soapy, so the camera won’t see much.” the camera? much? you weren’t worried so much about what the camera captured as you were the man behind it. he looks at you with such intensity, you feel naked already despite the robe you wear that’s suspiciously already your size.

he leaves the bathroom when you sink in the hot water, returns before you can say it’s okay, hears the water splashing and thinks that’s good enough. he kneels on the floor beside you, camera pointed directly in your face, makes your chest hot and your skin feel prickly. the scene passes on regularly enough; you run the water over your arms, tilt your head back as you sigh, whisper the few lines scripted, lean back and close your eyes, sigh again. it’s almost relaxing, makes you forget about the friend of a friend recording you naked right now. almost.

“Touch yourself.” Bakugou suddenly demands, hushed and quiet behind the camera. your eyes immediately shoot open, looking to him in question, how he’s eerily still in his spot hovering over you.

“Huh?” you ask, unsure if you heard him correctly, looking around the rounded lens in your face, trying to ignore the red blinking light. but Bakugou only frowns.

“It’s a masturbation scene. Touch yourself.” he repeats, voice louder, more demanding this time. your stomach twists at the thought of doing something so intimate in front of him. he’s a handsome guy, for sure, even made you consider asking him out after this, figured he was just serious about his work and awkward about certain things. but…something had been off about this entire thing since the start.

“But—but I don’t, I’m not,” you stutter, sitting up a little, the bubbles covering your chest starting to disperse with your movements. but Bakugou only sits a little higher on his knees, finally pulling the camera away from his face for the first time since he’s asked you to do this for him.

“You want me to fail?” he asks, booming voice eerily quiet in the silent bathroom, carmine eyes dull, shaded over with something terrible. “Then do it.” he tells you when you shake your head quickly.

you stare at him until he gets back into position again, camera back pointed at you. when he doesn’t say anything else, you swallow thickly, wondering if the art that will come out of this will be worth it. so you listen, sneak a hand under the water, start touching yourself in a way you never have in front of anyone.

is it bad to say that it’s exhilarating? being watched and recorded by someone who breathes so heavily every time your voice hiccups? being directed to touch your chest next when the suds start to disappear and your nipples start to peek through? is it bad that you want him to send you this portion of his film, only, just so you can watch yourself again and again? make a portrait of yourself with your fingers on your nipples and your knees raising from the water and your head thrown back from the intensity in oil pastels?

“That’s a wrap.” Bakugou announces when you finish, head spinning and still panting. you look over to him, how he closes the camera, the obvious bulge in his pants. “I’ll get you a towel.”

you wonder when’s the next time he’ll need you. or better yet—maybe he could be the star in your final drawing project? you had finished it already but, what was the harm in starting over with him as your muse? as naked as you are? camera not blocking his face so you can paint the similarities of his blushing cheeks and eyes when you direct him to look at you? to touch his chest? to play with himself just like that?

[stars-n-spice]

no you don't understand. I need the Bad Batch to have a happy ending. I need them all to make it out alive. I need them to all be together. I need them to be a family once again. I need them all alive, happy, healthy, thriving. I need them safe and healing and growing.

I need Hunter to be able to be at peace. To become what he so clearly wanted to be at the start of the series; a father. For him to have what he fought so hard for. To know that he's more than a soldier. I need him to be able to relax knowing his brothers, that Omega is safe and will forever be safe. I need need need him to have that peace. To have that kind of life. The life he didn't think he'd get, that no clone ever thought that they would get, but yet...And I need him to grow and learn from these mistakes and be that older brother for all of them I know he can be. Seeing him want a life different than what he was essentially made for that badly for him not to get it is going to absolutely destroy me.

I want Tech to come back. I want it so bad. I know Star Wars can't keep getting away with "killing a character and bringing them back" but what's doing it one more time? Am I biased because Tech is my second favorite Batcher? Yes. But listen, I just need him to return and be reunited with his family. I need him to see Crosshair again. I need him to see and be with Phee again. Yes the build up to his death was great and the send off with his goggles was, in my opinion beautiful, but I just really want him back. I miss him so much. He means so much to so many people and I just want to see him alive and well again.

I need Echo to come back and I need him to stay. Wrecker and Tech might be my favorites, but when it really comes down to it? Echo is my comfort character. When I'm upset and really struggling, what usually brings me back is thinking about what would Echo do? What would Echo say to me to get me through this? Echo means so so much to me and it hurts so much to see him reduced to a background character. It makes me think what even was the point of bring him back just to reduce him to what he is now? And I'm so so scared they're going to kill him off for shock value or to "explain" why he isn't with Rex in Rebels, but that's just so fucking stupid to me after having done nothing with his character since like the middle of season 2 of the Bad Batch. Bring him back, please. And let him be at peace for once too!! Goddammit, all this shit he's had to go through; getting fucking exploded, being a prisoner of war, losing Fives, losing his brothers because his chip malfunctioned, having to see what becomes of clones after everything they sacrificed for the galaxy-Like you already "killed". him off once, there's no need to do it again. Just bring him back and reunite him with the others, please.

I need Wrecker to get to have his family all together. On top of that, I need him to get the recognition he deserves for all that he does and has done. Omega might be the heart and soul of the team but Wrecker's the glue and arguably just as much as the heart and soul too. He's the protector, I'm sure he feels it's his responsibility to keep them together, to keep them safe. I want him to continue living his life knowing that he succeeded in doing so and now doesn't have to worry about something like that because they are safe. They're all together again and they're happy and they're safe. He can relax and enjoy what they used to have before it all went to shit. It's so obvious that he cares so much about his brothers and Omega in his own unique ways. Each of the members of the Batch have their own unique dynamics within each other, but it really seems like Wrecker is the one who has one with each of them. And yeah, he's my favorite so I'm going to be biased and I want him to make it out alive and I want him to be happy goddammit.

I need Crosshair to stay the fuck alive. I need him to continue to heal and grow and be back with his family again. I need him to be reassured and to feel safe and loved again. I cannot take another instance of a character who used to be so lost and broken finally getting healing and some peace only to sacrifice themselves again. To have someone go through so much only start to heal and then rip that away from them? I need him to be at peace. I need him to enjoy all that he's missed out on. I need to see him okay and content and healing and living. I don't think I can deal with seeing all of that being ripped away from him. Please just let the man be at peace for once in his fucking life. I am begging. You don't understand, he's healing; mentally, physically, he's getting better and to just,, take all of that away? Can't just ONE character please get a happy ending?? Like if any one of them deserve to see it through the end, it's him.

I need Omega to get the childhood she was cheated out of. I don't know how many times I've sat and thought about Omega only for me to burst out into tears. She's been isolated for nearly all of her life. At the most, she was free for two years out of her FOURTEEN years of existence. She went through ALL of that before the age Ashoka and Padmé were when they were just STARTING to go through the horrors. Yet she's remained so brave and so strong and so determined. She's endured and survived and I want her to thrive. I want her to have all her brothers together once again. I want her to grow up alongside them. I want her to be able to be a child for once. To experience life through those lenses. I don't want her to have to endure another loss.

I need to see this group of individuals who never really fit in have their place in the galaxy. I need to see them, all created with clear intents and purposes to fight in a war as cannon fodder find new purposes. I need to see these burnt-out kids catch a damn break for once. This family of neurodivergents who spent their entire lives either isolated or distant from everyone else because they were "different" and "special" get that well-deserved ending where they're all safe and happy and have a purpose and a place in the galaxy because fucking hell. I wanna know there's hope for me too.

just AAGUUHHH. I've never wanted a happy ending for anyone more than I want it for the Bad Batch.

[heartbeatbookclub]

I think, in a lot of ways, Monika and Sayori are reflections of each other.

Really, I think all of the girls are similar in a lot of their issues (self-esteem, anxiety, etc) and that's something emphasized in a lot of the stories, and a big part of why they all gravitate towards each other and work to create the club as a safe space for all of them, but I think Monika and Sayori in particular are just very much alike.

I think Trust really emphasized this similarity in the reveal of Sayori's poem, Become the Flower.

Prior to shifting focus onto the poem, Monika talks to herself about her real vision for the Literature Club. I think here, Monika points out what Sayori actually meant when she said that Monika was "trying to make the club [she] needs the most, out of anyone", even if she doesn't actually realize that yet. It's pretty clear that when she says that literature is a window to the real self underneath the person who's "forced to always smile and blend in", and is "forced to be perfect", she's really talking about herself.

I think that a lot of Monika's character throughout Trust is expressed more subtly, often in a roundabout way like this. A huge part of the story is centered around Monika's own personal struggles expressing herself, and that trait is pretty well exemplified in this indirect way of talking about her own struggles. I think that the reason why Monika's characterization here is so subtle overall is reflective of this.

And I think it's pretty blatant that this is statement is also meant to be reflective of Sayori, given that we immediately move from this statement onto the poem which reveals to Monika that she's been hiding her own problems. In this way, I think Team Salvato wanted to explicitly point out how similar they really are, and draw your attention to it.

I think that the way that Trust as a story is put together is meant to really emphasize just how similar they are even in their differences; spending a great deal of time focusing on Monika's own problems, to then showcase Sayori as the mirror to them.

I think the two of them make a very interesting pair in that respect, because a big similarity they have is that they very much place others above themselves, so they both end up individually building each other up while they put themselves down. It creates this strange back and forth where they each insist they suck and the other is great, when the reality is that they're both pretty fantastic.

In the statement Monika made to herself about her vision of the club, while it's clear she's talking about herself, she frames it in the context of somebody else getting those benefits out of the Literature Club, rather than herself. Throughout the entirety of Trust, she speaks dismissively of her efforts and her problems alike, while pointing out that Sayori is providing a lot of help. Sayori by contrast spends most of her time hyping her up and points out, explicitly, that Monika doesn't give herself enough credit. She also dismisses her own efforts, pointing out in most things she does, up into the climax, that Monika is a lot better than her at whatever she's doing. And when Sayori's problems are actually revealed, she explicitly says that she doesn't want Monika to worry about her, and that she doesn't want to have this conversation.

I think this all really shows that both of them are averse to tackling their own problems head-on, and I think this comes out of a fear of being vulnerable, since that's directly mentioned several times in Monika's issues openly expressing herself.

I think what makes Monika's particular brand of self-negging quite so disheartening is that she dismisses it out of hand as her being silly and dramatic, and in that way, she doesn't actually address the fundamental problem underlying it, nor does she actually address the statements themselves as incorrect. The amount of time she spends talking down her own problems as something trivial and silly, particularly in comparison to Sayori's problems, are a manifestation of her own desire to avoid the vulnerability of even having these problems, and it's just...heartbreaking. Sayori's denial is its own can of worms, but Monika's ability to so consistently minimize her issues when they are clearly still impacting her is so uniquely troublesome.

I think a big difference between the two of them in that respect is that Monika wears significantly more of her heart on her sleeve, so Sayori finds it a lot easier to directly target Monika's problems than Monika does in the reverse, but their individual habits of avoidance are coming from the same place.

I'm traveling a bit aimlessly in this essay, trying to tie things together nicely as I see them, but there are just a lot of similarities I notice between their actions and the way they think that showcase that they have a lot of the same problems, and a huge theme in Trust is expressing oneself, which both Monika and Sayori struggle to do, in much the same way.

I think a key similarity between the two of them is their tendency to catastrophize over a situation when left alone, mostly revolving around seeing the worst possible scenario for how they could've personally messed up the situation. I'm just rewatching Trust for this little essay, so there are two major moments I see Monika doing this, but I remember Sayori doing this...a few times, actually, throughout the side stories.

I think the spiral Monika goes into after reading Become the Flower is particularly important, as it exemplifies the habit of dismissing her own problems fantastically; in this case, she has an excuse. It's true that Monika's issues with her perfectionism seem silly and trivial in comparison to Sayori's, but that's exactly the thing: She shouldn't be comparing them in the first place! Her problems are real, and they clearly cause her distress, but because Sayori's own issues appear so much more serious than hers, she dismisses them wholesale as her being dramatic and silly. Because Monika's problems seem so small, she doesn't see them for the problems they really are. In the same way, because her own accomplishments and work seem so small, she doesn't see them for the accomplishments they are.

This spiral showcases Monika's biggest problem, the reason why she has such trouble expressing herself, and conversely, the exact same problem Sayori has. She doesn't want to be the center of attention.

Put another way, she doesn't think she deserves to be the center of attention. Her problems are so trivial; her accomplishments menial. Her fear of vulnerability isn't a fear that others will hurt her; it's a fear of being selfish.

Sayori is very similar, in that the reason she actively works to avoid showing any possible sign that anything is wrong is because she doesn't want anyone to worry about her. She doesn't want other people to dedicate time and energy to her.

I think that for both of them, this comes from low self-esteem. Sayori is self-explanatory I think, but I'd say Monika's perfectionism makes it exceptionally difficult for her to really feel accomplished in anything she does, which, coupled with her constant preoccupation with how she appears to other people (I think Monika places very high expectations on herself. I mean, Trust literally starts with her frantically apologizing and saying "I normally don't ever do this!" when Sayori finds her napping) makes it very difficult for her to feel confident in herself.

The fear both Sayori and Monika have in being vulnerable isn't that people will use that vulnerability to hurt them.

It's that people will try to help them.

And I think that's a really big part of why Sayori feels like she can trust Monika with her darkest thoughts, because she understands that they're the same in a lot of ways.

Monika created the club which she needed the most...and it was also the club Sayori needed the most, for the exact same reason.

I think it's kinda easy to overlook a lot of this because of the sheer amount of focus placed onto Sayori and the more explicit issue Monika has (insofar as the plot is concerned), but I think Sayori is exactly what Monika needs just as much as Monika is what Sayori needs.

[ride-a-dromedary]

the darkest of nights, in truth, still dazzles.

a halsin fanmix  [listen]

01. Heart of Spring - david arkenstone | 02. Cé Hé Mise Le Ulaingt? / The Two Trees - loreena mckennit | 03. Pussywillows, Cat-tails - gordon lightfoot | 04. Maybe Tomorrow - f&m | 05. Don't Stop Me Now - queen | 06. I Was Born Under a Wand'rin' Star  - bryn terfel  | 07. A Tenuous Bond - derek duke | 08. Closer - nine inch nails | 09.  Into the Darkness - jeremy soule  | 10.  Colorblind - counting crows | 11. Natural Light - ludovico einaudi | 12. Under the Greenwood Tree - royal shakespeare company | 13. The Grove - bear mccreary | 14. Blood Upon the Snow - hozier & bear mccreary | 15. A Quiet Darkness - houses | 16. Spellplague - alderfall | 17. Empty Chairs at Empty Tables - jonathan antoine | 18. Only Everyone Can Judge Me - crywank | 19. Blue Skies - kathryn calder | 20. The Buzzard - old blind dogs | 21. Constant Craving - k.d. lang | 22. The Cave - mumford and sons | 23. Jim Cain - bill callahan | 24. I Won't Back Down - johnny cash | 25. The Ash Grove - laura wright | 26. The Wind - yusuf/cat stevens | 27. To Someone From A Warm Climate (Uiscefhuarithe) - hozier | 28. The Logical Song - supertramp | 29. Tapestry - don mclean | 30. Big Yellow Taxi - joni mitchell | 31. Eat Your Young (Bekon's Choral Version) - hozier | 32. The Flock - david maxxim micic | 33. Changes - david bowie | 34. Ri Na Cruinne - clanaad | 35. The Moments of Happiness - ken page | 36. My Back Pages - the byrds | 37. If This Journey - tom hanford | 38. Turn! Turn! Turn! (To Everything There is a Season) - Live - pete seeger

[skitskatdacat63]

I drew all of my historical AU Sebs!!!!

In order they are(with relevant links to lore info if you are curious!!): Napoleonic Hussar Seb(x), Renaissance Muse Seb(x) and Boy King/Emperor Seb(x)

Let me know which you like best!!!

[sleuth-mila-young]

🔍 PROMO 🔎

A black screen awaited any viewer who dared to tune in. Judgement here was long gone, it being passed onto the unrighteous. A sizzling, static noise struck the shadow-filled display, absent of any empathetic touch.

...!

"OW!"

A shriek of pain interrupted the solitude.

To follow the yelp, a long, quiet rustle was audible on the other end. Though whatever waited on the other end wasn't visible, the panicked, hurried sounds spoke for them all the same. Rustling and rummaging hissed through the blackened screen. The mental picture could easily be put into your mind.

...After a minute or two of agonizing and awkward waiting, the camera finally took focus, colors flooding the screen. What stood in plain view was a short gentleman with tanned, bronzed skin and short, black curly hair. They smiled sheepishly, smoothing back their hair and brushing off their suit. "...It's a pleasure to make your acquaintance." They nodded politely, putting a gloved hand on their heart. "We don't know each other yet, but... I hope we will come to. I'm Mila Law Young, a detective at the Royal Court Agency."

"For a back of a better word, I have gotten wind that thing's have been... risque, around these parts, wouldn't you say? An assortment of crime running in these dark, shaded backstreets, hiding under our noses... And I simply cannot live with the idea that innocent civilians are getting mixed in the middle of it."

"So... that's why I'm here!" Mila beamed, grinning from ear to ear. "To protect and serve! To get to the bottom of these terrible sins that are haunting our youth! Whatever you need, please don't hesitate to contact me. Please remember that I'm a resource, an ear to listen, and, hopefully, a friend."

The sleuth bowed, looking up with a wink. "...I'm at your service."

@ask-a-gremlin @ask-shslpianist @ask-miu-iruma @a-perfect-wish @scxrs-will-fade @roguesinger @ask-the-ultimate-cosplayer @photographic-misery @obsolete-journalist @demons-for-darling @candy-cocktail @ultimate-class-rep @depths-of-hope-and-despair @devoted-nychta and anyone else not tagged! feel free to jump in/ignore!

[brown-little-robin]

How self-insert-y do I want to get with this new oc 🤔

[the-kipsabian]

"why is kip sabian wrestling orange cassidy again they do it too many times"

this is the fifth match in over a year. you think thats too much? just admit you hate good chemistry and love and shut the fuck up

[guhamun]

-Adds an oc on here-

[huginsmemory]

To follow up on the previous post mentioning that I knew I'd be meeting law soon in op and being excited because I'd know I'd like him. WELL. He's not the character I imprinted on. I mean let's be real I'll probably imprint on him aggressively when I learn more about him but u know who I DID IMPRINT ON? EUSTASS KID. THATS RIGHT. my gender envy snatched that boy so fast do u understand the envy of a person who as a kid was so desperately adhered to Toxic Masculinity and Always Wanted to Be Buff. Boy howdy did I mention I so badly wanted to be perceived as Male and that roughness expected of them. And Eustass Kid fulfills that roughly masculine stereotype to a tee EXCEPT not since he's also leaning into punk subculture and gender defying lipstick and it's not meant in an effeminant way but kinda a Don't Fuck With Me Way which his whole look screams and so suddenly that's TEN TIMES BETTER BECAUSE FUCK GENDER STEREOTYPES. and also did I mention he's clearly supposed to be Celtic/Scottish? and as a person whose also Scottish I'm like oh FUCK YES. And oh no that's EXACTLY the gender vibe I want. And then u don't know anything about him for the next age I guess since they all disappeared

[apollos-boyfriend]

are you planning to do a species survey for qsmp when they add more members or was that just a dsmp thing ? just curious :]

yes actually! the reason i haven’t done it yet isn’t because of lack of members, but more due to how relatively new the server is! by the time i ran the first edition of the dsmp one, the server had been running for a good while, meaning there were a lot of different headcanons, interpretations, etc of every character. since the qsmp is much newer, and a munch of streamers are just now getting mcyt-ified and hybrid-ified, i felt it’d be best to let things simmer for a while to get the Full Range of possibilities. to me, running it now feels like the equivalent of running the dsmp one before the election arc. we didn’t even have goat!tubbo back then! i gotta give them some time to play in the space, yknow? especially with the fact that more people will be added, as opposed to the dsmp having been fully stagnant at the time.

until that point comes, i’ve been making sure to keep a running tab on the most common variants i’ve seen! here’s a sneak peek of what i’ve collected so far :3c

[masquenoire]

Roman's not much of a gamer but if he were, this would be a pretty accurate representation of what he'd be into.

[dnangelic]

i just woke up so idk how coherent this'll even be but last night i practically fell asleep thinking abt the trend of dai being confronted by his youth and feeling out of place for it in one way or another. on one hand he definitely can recognize himself as still young and having lots of space still to grow, so he's more than willing to defer to and obey adults or seek guidance and lesson from them, but at the same time this is a kid with an extremely bizarre and intensely demanding upbringing. daisuke has been raised right at the cusp of death all the time. he's gotten nearly fatal injuries just from his training. within his more intimate circles, he's used to everyone constantly counting on him as 'the only one' instead of setting him aside. his father has been absent essentially up until recently, his mother absolutely adores him but is also the one overbearing him on the family destiny and his 'duty' as a phantom thief, and even his grandfather strictly emphasizes how daisuke, as the sole niwa child, was the only one that could do become dark. there's so much responsibility placed onto him all the time, which, again, lucifer thematic. child-king sized burdens that connect him immediately to dark's decision to betray the hikari and take responsibility for the artworks after the cultural revolution.

[aparticularbandit]

Kyoko's entire gender and orientation and all of the things is just detective. That is who and what she is, and it is one of the very few things she is sure of, and most everything else just does not matter.

She is, first and foremost, detective. Everything else is secondary or less.

Junko, on the other hand, has never been that sure of anything in her entire life. Right now, she's Despair, and that's fun, and it can be her entire self right now, but even that's not really who she is because she has all of the different personas - she doesn't know who she's supposed to be, and she changes between them because she gets bored of them - and so of course she would call Kyoko boring and predictable because Kyoko is ever only and always Detective with a capital D.

(Except that Kyoko's involvement was the thing she did not predict in DR0. Someone comments on that, on how Kyoko isn't supposed to be there. (Mukuro? Maybe?))

But the thing is that Kyoko gives a permanence and stability in the midst of the whirlwind chaos that is Junko Enoshima. Because even without her memories, Kyoko is still Detective.

Unstoppable force meets immovable object indeed.

(Take the best things about the other and add them into yourself: Kyoko teaches Junko how to find herself in the midst of so many unknowns, and Junko gives Kyoko wings.)

[theimpossiblescheme]

Say what you will about the Cyrano movie (and one day I'll be able to in a halfway articulate manner), but I am still mildly obsessed with "Every Letter", and I think about this ending couplet all the time...

Your letters are drawings on me from above I know who you are and I know you are loved

Just... the idea of Cyrano and Christian receiving a letter in return from Roxanne and feeling their breath catch both with ecstasy and with bitter regret.

I know who you are...

But she can't. But she mustn't. But it would break her heart--she would never trust them again. But it wouldn't be fair to Christian. But Cyrano could never show his face again. But they already feel themselves burn under her gaze, and to meet it honestly without the armor of a soldier, of these letters, would scorch them until nothing remains. But the only true honor is to hide, even if they know it's really the coward's way out. But the only safety (if they were being brutally honest with themselves) is to hide.

... and I know you are loved.

But God, they wish they didn't have to.

[otogariado]

i get why people would opt to say walter was a terrible person since the beginning, but i think that's like, the most boring takeaway you can get about his character. he was already insecure and prideful from the start, and it's what would hurt him and keep hurting him. but like, being insecure and prideful are regular traits any regular person can have. the actions that he makes because of these traits, which in turn keep fueling his ego more and more, are what makes him an interesting character. and he was already pretty capable of hurting other people, but he wasn't doing it out of malice, but more because of careless selfishness at first. what makes walter terrifying is that the more he does it, the more he becomes aware of what he's doing, and the more he keeps going and keeps being more and more meticulous and deliberate about what he does that hurts people and even to the point when it was specifically to hurt people.

i think the traits were there in walter from the beginning—the pilot did a pretty good job of establishing how powerless he's felt all his life and just how susceptible he is to letting this newfound perceived power get to his head so easily. he even says this explicitly in 5x06 "Buyout" when he tells jesse "i'm not in the money business, i'm in the empire business". but saying he was this monster from the start kind of implies he didn't undergo through a character arc throughout the show when it's quite literally what he did. he got worse. so much worse. through mostly the fault of his own fragility.