#I really want to rewatch the episode

[zippitty]

mp100 finale spoilers

It really got me how “Shigeo” was all “Reigen has never given a fuck about me so I don’t give a fuck about him” but it’s the fact that Reigen proves that he cares and is willing to kill himself trying to own up to his lies and tell the truth that finally gets the halves of Mob to reconcile because that last piece of emotional dissonance (believing in his master being a good person and giving him good advice and confidence vs doubting his motives and if he’s ever told the truth or is going to) surrounding one of the biggest pillars of his life was finally resolved. This normal ass man owning up to his normal ass mistakes is what gets the boy with the power of a god to accept the part of himself he’s scared of. (And for Reigen, the god-boy who he’s been abusing the trust of accepts HIM for all his good and bad parts.)

Shigeo was really so sure that going full throttle in the other direction (leaning into his powers and doing whatever he wants with them, rejecting Reigen’s core advice) was the right way forward for “them” but it’s Reigen who gets him to realize he was wrong. Because even that part of Mob wanted Reigen to truly believe in him and care for him and accept him for all he is. And when Reigen is fully honest, he can finally believe him. To Shigeo, Reigen has only ever been telling Mob to ignore that part of himself unless it was for Reigen’s own gain. But then Reigen does something truly selfless and tells him “it’s okay, you’re ready, you can do this, you don’t need me anymore, you’re your own person and always have been” and that’s what brings Mob back and gets Shigeo to let go.

Reigen’s last bit of selfishness is that although he’s ashamed of his lies he’s thankful they brought Mob into his life, not for the financial gain but for all the good and all the other people he’s brought into Reigen’s life. That he values Mob for who he is and not just what he can do, and that Mob should value that too.

We joke about this grown man being besties with a middle schooler but the whole show has been centered around their friendship that’s sometimes difficult, always weird, and incredibly important to both of them.

Back at the end of the separation arc, Mob gave Reigen an out when he tried to confess. Mob recognized that Reigen was already beaten and bruised and forced to his lowest and that wasn’t the right time to acknowledge it, it wouldn’t have done anything for either of them. But Shigeo forced Reigen’s hand, made him confront everything he’s done wrong or overlooked when it came to Mob - and Reigen didn’t turn tail and run (“It’s okay to run away when things go south” anyone?), didn’t try to blow it off, didn’t back down from his earnest desire to help Mob even when there’s nothing in it for him but danger and pain. He loves that kid and he needs Mob to know it.

Then at the end of it, Mob was able to safely let out his emotions for the first time in a long, long while - and he trusted that with Reigen. Because he finally felt safe and whole and fully his own person - someone that all the people in his life would accept, starting with the first person that gave him hope after that traumatizing incident.

As Mob said in the fan book - Shishou will always be Shishou.

[momentomori24]

THEY ARE SO INSUFFERABLE AND HORRIFIC AND AWFUL BUT SO AMAZING AND DORKY AND THIS PART IS SO UNFAIRLY FUNNY AND CUTE AND WHOLESOME-- PLEASE, PLEASE HAVE MORE SCREENTIME IN S2. PLEASE LET THEM TAKE OVER THE SHOW. I KNOW THEY'RE HORRIBLE PEOPLE BUT I NEED MORE OF THE VEES.

And the most important scene of them all (to me):

First of all, how is Vox doing that. Second, you just know that these two douchebags are going to bang so hard with Alastor getting his ass kicked replaying in the background after this. I hate them so much.

[kurikorso]

nostalgia slapped me upside the head a little while ago so i had to draw my favorite dudes ft. the gecko effect

[clarkgriffon]

BUFFY THE VAMPIRE SLAYER 7x01 | “Lessons” 

[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

[luck-of-the-drawings]

so REVENGE, HUH? or justice, if that makes you feel better. it tastes the same when cooked just right. 'I REALLY WANTED A BROTHER.' such a shame to burn a bridge you so desperately wanted to keep, especially when it wasnt even you who started the fire. especially when you hope that not a single fragment of that bridge ever washes ashore.[MAY IT ROT FAR FROM MY SIGHTS] an unfortunate loss! atleast he has his friends.

[caccry]

Quiet Night [idk how to caption this one folks]

[in-kyblogs]

Devil’s Minion hints - Iwtv part I and link to part II

Part I Ep 1

- the tapes. No postage on it, I remember noticing that they put emphasis on this when I first watched episode 1: Daniel turns the package in his hands looking for it. They were hand delivered. Of course it’s a stretch, but it seems probable to me that Louis or Armand are quite regularly hanging around Daniel’s house and not just making the trip for the first time when delivering those

- Literally the first shot of Daniel in the Dubai penthouse has Rashid (Armand) serving him tea. Both Daniel and Armand’s faces in the very first shot in there* might allude only to the Armand reveal but still. They put him in a shot with Daniel and not with Louis

- not dm related but fucking hell the shot of Louis burning his arm right in front of Armand’s face is sick so sick

- Daniel says the best drug he ever had was in Berckely, 1978. I remember people pointing out that in the books that’s the year Armand gives him blood (I didn’t fact check this)

[secriden]

love sea episode 2 rewatch thoughts:

in hindsight, this opening should've clued us in that this episode was going to be horny as fuck.

ok so if episode 1 was about establishing mahasamut, i think the purpose of episode 2 is really to give us a much more nuanced introduction to tongrak. what's fascinating is that the show chooses to impart this insight to us through a rather unusual medium: sex (and, specifically, tongrak's attitude about sex).

we open with kinky kinky beach sex and it tells us that tongrak is impulsive, hedonistic, and tends to give into the emotions of the moment (something that, as the series develops, he does with increasingly self-sabotaging results; eg. when he lashes out at mahasamut after the 1st run in with prin or when he runs off to appease jak when he gets fearful in episode 9).

it also tells us that tongrak is very comfortable with his physical wants and needs. sure, mahasamut kinda flusters him because he awakens desires that are more intense than he's is used to, but tongrak's still grounded enough in his sense of self that he can roll with it pretty quickly and becomes an active, willing, even enthusiastic participant. (it's not going to be his physical desire that drives a wedge between them; its going to be the emotional connection that ends up being terrifying to tongrak.)

this episode also lays a ton of groundwork to set up why and how intensely mahasamut and tongrak are drawn to each other.

a lot of it, early on, is purely physical.

mahasamut and tongrak clock that they're compatible in their (D/s) kink immediately and they embrace this with gleeful abandonment. other people have made this point a lot more clearly than i could ever hope to (see @williamrikers excellent analysis of mutrak's kink dynamic), so i won't belabour the point, but i would like to point out how thoroughly the show wants the audience to know that these two are a perfect match physically and sexually (specifically with their particular kinks) and that they are incredibly comfortable with that.

(an aside: one thing i adore about peat's portrayal of tongrak's submissiveness in the beach scene is the way he starts out being the initiator in the kiss - in the gif above, it's tongrak that grabs mahasamut and yanks him into the kiss at first - but once its clear that mahasamut is on board, tongrak is almost constantly angled up, head tipped back, responding to mahasamut's cues but making no attempt to direct whats happening. there's so much surrender in the pliant way peat holds himself as they kiss and the way he goes from pulling mahasamut into the kiss to just clinging to his torso as he lets mahasamut take control. even when he reaches for mahasamut's dick, the second mahasamut pins him down and gives him an instruction, tongrak makes no attempt to redirect and just goes with what mahasamut wants. there's just such great detail in this portrayal of surrender.)

but what makes this encounter different (from the many, many other ones they've both had) is going to be how neither of them were able to keep this connection as purely physical for very long. (this is what episode 3 is for, though, so lets put a pin in that thought.)

back to insights into tongrak's character: we also get an escalation/confirmation about how tongrak views sex (and relationships) as purely transactional. tongrak's entire backstory is grounded in the idea that 'everybody has a price' because that's what his parents showed him. to tongrak, every human interaction is about finding the right things to give (usually money in his case) to get what he wants and this has allowed him to rationalise that feelings and emotions (both his own/the other person's) don't matter.

tongrak firmly believes that as long as he's offering something of sufficient (monetary) value, he's perfectly within rights to demand what he wants without consulting mahasamut's feelings, wants, or thoughts about the matter. in fact, he thinks of mahasamut as kind of an object for his sexual gratification and/or convenience. this is why he feels no remorse about kicking mahasamut out after they have sex even though mahasamut clearly wants to cuddle/come down from the physical high together. the next morning, it never pings to him that he should be guilty about how he treated mahasamut.

(look at his face. he's such an entitled diva. i love him so much.)

not only is this attitude - in reality - a very inaccurate way to view human beings (because as a species we are creatures very much led by our emotions), but it is the source of tongrak's own dissatisfaction and unhappiness. he never acknowledges any of his own emotional needs and so cannot manage or address them in a meaningful or healthy way.

so to summarise tongrak understands and is comfortable with his physical desires but does not know how to even acknowledge his emotional ones whilst impulsively being led by them in the heat of the moment: already we can see that this is a recipe for disaster and tells an unspoken story of pain and trauma.

(i also want to mention how well mahasamut continues to respond to tongrak's specific brand of caustic entitlement. he doesn't bother making a big deal about tongrak throwing money at him, but he also never names a price for his 'services' either. he blatantly refers to tongrak as his "owner" but also makes it clear that it's not tongrak's money that's keeping him around, but rather mahasamut's own desire for tongrak. it's like he'll act in tongrak's play but he won't quite stick to the script either. its so, so effective because he doesn't trigger tongrak's fight or flight response but he's still undermining and proving tongrak's assumptions wrong at every turn. this is what allows mahasamut to worm his way behind tongrak's walls whilst simultaneously chipping away at them.)

one last little bit of (this time non-sex-adjacent) insight into tongrak: he has a great capacity for compassion. (which will, eventually, turn into love.)

mahasamut, at this point, is mostly just an incredible lay to tongrak. but already he shows care and concern for mahasamut that's separate from what he can offer tongrak. he's concerned at a (relatively minor) hint that mahasamut has been mistreated in the past and then again concerned that mahasamut will suffer the repercussions of any hit to his reputation. [note: this is informed by a backstory regarding homophobia on the island that's from Khom/Connor's story in Love Sand, but even without that insight we can see tongrak's concern is for mahasamut.] (again, this is something the show is setting up to callback to later when tongrak gets offended on mahasamut's behalf when he thinks the waiter made fun of mahasamut.)

these little glimpses give us such a contrasting perspective on tongrak compared to episode 1, where he was mostly just a rich, entitled, and fairly unlikable character. we're being shown that what we've seen so far is really a mask as tongrak's true character slowly starts bleeding through as he has more interactions with mahasamut.

and then the episode closes on heartbreak: You're aware aren't you? Love is just a figment of our imagination.

tongrak's expression right before he says this is filled with resignation and disappointment. he hates that he has to say it but he feels its his duty to burst mahasamut's bubble. he genuinely believes this and so to him he's just doing mahasamut a favour by telling him a Truth about life. for us, this is the final crack in the mask and we see just how lost and fragile and hurt tongrak truly is.

(and the way peat sells this part - the cold almost clinical look in his eyes when he says the line. the tiny pout of his lips like tongrak can't help but feel sad about it, even though he accepts it as reality. the cold, flat tone peat uses to deliver the line when tongrak's usually quite expressive and uses lots of inflections and intonations in his speech. ugh <3)

but this is also really important because this is why we, the audience, start to care about tongrak. mame takes us on this journey, sets us up to wonder why tongrak's the main character when he starts out kinda of awful and then shifts the ground out from under us by showing us his soft, wounded underbelly. we can't help but want him to be loved, now, and this is why we become invested in 'tongrak mahasamut'.

[torawro]

i like ‘em a little insane, covered in blood and severely mentally unstable <3

[marivanilla05]

Out of context dub scenes

[yourhighness6]

This is such a random thought but is it just me or were we cheated out of seeing the first conversation between the water tribe siblings and the members of their sister tribe in "The Waterbending Master". Like, it probably would have been hilarious for one considering that they would have to explain that yes, this is the avatar, yes, he is alive, yes, they are just kids, yes, they are the chief's children. Besides that, this is the first time the Southern and Northern tribes have had contact with each other for probably at least a decade. We were robbed

[setyourfireonme]

for @wincestwednesdays week two: favorite episode(s)

[atopvisenyashill]

i was gonna ask if there was a dragon design in the show that is everyone’s favorite but then i remembered we’re getting tessarion and maybe dreamfyre so i’ll hold off. tbh i really love arrax even tho he’s only there for 2 seconds before he gets chomped, i liked his color. i hope we get a better look at silverwing bc i think she could take it, i love that she doesn’t have that old dragon gullet thing, i think it’s kinda funny. i wish we had more sunfyre i don’t think we really got a proper look at him. i think i liked sunfyre’s noises the best tho. special shout out caraxes for a cute ass noodle boy tho

[rapha-reads]

IWTV rewatch

(how to resume the second half of this episode: *Captain Holt's voice* paiiiiiiiiiiiiiiiiiiin)

Season 1 episode 5 [A Vile Hunger For Your Hammering Heart] - part 2/2

- The way Louis' face is still as a statue as Loustat make their plans. The way you can feel the resentment covering the entire house.

- Lestat immediately shutting down going to Paris.

- And now welcome to the portion I'd like to call "Claudia Suffered More Than [insert your favourite martyr figure here]". Oof, Bruce immediately gives off a bad vibe, more than that white student who is after all only reproducing classic patterns of racism and classism.

- [Louis] "As the depression set in on the nation, I barricaded myself within the dilapidating walls of 1132 Rue Royale, educating myself from Lestat's library, ignoring all other duties of the role Claudia once mocked me for - the unhappy housewife." - was the raccoon really necessary? It is a nice touch, I won't lie, but really hammering in the point: the depression Louis talks about isn't just the Great Depression, it's his own (I like hammering points too, sorry). But you know what, I WISH I could lock myself wherever my books are and just ignore the whole fucking world and everyone in it for 3 or 4 years.

- [Louis] "Flaubert's style is so dense." - L'éducation sentimentale is, I'll admit it, a horror to read (but less than Le Rouge et le Noir, Stendhal really gave it his whole to make that one unbearable). Madame Bovary on the other hand is a gem.

[Lestat] "Louis Armstrong is in town tonight, playing at the Pelican" - when a bookworm introvert dates a music addict extrovert - beware the conflicting schedules and discordant ambiances. (In which I am Louis and the perfect day is a quiet day with classic music playing lowly in the background and a pile of books)

[Lestat] "You sound like every pompous Sorbonne student I've ever eaten." - ... As a former Sorbonne student, I have absolutely nothing to say in my defence (I studied French and English literature and linguistics for a year with a minor in audio-visual media, fyi). I am sadly very self-aware of how pompous I sound whenever I start talking literature. Sorry not sorry. (would absolutely not protest if Lestat decides to give me a visit. Ahem. Who said that.)

- [Lestat] "'You draw me into your gloom.' [Louis] 'It's your fault she's gone. If you hadn't pushed her... ' [Lestat] 'Claudia.' [Louis] 'If you hadn't done your...' [Lestat] 'Claudia, Claudia. I cannot listen to this insanity about Claudia one more time, bordel de merde.'"

I know we justifiably talk about Armand's "Lestat, Lestat, Lestat" litany, but Lestat's "Claudia" is quite good too.

Also, can't quite decipher what Lestat says in French there. English accent too thick. I think it's "ils me chient dans la main [gibberish]" ("they" or maybe "he shits in my hand") but don't quote me on that.

- Bruce's been stalking Claudia for a while, huh. And interesting to note that it's partly Louis' fault, his repetitive calls to Claudia that attracted his attention.

- Louis's destroying that table. I'm going to focus on that instead of whatever happened to Claudia or what Louis's doing to Daniel, no thanks. Just like how Armand immediately calms Louis down, and gonna cheer for that slap, good one, Daniel, well deserved, about time.

- [Lestat] "It could be her, but I am the one who is currently standing in front of you, and unlike Claudia, I am a full-blooded adult... with all the right appendages. So if all my considerable considerables continue to be squandered..."

'Stat... Yeah, I have nothing to say.

- [Grace] "Whoever you are that took my Louis" - yeaaah, if one of my sibling would say that to me, I think I'd just crumble and shut down. But at the same time, kudos to Grace for having the strength to bury her brother while he's standing in front of her and keeping whatever secrets he's guarding.

- [Claudia] "I spent time following Louis and Lestat now that I am my own woman, with no obvious sense of why I follow them, other than meaning slowly disintegrates without them... my companions in immortality. But today at the cemetery, I finally understood something so obvious, which I pondered for a decade... why they made me. To be Louis' sister."

*silently sobbing* It's the way Louis knows that passage by heart, and the way Claudia's prose keeps on being heartbreaking.

It's how Louis curls around his pain, and how Claudia makes herself taller in the face of this pain. It's how they don't even need more than an embrace and a word to make it better. It's how siblings who have gone through the same shit know each other so intimately. It's how that's the moment Claudia goes from daughter to sister.

- [Lestat] "The vampires out there are vicious. Oh. But you knew that already. Who did you meet out there in the American hinterland?" - oh, you are being especially awful, Lestat. I love you but you are being unfair. Even if you fear loneliness and abandonment, even if you've just went through seven years of not getting a single kind word or affectionate gesture from Louis... Lashing out, refusing to tell Claudia the truth about European vampires, the cruelty, the violence... No, that's not a good reason for it. But then again you wouldn't be Lestat if you didn't lash out when terrified and angry.

- Ouch. Contrasting that fight seen through Claudia's perspective with the s2 scene seen through Louis and Lestat's... Shivering. This is baaaaad.

Oh, no, no, no, no, I don't wanna see that part. I don't want to have to think about it and analyse it.

Man, I had forgotten how much that episode fucking hurts.

No, but the way Louis won't even say "I don't love you" not just because he won't give Lestat that satisfaction, because he lives to be stubborn and contrary, but maybe also because after all, after everything, that would still be a lie, and Louis doesn't lie; he forgets, he obfuscates, he redirects, he refashions his memories, but he doesn't lie... Even when his own life depends on it.

Episode insider:

Rolin Jones saying for Claudia "why was I the thing to make up for your mistakes". Yeah.

"This is where we start building the Anne Rice universe. As Lestat rightfully warned her there are wolves around the corner."

"It's the kid that goes 'My parents weren't all that bad. I have gone out and seen life. It is not all easy and conquerable'. And she comes back with hat half in hand, but with a mission - to take the good vampire and continue on with her life, and that is at odds with the other vampire in the house."

"It is about the fight of Louis, the fight for Louis's soul. I mean, in the end, it's 'Everbody Loves Louis', isn't it?" - Louis is catnip for vampires. And honestly I can relate. Did I say lately he's my favourite too...

That shot of Lestat hovering in the air all dressed in black with his hair floating around him while Claudia covers Louis's broken body with hers... Enraged Angel. Oh, that's worthy of a full oil on canvas painting.

Alright. That was harsh. And we're so not done. We love angst and tragedy, yey! *sobbing*

episode 1 | episode 2 | episode 3 | episode 4 | part 1 | episode 6 | episode 7

[dragongirltongue]

I think I'm gonna ask "what are they filling for?" next time someone calls something filler outside of a direct adaptation of a currently updating work.

[tip]