#Meaningful One Liner

[mityenka]

i love empire records so much because all of the characters with the exception of maybe corey are what would be the one dimensional side character in a regular movie. the edgy one, the comic relief one, the stoner, the slut, etc etc. except empire records crams all those characters together into a small record store in delaware and makes them dance and hold conversations with each other and in the process lets them transcend the role they’ve been assigned at the start of the movie in a way that’s so human and gives the audience the feeling that they’re watching actual people instead of just actors on a screen

[vampirologist]

okay I wrote my first letterboxd review but I did not rate the film because I cannot do that

[alwaysthesitter]

HALLOWEEN ‘ONE LINER’ STARTERS - CARRIE  “You’re really not gonna come? You’re gonna miss out on the prom?” 

@meaningful-negativity​ 

[pycth]

I fixate on one-liners too much, but can you really blame me when they hit like this?

The feelings that run through me whenever even the slightest pinch of a character’s canonical appearance is mentioned—

If y’all notice that bit of iridescence in his eyes, that’s color(s) associated with Freelancers in my canon ✨

Then I had a thought that since his eyes were brown, a natural hue, and my version on empowereds eye colors depend on their abilities unless you’re humanborn in which you have a bit of both (almost like heterochromia) 👀

Ergo making my version of Sam a humanborn Freelancer which I think really adds more to the struggles he’s been through and, if I really wanna get deep with it, even relating to Lovely in a way which would make having his hand in helping with the process of their turning a lot more meaningful because he can relate to the loss of an incredible ability you 1. didn’t know you had and 2. spent so long trying to manage it only to have it taken from you just like that. He sees a little of himself in them—and y’know Sam Collins is the kind of man that wants to give others the chance to have what he couldn’t.

[loganlermanstanaccount]

RM! Miguel O'Hara headcanons (SFW)

(Wattpad) Series Masterlist, Main Masterlist

College roommate!Miguel O'Hara x reader

summary: In light of the most recent chapter of my college au fic, Rigor mortis; here are some headcanons I have for this version of Miguel <3 .

warnings: none, just fluff :)

a/n: trying to get out of bad writer's block with some drabbles. looking through my asks and making my way through them rn!

wc: 0.5k

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He's meant to wear reading glasses but literally never does. You see him squinting at shit all over the apartment, and it only really clicks when you catch him early in the morning (because I know he wakes up at disgusting hours in the day to be productive) and he's got a pair on.

He gives amazing gifts. I feel like he's really detail oriented so he'll take forever to choose meaningful gifts. Not even necessarily expensive; just something that shows he pays attention to conversations: like that item of clothing you loved but can’t afford, something super specific for your hobbies, a whole bunch of books you like because you just mentioned a specific author or genre you love.

Conversely, he's the kind of person that's really difficult to buy gifts for. Everything that he could possibly want, he'll just buy for himself; his interests are too niche for you to buy him tools and things; and he'd give you absolutely bs answers when you ask him straight up. You'd be like, hey, I know your birthday’s soon, what do you want; and he'll say oh, I just want you to be happy, or I have everything I need right here, baby. And you'll be like ok cool, is that yes or a no on the ipad? 

Coffee addict. Has all the expensive machines and fancy filters. He lives pretty modestly, but it is the one thing he'll really invest in. 

Similarly, will collect old tech and gadgets just to fiddle around with. He has a box of junk underneath his bed that lowkey he’s been building up since he was a kid. I feel like he was such a curious kid and all his tías and tíos would pinch his cheeks and pat his head and give him all their old junk because he shows an interest.

Sleeps like a dad on the couch. Especially after a long day. He stretches out on the sofa like a cat with his hand on bare belly and it is simultaneously super fucking funny and kind of hot??? Like you can see his happy trail and that peek of tan skin and you just knoww that v line is sharp asf.

He talks to himself. Especially after a frustrating day, and it's pretty funny to watch. He becomes so animated and will have a whole ass conversation with himself whilst chopping veg, or something. He'd wave the knife around, playing both sides of a situation. It helps him to decompress and logically reason with difficult problems. It's something he will 10000% deny if you bring it up. 

He's funny. Not necessarily laugh out loud, quippy one liners; but he has a super dry sense of humor. He's fond of a deadpan, and will often play it straight whilst saying something ridiculous. I feel like no-one usually gets when he's being sarcastic, but for some reason you do, and it makes his eyes go wide the first time. Like you catch something he says under his breath and laugh; and he's stuttering because people don't usually have the same kind of humor as him. 

long story short, he's a big ol' softie. more bark than bite :)

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[artist-issues]

I Saw Wish

And it was the worst animated Disney movie I’ve ever seen. I have to watch it again before I can get into the nitty gritty details. But I don’t need details to sum it up, because my dad actually said it perfectly as we left the theater:

“It was like someone who didn’t really understand Disney movies tried to make a Disney movie.”

Both the form (the technical arts of filmmaking) and the content (the morals, values, and themes of the movie) were totally horrible.

I don’t know who’s fault it was. Jeremy Spears was in the storyboard room and Mark Henn and Eric Goldberg did some 2D animation. But they must have gotten outvoted, or they must not care anymore.

Because holy cow. Here’s some stuff that’s just off the top of my head.

SPOILERS. Not that it matters, because nothing interesting happens in this movie.

The writing? Terrible. Ninety percent of it feels like the characters are filling time with quirky one-liners that are trying too hard to be appealing, then failing, then taking you out of the movie. The jokes aren’t funny. The characters just respond to each other in conversation to check a one-liner box. The other twenty percent is whole conversations repeating tell-don’t-show exposition that has already been covered, usually twice, in previous scenes. Like if in Tangled, every scene had included some variation of Rapunzel saying to friends and enemies alike, “I have to see the floating lights so I’m sneaking to the castle with this thief who wants a mysterious tiara I hid from him. Don’t tell my mother, she’s a bit overprotective!” Over. And over. And over.

The character motivations are way too broad. Asha? Her dream is just “that everybody around me gets to be happy.” That’s it, in a nutshell. No deeper exploration of that. Nobody asks, “why do you care so much?” Nobody tries to convince her she should look out for herself, and then she proves she was right all along. The King? We are told (not shown) that he doesn’t want anyone else’s dreams to be “destroyed.” But he in no believable way expresses that that motivation is still what’s driving him during the movie—what’s driving him is just a plain old lust for power, no nuance.

By the way, the whole premise of the movie? Undercooked. Half-baked concepts strung together with no definitive meaning. Therefore, it’s not believable. Example: The characters act like the wishes are beautiful—well, actually, no, this movie doesn’t know how to show, so there’s not a lot of meaningful acting—the characters just tell us that wishes are “the most beautiful part of someone,” and that’s why it’s worth going through this adventure to give their wishes back to them. But there’s no proof of that in the movie. In fact, it directly kicks it’s own legs out from under that idea, because it has every character who gives up their wish forget that part of themselves. Asha’s grandfather has forgotten his wish, but that doesn’t make him any less “beautiful.” She, and everyone, still treats him like he’s this wonderful old man who deserves the world, who everyone loves…but why is he so appealing? If he “gave up the most beautiful part of him?” The only character who is changed by their lack-of-wish is the Sleepy-analogue character…who is just sleepy, which is described as “boring.” But nobody else who’s given up their wish in the whole kingdom acts like that. It’s just him. Also, the King acts like it’s so important to protect the wishes from destruction. But what does destroying a wish look like? That actually happens to Asha’s mom. Her wish-bubble is broken, literally, and she just says she feels grief. But like. Why? She never remembered it in the first place; it had been missing from her life for years. Also, what the heck is a wish?! It seems to range from broad concepts like “inspire people” to “fly.” Just “fly,” like a bird. The desire to levitate off the ground is the most important, beautiful essence of one background character. Like, what?! But no character ever has the why behind their wish to make us care.

I could go on and on about that point. Like, think about Disney movies that wrote the book on how to make movies about characters with wishes. If Ariel were in Wish, her bubble would look like “dancing and learning and exploring on the Surface with someone who understands her.” But we believe that that is her real, genuine wish, and that it matters to her, because we are shown why being understood is so important to her. Because it’s missing from her life. There’s a scene where she explores a boat alone, and even her best friend doesn’t get excited about it with her. Her dad won’t listen to her point of view. Her siblings don’t ask her about her life even when they think she’s in love. She wants what she wants because of pieces of her life that we are shown.

We are never shown why Asha’s grandfather is obsessed with inspiring people, so we have no reason to believe it, or care whether he gets it or not. We can’t feel disappointed when his wish is said to “never come true,” like we did when Quasimodo was abused by the people he wished to join. We can’t feel elated when he finally “gets” his wish, like we did when Simba smiles on Pride Rock remembering the same way he used to as a cub and claims the crown with a roar. We don’t have anything to hang on to, nothing to relate to, nothing to grasp and feel with the characters. So we don’t feel, because they didn’t put the work in to help us feel. They just say, “the mom’s feeling grief. Feel grief.” And expect us to do the work ourselves. I have to stop harping on this point and move on.

But The main point of the movie is very broad because of that lazy premise, and it’s barely reinforced by any kind of appealing storytelling. If I had to guess, the point would be “Keep wishing for more even when it’s hard.” But the story they told to communicate that meaning was so unimpactful. Asha doesn’t have a dream of her own that’s such hard work to accomplish! (Neither does her grandfather; his wish is “to inspire people.” And at the end, we’re supposed to see him strumming a guitar and believe it’s inspiring? We were never shown how he worked hard to learn how to play the instrument. Or that he carved it with his own hands, or anything like that. So there’s no meaningful demonstration of working hard for it or achieving your wish even if it’s far out of reach.) And nobody except the king is trying to take wishes away from anyone, and he just does it literally, after they voluntarily give them to him, so there’s not even any impactful demonstration of “don’t let anyone tell you your wishes are dumb or unachievable, or stop you from reaching them.” Even when he takes them away, it’s just because they…could, someday, be used to threaten his kingdom in a vague, really unlikely way. There are so many things you could do with “keep wishing for more even when it’s hard.” For instance; you could say the main character has always been afraid to dream (wish for more), because maybe when she was a kid something wonderful almost happened but ended in tragedy, so she keeps her head down and doesn’t want much because if you don’t dream you’ll never be disappointed. She takes no risks, and has to learn that sometimes trying and failing is worth more than slogging through life all self-protective. I mean, the pieces were right there. She has this line about her dad, and how she wished he would get better but then he died. She has lines about how nobody should have to live with grief?? Then that’s never addressed again! It’s just a throwaway emotion-moment with no buildup or follow-through to tie it to and support that main theme.

The compositions of too many shots were so terrible. Characters got cut off in weird places. One shot has Asha dead center, with her grandfather on the left side of the table and her mother on the right, having a family dinner with a super exposition-heavy conversation that is meant to be emotionally charged. But despite everything else being perfectly centered, half of her mother’s body is chopped off. The movie’s shot like someone’s mom who doesn’t understand technology tried to take a video with her phone.

The charm of the art “style” wears off basically immediately. I know what they were going for. I see the sketch lines and watercolor textures. This is maybe the first time Disney ever failed to accomplish a visual “look” that turned out good. Everything looks dull. Muted. De-saturated. Slightly out of focus, but not in a cool Spider-Verse way. The sets or backgrounds are lazy; at no point does the scenery look complete; big, empty, boring spaces that do not create any kind of “stage” for impactful moments. The rendering looks unfinished. When Asha’s hair moves during her belting of the “I Make This Wish” song, it’s bad. It’s unnatural. It flops in a way that doesn’t make sense for the weight of her hair. The most impactful visual moments come from the villain, and they’re moments when he looks way too unhinged for the kind of line he’s saying.

There is no interesting character development. Asha goes from believing everyone is basically good and their wishes deserve the chance to come true , to….that, again. That would be fine, she could be a static character, if she proved contrast-characters wrong, in a believable way. But she never does. Because no other characters argue with her except the King. And it goes no deeper than “everyone’s wishes are basically good and they deserve the chance to make them true” vs. “nuh-uh, because I get to decide what makes them deserving.” The King doesn’t have any kind of interesting development, either. They don’t expand on his tragic backstory—it consists of one drawing of him near a broken boat, and a few images of the corner burned off of his family taoestry. They never say “King Magnifico wished for _____ and it was taken away!” They literally never tell you what his wish or dreams were, or what motivated him to create the whole kingdom that the movie’s premise sits on. So there’s no convincing sense of progression, how he got this way, why he’ll keep going “so far.”

The pacing is weird. It undercuts every moment that could have any kind of emotion behind it. One minute Valentino is suavely bouncing around, then he’s given a two-second beat to blubber with badly-animated tears that he’ll miss Star—then he instantly gets to have another funny one-liner so we forget he might’ve been sad a second ago. We’re clearly supposed to believe that the King and his wife are devoted to each other, and his turning evil was such a big betrayal, but there’s no time and no impactful evidence for us to believe either of those things. And even if we did, the moment he’s defeated and trapped in a mirror, and begs to be let free, the Queen kind of shrugs it off, makes a forgettable one-liner, and tells them to throw him in the dungeon. And he doesn’t look remorseful. And we don’t even get to assume he’s embarrassed or emotionally devastated that he’s come to this—because the last thing he says is “nooo, the dungeon is so smellyyy!” Like this is a half-baked LEGO short that can’t get emotionally deeper than what an actual 3 year-old’s parents might be okay with.

And that’s the worst offense: The movie is not genuine. It works hard for nothing, and it has no vulnerability. It just uses old Disney standbys to pretend to be vulnerable. Have the music swell and the characters gasp and the songs drip emotion when characters are meant to be saying or doing something emotional.

But truthfully, think of all the Disney movies you’ve ever seen with the hardest emotional moments. The sheer joy of Genie when he realizes he’s free. The anguish when Elsa thinks Anna’s been frozen forever, or when Anna thinks she’s dead. The trauma when Simba loses Mufasa. The longing and dreaming of Ariel when she reaches up out of her grotto. The sense of foreboding when Mother Gothel says “fine, now I’m the bad guy” or the heartbreak in Rapunzel’s eyes when she thinks Flynn has abandoned her, or the shame on Aladdin’s face when Jafar reveals he’s a street-rat, or the horror of cruelty when the stepsisters rip up Cinderella’s dress, or Kala’s tears when Tarzan leaves her in the treehouse, or Sarabi’s tears when Simba comes back, or Mulan’s father tossing aside the sword and token of the Emperor to embrace Mulan, or heck, even just Lilo pushing Stitch in the woods and telling him “get out of here.” This movie has no moments like that. It has moments you can tell that the filmmakers wanted to hit like that—but they don’t.

Because no work is put into building them up. You know how much Simba loves Mufasa, because you’ve been watching their chemistry more than any other character all the way up till he dies. You know how much Mulan wants to please her family because she spends all of Act I desperately attempting to do that. You know Quasimodo believes the world below is beautiful and wants them to accept him because he has interesting things like—talking to gargoyles, convincing us that he’s lonely; building a scale model of the townspeople, convincing us that he sees them in a beautiful way and wishes he were beautiful in more ways than one like them, too.

Right down to the facial expressions, none of them are as anguished, happy, sad, excited, silly, in any convincing way like all of Disney’s other movies. Asha’s “low moment” when she’s afraid her “wish” hurt everyone else (still vague on what that wish ever was) lasts two seconds, she’s not crying, she’s barely sitting with slumped shoulders, and her family barely spend two seconds comforting her. They basically just say, “aw, no, it’s not y fault, it’s the king’s.” And she’s like, “yeah okay” and that’s that. It’s like the animators we’re afraid to animate really intimate emotions on the characters’ faces. The voice actors, too.

And the whole movie is peppered with Easter eggs to past Disney movies. But all that does, if you really know Disney beyond the visuals, is make you think of how hollow this movie is in comparison. How much you wish you were watching Cinderella or The Little Mermaid or something with depth and vulnerability instead of Wish.

[beakersmeepersmeep]

Something I am really looking forward to in the Community movie is (presumably) getting to see Troy return with a greater sense of who he is as an individual. I want to know about his hobbies and interests and opinions and values. And I want to know these things not just because I care about Troy as a character, but because I love the relationship between Troy and Abed.

I think that Troy has one of the more meaningful (albeit incomplete) character arcs in the show. We watch over the first two seasons as Troy lets go of his former identity as a jock and prom king, and learns that he can be vulnerable, or silly, or dorky. He realizes that being a man doesn’t have to look a particular way, and all of these realizations are largely due to Abed.

But stripped of his old identifiers, Troy begins to build a new identity largely based on his relationship with Abed. And while his relationship with Abed is unabashed, and joyous, and revolutionary (for both parties), the reality is that it’s not possible for Troy to build a stable, healthy identity based solely on a relationship with some other person, no matter how fulfilling that relationship is.

[I’m always slightly torn here with this lack of individual identity for Troy at this stage. On the one hand, it leads to this aforementioned meaningful character arc. Moreover, the idea of someone shedding an old identity and trying new ones on is a good and realistic storyline for a show set in college, especially one like Greendale. On the other hand, it sometimes seems like the writers just never got around to fully reconceptualizing the character of Troy after this shift away from jock-Troy, instead relying on his chemistry with Abed, together with DG’s talent for improvising funny one-liners, his ability to make gif-able faces, and his knack for portraying a physical and/or emotional meltdown. Okay, tangent over.]

In many ways we reach the full realization about Troy’s lack of an individual identity by Pillows and Blankets in the back half of season 3. And while we see some additional exploration of Troy via the Truest Repairman plot line as well as via his relationship with Britta, I think Troy largely postpones exploring his own sense of self (whether consciously or unconsciously) up until his decision to leave Greendale and sail around the world in Season 5. [I certainly don’t want to assign value to characters based on their labor output, but I think it’s telling that in the episode Repilot, Troy can’t seem to name anything he has been doing—whether recreationally or otherwise—and instead can only share a vague, half-joking plan to sue Abed in the future.]

Meanwhile we get some really wonderful Troy/Abed moments throughout this time period, but to me they often feel bittersweet, exactly because we as the audience are aware of this tension and its lack of resolution.

I’ve been focusing on Troy thus far—simply because Abed is the one that stuck around, so we actually do get to see him grow and change further—but Abed, as the other half of this duo, has the opposite struggle and we can see his journey in parallel to Troy’s:

Abed knows who he is as an individual but is inexperienced in connecting to others and in building and maintaining relationships. (Unlike Troy who is tremendously likable and connects easily with others but does not know who he is yet.)

It is Abed’s relationship with Troy that shows him he can in fact connect with others. (Just as Troy’s relationship with Abed helps Troy to shed his fake persona.)

But because Troy has a propensity to always defer to Abed and to not stick up for himself, Abed was able to build a relationship with Troy without fully accepting the importance of compromise in a partnership. (Similarly, Abed’s strong personality, imagination, and creativity meant that Troy could adopt Abed’s interests and goals instead of finding ones of his own.)

None of this diminishes the value of Troy and Abed’s relationship—if anything, I think it elevates its importance, as each was exactly what the other needed. But I think it does mean that, as written, Troy’s departure became the inevitable conclusion. And you could write a series that diverged from the prime Community timeline around Pillows and Blankets which allowed for Troy and Abed to both grow and change without either of them leaving, but that’s not the show we got, and ultimately, I’m not sure if it would be a better series. After all, I think Community really shines in this bitter-sweet intersection.

So one of the things I am most looking forward to in the Community movie is getting to know who Troy is as a more fully realized individual, and then getting to see the relationship between new Troy and new Abed. Having a more complete arc for Troy is something I’ve wanted for a long time, and I think it is going to be cool and funny and really cathartic.

[shepherds-of-haven]

Me: omg I love the SoH ROs so much all I wanna do is daydream about them

Me, daydreaming about them: what if they almost died... What if they're bleeding out... What if the MC is bleeding out...

Unfortunately they're all blorbos now, which means I want them to suffer (affectionate)

Which brings the question, in a near death situation, which one of the ROs goes for a dramatic one liner and which one tries to actually say something meaningful?

Blade: he isn't one for drama so I feel like he just wouldn't really think, "i'm dying so this may be my last chance to say something," and would just be like "you... need to get out of here..." (always thinking of the other person), but if he did think he was dying, he'd try to say something meaningful!

Trouble: I don't think Trouble thinks he can be killed for real so he'd probably not even notice the severity of his own wounds, like "I'm fine, stop fussing over me and help [someone else wounded] or get after the enemy or etc.!!!" Not necessarily being nobly selfless like Blade, just sort of not aware how close he is to death and so isn't thinking about it/taking it seriously

Tallys: if she actually thinks she has a real shot of dying, she's staying calm and composed for the other person's sake and is going to fade away with quiet dignity, but she's definitely going to exchange some of the most heartfelt, gut-wrenching, meaningful words anyone's ever heard in their life on her hypothetical deathbed

Shery: I think she'd be sort of panicking and hysterical and trying to think of something meaningful to say, but it'd probably come off as menial, like "Make sure to look after Caine, and... please look after my plants..." Like frantically trying to go down a checklist and sort of being confused and panicky rather than having the wherewithal to actually say what she'd want to say in that kind of situation!

Riel: he'd be extremely calm and would be dishing out instructions on how it's going to go down and what's going to happen next. Basically getting his affairs in order in an efficient and tidy way as he's like literally bleeding out lol, by his composure alone you wouldn't think he was wounded! Basically the exact opposite of Shery, and it would only be in the final few moments of consciousness that he could stop being totally "logical" and he'd get quiet and be like, oh. this could actually be the end. In which case he'd try to sneak in something heartfelt and striking and poignant, but he'd probably have expended all his energy on the first part and would lose consciousness halfway through, so no one would know what he was going to say, and he "wouldn't remember" when he woke up lol

Chase: I think it really depends on the situation... he's been in so many near-death scenarios that he's gotten out of perfectly fine that it's a bit hum-drum for him now, so if it's a simple matter of "oh no i've been shot and i'm bleeding out" he'd probably go for the quip or the dramatic one-liner purely to put the people around him at ease or get them to crack a smile, but if it's like a "oh I'm already dead and there's no way anyone's going to save me except by literal intervention of the gods", maybe he'd say something more meaningful?? It really depends on who's with him and how lucid he is, though!

Red: he'd try to be bracing and good-hearted about it so as to not worry anyone or sabotage himself while he's down (he's of the mindset that if you embrace/accept death too preemptively, you're more likely to die, whereas if you act like it's going to be fine, there's a higher chance that, like, placebo effect will somehow help you pull through), so he'd be like, "Don't worry, haha, I've had worse..." *is bleeding out from a gut shot* "YOU HAVE??" "Well, no, but it hardly hurts..." I think if he genuinely thought it was too late for him, he'd say something meaningful, but it would take a lot for him to get to that point lol

Ayla: I feel like she'd just be pissed and not accepting the gravity of the situation, like, "Why are you all looking at me like that, I'm fine??? Blood replaces itself, you are being dramatic" So she probably wouldn't "waste time" on being sentimental when she can just WILL herself to get better, but if it got to the point where she thinks it's genuinely over, she'd abruptly get scared, emotional, tearful, and she'd probably choke out something vulnerable, like "I don't want to go like this..."

Briony: I think she'd be in shock and would behave similarly to Shery where she would just be saying whatever was racing through her mind, so it could possibly be meaningful and vulnerable, like "I always wanted to... [x]" or it could be somewhat nonsensical or brushing the whole thing off, like "It's just a scratch, I just need to rest, make sure that so-and-so is seen to because I saw that they were limping..." (thinking she's just going to pass out now)

Lavinet: I think she'd be very noble and dignified and graceful in near-death, like she'd arrange herself very beautifully and would be lying there in some infirmary bed with her hair spread out across the pillow as so-and-so clutches her hand and weeps and she murmurs to them to not to worry and tells them "her last words" in a delivery and meaningfulness straight from a dramatic novel

Halek: I think the first time he'd say something so flippant and stupid, like "Holy shit, getting shot is such a pain" -> 😵 (passes out) and if he had the luck of waking up again he'd be like "oh my god those could have been my last words" and he'd take it more seriously the next time and try to think of something more meaningful beforehand lol

[unhelpfulfemme]

One of the aspects I like the most about the Vorkosigan saga is how well Lois writes how men vs. women interact with each other.

The women are always trying to find examples of other women doing what they want and exchange knowledge and tips and advice about their lives. You almost never see this in fiction, especially speculative fiction, even though all the women I know do it all the time.

Like, Cordelia thinks Barrayaran culture is ridiculous but she takes Alys completely seriously and respects her and follows her advice, and when she's considering having more children one of her first moves is to propose it to Alys for her and Simon because Alys may know about the technology but may be interested. When Ekaterin doesn't know how to reconcile children and a career or what she wants from like, she looks to her Aunt Vorthys as an example of how it can be done; when Elena is considering leaving her mercenary career to have children, she does it after talking things through with her personal idol Cordelia, who also left a military career to have children. When Kareen and Martya visit Ekaterin, the conversation just naturally segues into deep topics like Being an Adult and Life and Society and it's just an Engaging and Meaningful topic that's cool to discuss with your close girlfriends. When Ekaterin is about to meet Aunt Vorthys, she's warmly looking forward to an engaging and empathetic conversation.

The men, OTOH, have that manly thing in which "I would die for you but I'd also rather die than talk about my or your feelings and I also have no idea what your last name is or what you do for a living." Whenever two men segue into a sensitive or personal topic you get that palpable sense of anticipatory anxiety and discomfort and grim determination. "This feels like pulling teeth but it must be done." Affection is expressed entirely through friendly teasing, laconic one-liners and quiet acknowledgement of one's worth and competence. They keep comparing themselves to each other, you never get a, "Hmm, how does he do it? I'd like to learn.." like you do with the women, you always get a, "How the fuck is he that competent, I love him but I'm also dying of envy." And they're really not the same with their partners: Aral comes off as a passionate, romantic, earnest softboy with a flair for melodrama with Cordelia but Miles sees him completely differently, and as the series goes along you realize that Aral basically never talked about himself with Miles at all unless it was necessary.

I just love how every interaction is completely entrenched in their cultural gender norms, to the point that after 10 books you can anticipate the mood of an interaction as soon as you realize it's about to happen.

[redditreceipts]

“Y’all hear sumn” - Radblr about Israeli women

so this is not a specific answer to this person, but just a general message to people who like my blog but disagree with me on the situation in the middle east.

I am fully aware that I can be wrong about some stuff. Hell, maybe I'm even completely wrong in my stance to support Palestine. Maybe some stuff that I have reblogged came from a sketchy source. Maybe there are important facts that I've overlooked. I am very open to discuss this stuff, read articles and inform myself etc. I am also open to the suggestion that something I said could be read as anti-semitic and I really try to be considerate of all ethnicities and inform myself on that issue. I also think that I have demonstrated in the past that I'm not one to jump to insults or to accusing people of being racist or genocidal or stuff like that.

But what I've gotten in the last few months is consistently only one- or two-lined asks that don't make any arguments, don't show me any sources and are totally disinterested in having any sort of meaningful discussion. If you disagree with my opinion, I would love to hear about that! But please stop with the one-liners that really don't help anyone. If you are passionate about helping the Israeli cause, you should be able to point to at least one source or argument that you want to make instead of continously sending me these pointless asks.

[tftword]

People are saying earthsparks ending is rushed, but do you want to know what ending I think is rushed? RESCUE BOTS, Spoilers for ending ahead

When Cody got literally KIDNAPPED nothing super meaningful happened, what were the producers thinking?! Add a couple heartfelt nooos a couple one liners get the little girl to, with a smile instead of freaking out, hop into the thing and zap something? Perfect. They couldn't have any heartwarming stuff? It could've been SO SO SO much more dramatic! Like Cody is literally the reason the rescue bots stayed, the reason the family is still alive, the reason the family doesn't hate each other, and the reason griffin rock isnt off the maps! And when he gets kidnapped there is minimal dramatics?!

[nightghoul381]

Jude Jazza~ Luxury Liner Event ~Part 1

This a fan translation so it is definitely not 100% accurate. I do not own anything related to Ikemen Villains. Support Cybird by buying their amazing stories!

The port, bathed in pleasant sunshine, is bustling with large numbers of passengers.

Today, the weather is perfect for travel.

Jude: “What’re you doing?”

(No way, I didn’t think my companion would be Jude…!)

—Flashback—

It was yesterday morning.

Kate: “The maiden voyage of the luxury liner ‘Orellus’… I love it. It’s a dream come true.”

I looked at the newspaper with pictures of the luxury cruise ship that would finally set sail tomorrow and muttered to myself.

William, who was elegantly drinking tea, gave me a meaningful smile.

William: “Do you want to ride?”

Kate: “Fufu, yes. I guess I’ll be lucky if I get to ride it even once in my life.”

William: “Then you should go. I happen to have one ticket left.”

Kate: “Eh?”

—End Flashback—

(“Other members of Crown are also planning to board, so you’ll be together.” William said.)

Kate: “…By any chance, Jude, will you be on this ship too?”

Jude: “Why else would I come here? Ta wave goodbye and say have a nice trip?”

(I would like to see that.)

I tried imagining it, but immediately after Jude waved his hand, the image of the ship being wrecked came to my mind and I gave up.

 Jude is looking down at me with a look of genuine astonishment.

Kate: “…What is it?”

Jude: “Why’d ya come here knowin’ nothing?”

Kate: “Nothing, what…?”

Ellis: “I think it’s a mission.”

Kate:: “Ellis…!”

In contrast to Jude, Ellis appeared with a gentle smile on his face.

Ellis: “I heard from Will that you’re going to board with us… Is that okay? It’s a pretty dangerous mission.”

William’s meaningful smile and condition of boarding “with the Crown” finally made sense.

Kate: “What is your mission?”

Ellis: “Actually—”

On the maiden voyage of the luxury liner Orellus, the boss of a gang that has been rocking Britain lately will be on board.

I got that information a few days ago.

The police were supposed to move in with a chance to take him into custody, but,

The police were denied access to the ship due to pressure from the aristocratic member of the House of Lords who would be boarding.

Ellis: “This Congressman, Blackwood, was taking donations from gang bosses…”

Ellis: “He’s covering it up, facilitating, and helping to do all kinds of bad things behind the scenes.”

Kate: “That sucks…”

When I heard Ellis’s explanation, those words came out of my mouth without thinking.

Gang activities range from extortion and robbery to illegal gambling.

People involved with crimes ranging from unreasonable violence to murder make daily headlines in the newspaper.

(You let it go unchecked just to line your own pockets…)

Ellis: “Victor said ‘If you’re dealing with money and power, and you’re on a boat trip, Jude is the man for the job.’”

Kate: “So, Jude easily accepted the offer…?”

Ellis: “’It’s like a hobby to torture people like that arsehole, so sure.’ He said.”

Kate: “I see… so your bad taste matches the mission…”

Jude: “Oi, you say that.”

(In other words, this ship has a gang boss and a congressman on board who backs him…)

For a long period of time, I’ll be with them on board the ship, where there’s no escape.

(Without a doubt, this won’t end as a peaceful voyage.)

--For a moment, I almost feel frightened, but—

Jude: “Don’t do it, princess.”

Jude: “People like you, if ya throw ‘em into the den of these bastards, they’ll eat ya straight away.”

As soon as I saw the arrogant sneer of contempt, I felt more frustrated than afraid.

Kate: “…I’m in… if it’s a mission, I also need to record it as a ‘fairy tale’”.

Kate: “I myself would like to like to help with the mission for the sake of peace in Britain.”

Jude: “That’s a great cause.”

Jude: “The ya can’t complain even if ya lose yer life for that, right?”

(As  Jude always says, I may be too ignorant of the dirty world.)

Kate: “Since I was given a ticket,”

Kate: “Doesn’t that mean William thought I should accompany you on this mission?”

Kate: “If that’s so, then I want to try as hard as I can. Also…”

Kate: “It’s frustrating that you’re looking down on me all the time.”

(That… I)

It wasn’t until I said it out loud that I realized that the reason I added at the end was the primary motivation.

(Why…How does  Jude see me?)

(I wonder why I care so much.)

Jude: “…”

Jude remained silent and put his hand on my chin.

His cold amethyst eyes narrowed fiercely as he leaned closer.

Jude: “…Look at that cheeky face of yours, yer a mess.”

(…)

My heart fluttered at his teasing gaze.

Deep within the knife-like coldness I feel it’s filled with heat—an unidentifiable shiver ran through me.

Jude: “Well, why not? It’s a lousy boat trip where yer stuck breathin’ the same air as a bunch of shitty people for days on end.”

Jude: “At best, I’ll enjoy torturing you.”

Kate: “Wha…”

With a provocative whisper, Jude let me go.

(Torture me… What are you going to do?)

Riding the sea breeze, the scent of Jude filled my nose.

When I’m with Jude, I somehow forget myself.

My heart was beating a strangely fast rhythm.

(This is…I’m going on a dangerous mission, so maybe that’s why I’m nervous.)

(There’s no other reason why my heart is pounding…)

The luxury liner I boarded was beyond my imagination.

Like a first-class hotel, it’s glittery and eye-catching.

Man with a scar on his face: “Hey look… It’s Jude Jazza.”

Good-looking aristocrat: “Heh… hmm, hide it, please.”

When Mr. Jude passes by, rough-looking people stare at him and the nobles turn pale and dodge to the side of the room.

With a cool look on his face, Jude rushed through without hesitation.

Kate: “Umm… Where are you going?”

Jude: “It’s a given, isn’t it?”

Jude: “Where princesses scream.”

(Uh, scream…?)

I almost stop walking for a moment, but Ellis quicky answered my question.

Ellis: “It’s okay, it’s just a casino.”

Kate: “…Thank you, Ellis.”

(You’re trying to threaten me into going home again… I won’t take it anymore.)

Kate: “Come to think of it, you didn’t get lost, but it’s the first time you’ve been on the ship.”

Ellis: “Jude told me to memorize the floor plan of every place we go for a mission.”

Kate: “You’re surprisingly thorough, aren’t you?”

Jude: “Luxury cruise ships’re full of blind spots and closed rooms. I dunno what kind of person would go on a luxury liner without knowing the layout.”

Kate: “As long as I’m not as hated as you, Jude, I should be fine.”

Jude: “You don’t understand.”

Jude: “Like I said before, someone like you’ll be devoured immediately.”

Jude: “If ya let yer guard down ‘cause yer resentful, you’ll be dragged in.”

Laughing through his nose, Jude bent down slightly and put his lips to my ear as we walked next to each other.

Jude: “I guess yer dressed up all ‘cute’ for the luxury liner ride,”

Jude: “but it’s like yer askin’ ta be served up.”

Kate: “…Huh?”

(Wha…)

The word ‘cute’ suddenly thrown into the conversation caused my body temperature to soar.

Kate: “That is NOT true!”

Jude: “Why don’t you try that on someone who flinches when ya say somethin’ like an accusation?”

Jude: “During the voyage, everyone gets as jumpy as a monkey, try not to get caught in the middle.”

Ellis: “You never know what kind of people are out there, so be careful.”

Kate: “Uh… yes, thank you.”

(It would be nice if Jude would give me kind advice like Ellis…)

Holding back my pounding heart, I quickened my pace so I wouldn’t be left behind.

(Wow…so hot…)

The casino was crowded not only with aristocrats, but also with rough people.

A fistfight broke out at the table next to us, and the people around us were stunned when they started cheering happily without stopping.

Kate: “Is this what you mean by shitty people…?”

Jude: “Huh? O’course not. If they’re shitty people then eighty percent of the world is shitty people.”

(…In Jude’s world, really rough things happen on a daily basis.)

Jude quicky exchanged a large amount of chips, walked over to the baccarat table, and bet everything on a draw.

The crowd surrounding the table suddenly roared.

Kate: “What kind of game is that?”

Ellis: “You bet on whether the player will win or the dealer.” 5124

Ellis: “Add up all the cards dealt to you, and the one who’s last number is closest to nine wins.”

Ellis: “If you bet on a draw and you win, the payout is multiplied by nine, which means your chips are multiplied by nine.”

Kate: “N-nine times…?”

(Even now it’s a lot of chips, but nine times that amount…)

Ellis: “But the chances of a draw are very slim, and if we lose, we lose it all…”

(Wha, everything…!?)

Just imagining how much money is being bet with what the probability is makes me dizzy.

Kate: “Maybe you should think about it more…”

Instinctively, I walk up to Jude and whisper in his ear, but—

Jude: “Ye can’t be stingy when yer tryin’ to ear a bunch’a money ya know.”

Kate: “But…”

Jude: “Besides, if I wanted to make money, I wouldn’t be gambling.”

(Huh…?)

(So there’s… some other purpose?)

Despite my worries, the game was soon over and the result was…

Kate: “It’s really a draw…”

Ellis: “Jude’s used to winning, you see.”

(Why is that…?)

I couldn’t help but stare at Jude, his expression cool.

(Jude… he really lives in a completely different world.)

His standard of right and wrong, his sense of money, everything. Everything is so different from my common sense.

That, for some reason, pricked my chest.

Jude used his nine-fold increase in chips to gamble wildly here and there.

Jude: “What’s the matter with ya? Is there anyone who can make a worse bet?”

(Saying things like that is like picking fights indiscriminately.)

(What is your plan, Jude?)

At that time, a man sat down on the chair next to Jude.

The middle-aged man with a cigar in his mouth was dressed like an aristocrat, but his eyes were fixed and there was an air of unease about him.

Noble with the cigar: “Cigar?”

Jude: “…I’ll take one.”

Jude took a cigar and lit it.

(You smoke cigars too… I didn’t know that.)

(Even so, this person is… who?)

Jude: “Yer a member of the House of Lords. Blackwood, right?”

(…! This man is the lawmaker who receives money from a gang!?)

Tension ran through my body at once.

Blackwood: “…I like gambling too, you could say I’ve devoted my life to it.”

(…I see.)

(Jude, you knew this guy liked to gamble, so you were gambling to lure him out.)

(I can’t believe you lured him out so brazenly…amazing dexterity and courage.)

I am secretly impressed—

Blackwood: “But, it’s boring to just bet money.”

Blackwood: “You have to bet something more important to make it… exciting.”

Jude: “Heh, yeah.”

Jude: “If ye do, I’ll bet all of my fortune and… this woman.”

Kate: “What!?”

Part 1 | Part 2 | Premium End | Epilogue

[joesalw]

i am a firm hater of midnights, but my god do i hate this album even more. sure the production at the beginning of the album is way better than that of midnights, but then it devolves and i’m forced to listen to some of the most boring songs in existence. if you’re gonna have a 31 song version of the album, give it some more variety. the amount of times i’ve complained to my sister about how many slow songs with bare production was in it is absurd. truly, the only songs i came close to having a pleasant time listening to were the collab songs and The Prophecy. you know, i’ve not even listened to eternal sunshine in full, only bits and pieces of like four songs, except those four snippets i heard on Ariana’s much shorter, 35 min album was far better than Taylor’s whole 122 min album i listened to in full. this album was the most boring shit i’ve ever heard, with horrible one liner lyrics i know she’s 100% serious about. at least midnights was fun and each song sonically unique! what the fuck is this!

oh the way i reacted when i found out that taylor Did make songs about TK on the album, with actually football references that aren’t even metaphors she’s legitimately talking about football in a song called the Alchemy on an album called the Tortured Poets Department. like i knew this would happen, just not this soon.

I mean what's the point of 31 brand new songs when they all sound the same and repeat the same things she wants to convey...imo she did this to gain streams. again the ts strategy of "Quantity over Quality" or else how do you think she'd break the records? i have streamed eternal sunshine and let me tell you it's so refreshing and meaningful. even the shortest interlude puts so much more depth in the album. the into is so beautiful too and even after a divorce she doesn't sound so petty towards her ex husband as TS sounds in her one month's relationship.

[unabashedly-so]

😉 SDV Elliot HC 😘

Flirting.

Content warning: does get a little naughty post 10 hearts, still SFW.

everyone's entitled to their opinion, even if they're wrong, and since i can't be wrong in my own hc post

📣 Elliott is the biggest flirt of all the bachelors.

...and bachelorettes, I feel confident in that too.

I'm gonna go out on a limb and say in the whole valley maybe.

you don't see it much in his actual in-game dialogue, but tbf you don't see much of it in anyone's dialogue. The game's not really written like that.

BUT IF IT WAS!!!!! ☝️

I'd hang my hat on this. Elliott's flirt game would be 🔥✨🔥😩😩👌👌👌

he's self-assured, he's foppish and aware of it, and heck SOMEBODY's gotta hear all the GREAT one-liners and colloquialisms he's got bouncing around in his head all day from writing.

once he gets to know someone (mainly knows that they're okay with playful, meaningless flirting), he's just shameless.

he's complimentary: "that shirt really brings out your beautiful [color] eyes!"

he's self-aggrandizing: "did you miss me already?" (<--narrator voice: it's been <10 minutes).

he uses pet names and terms of affection so much you almost think he's forgotten your name but it's too late to ask now. "dear," "darling," "love," "light of my life," "sunshine," "lovely," "beautiful," etc.

he's also self-deprecating, or the damsel in distress, "oh, if only there was someone strong and dashing who could save me from my misery!" (author's note: his misery is an unopened wine bottle.)

✨ D R A M A T I C . ✨ calm down, sir. (read: don't.)

then the praise. oh the praise. "bless you, you kind and radiant soul. My world would be so dark but for your captivating light."

he's probably not one to use a lot of physical touch in his flirtations because, y'know, boundaries. But with a receptive 4-7 heart farmer, he might make some exceptions, particularly if it was farmer-led, and so long as it wasn't genuinely romantic or sexual. Like dancing, brief hand-holding, kisses on the hand, hugs of most kinds, etc.

and if there was something he wasn't comfortable with, he'd first deflect playfully. ie, holding hands for too long, "I haven't gotten my cooties booster this year."

he'd only use pick up lines if he came up with them himself. a man has to have standards, y'know.

so, he'd basically be like this with ANYONE with whom he has a decent enough relationship with (and he knows it wouldn't make them uncomfortable)

But. BUT.

Here's where it gets really interesting. Follow me down......

after a farmer gets his 8 heart scene... he shuts it down.

he stops flirting with them. cold turkey.

for those of you who think graphically like i do, see below for a representation:

so what the heck is going on between 8 and 10 hearts???? why does it actually get WORSE than before he barely knew the farmer????????

aliensfeelings.png

he's not thinking much about any kind of relationship beyond friendship (with anyone, really) while he's working on his novel because he's So Close and that's really invigorating and it kind of overshadows all else.

then the book reading happens, and he hears himself say out loud that he dedicated his novel--his ENTIRE BOOK, arguably his LIFE'S WORK up to this point so far--to the farmer that he only just met a few seasons ago

(not to mention he canonically made it at their behest?!??? (2 heart scene picking the genre))

most authors dedicate first books to, like, their spouse or parents, or childhood best friend, sibling--someone MEANINGFUL, who has STAYING POWER, and has impacted the trajectory of their LIFE..........

🎵oh no.

🎵oh no.

🎵oh no no no no no.

talk about a fucking tidal wave of realizations that come crashing down on him. Things that he was too swept up in his own head to really realize or fully acknowledge. Like how, oh no, he's actually been putting some heat (and hope) behind his recent flirty interactions with the farmer. y'know, a more sophisticated of "hahaha... unless.....? 👀" Or how, oh no, did their lips always look so kissable? Or, oh no, was that story arc in his novel just an allegory for his subconscious pining? Oh, you mean the one he just READ OUT LOUD to the entIRE TOWN?????

the man's about to go jump into the sea with cement shoes.

and here's the thing: he's very SELF-assured. His confidence comes from knowing his own worth separate of extrinsic factors. But his confidence when it comes to relationships with other people??? Far less assured. He knows he can be intense in some ways, and not everybody wants that all the time. That stung, having to figure that out the hard way. And now it turns out all the sweet nothings he'd been saying to the farmer are actually emphatically true, but now how's the farmer to know that he's being serious when he says them??? And wouldn't it be so weird to say them with the fervor and hope of it being received genuinely while also having to acknowledge he'd said all those things ingenuously before, but he means them fr now??!?

he's too passionate about his adorée to want them to feel that he was being facetious with them, but was he not???

Oh, Elliott...

Despair(TM)-2

so he stops all flirting with the farmer. He doesn't ice them out, he just... acts a little differently. Where once he might have greeted them with a melodramatic tale of how he missed them so... instead he says, "It's wonderful to see you again."

it's almost like he treats them warmly, but professionally. The friendliness, warmth, sincerity is all still there but the jokes have faded away and he's a little more... stilted. It's about as subtle as he can be (ymmv), but the change is definitely... perceptible.

it's even worse when you take into consideration the bouquet, omfg. it DOES grant him a sense of security, but this is man is a ROMANTIC who is INTENSELY PASSIONATE. He's got a foot in the door, but doesn't want to scare them away by suddenly becoming overbearing. 8-10hearts is a bit of a tightrope walk for him, as he navigates getting closer to the farmer and being aware that not everyone can (or wants to) handle all he has to give (which is fine!).

he tries to give little tastes here and there but..... subtlety is not his strong suit, and he knows it.

and maybe the farmer has to confront him about it at some point, ymmv. it could very much be a "it's not you, it's me" conversation that leads to ???? or in this hc post, it leads to the 10heart event, where Elliott knows he has to let go of his fears and commit.

Despair(TM)-2_final_FINAL

It's just so hard because apparently this farmer really, really means a lot to him.

whoops how'd that happen *sweeps mountain of duck feathers and pomegranates under the rug*

without getting into the 10heart scene too much, I'd just also like to point out how fucking funny it is because you KNOW this romantic ass man has day dreamed so many different scenarios of expressing his love and adoration and when the moment finally arrives he just... totally flops. poetic.

but anyway once that's all established and good, the flirting comes back with a vengeance.

a saucy, naughty, 🌶️spicy🌶️ vengeance.

now that he's figured out where the new boundaries are, he's unafraid to use any opportunity (within reason) to express his adoration for them and reaffirm his commitment to them.

example, farmer teases him over a glass of wine, "wine on your tongue got you slurring, El?" To which he smirks, and lets out a low hum. "It's the wine now and you later, my love."

sometimes it's stupid, like stage whispering to Leah as you join them at the Saloon, "don't look now, but a ten just walked in. Should I talk to them? Do you think I have a chance?" (you're married, btw.) Leah's heard this before and says, "No."

sometimes if you're holding hands, he'll just start spontaneously pull you into a wrap in and dance with you, murmuring some lines of spicy poetry he writes and shares only with you. Sometimes this happens at home or on the farm, but not always.

but one way he NEVER flirts with you again is with anything that would put his adoration of you into question for even a moment. You may as well hang the moon and stars for him, and he'll never once let you forget or doubt that. 💖

sometimes it's just so infuriatingly cocky. "I hope you'll still love me when I'm so old and senile that I forget my own name."

"Of course I will."

"You make me so happy, dear. I just hope I can maintain the stamina needed to properly ravish it out of you."

[chase-ingjackson]

A few reasons I like and dislike the the new Percy Jackson show (and why I think the musical is better) - initial reaction

To start, I think this new PJO show is a million times better than that dumpster fire of a movie (though I love logan lerman <3). I like that it is quite faithful to the overall arcs and major plot lines of the book. I love the diversity and high caliber of actors (though I def have some Viria-art inspired character images in my head that are god-tier). I love some of the characterizations/portrayals, especially when it comes to making the character more complex (I really appreciate TV Sally for being a real person with complex emotion, though of course book Sally is my fav). And I love that it's so high budget and hgihly-anticipated (great marketing) that it is bringing this beloved story to a greater audience, especially the younger generation and older generation (as parents/grandparents) than those of us who grew up with the series.

I can boil down all of my dislikes of this show into one overarching but very essential part of the show: I don't like that it is a drama. The characters are way too serious and too every-other-moment-we-need-an-instense-heart-to-heart. What I think this show should have been is a comedy adventure with drama/melodrama sprinkled in. In the books, it's all about the banter. And the TV show does some good one-liners, but it's always so serious. I think the best part of the book is that the characters can stay light-hearted and fun despite the horrors and terrors they face. In the show, the gods spoon feed the trio most of the answers, so when they do have a good realization (SPOILER: e.g. Kronos being the orchestrating force) it kind of comes out of nowhere. TV Annabeth is so serious (I know in the first book she is her most serious, but not to this degree) and a lot of the moments when she has time to use her smarts are gone or approached differently. Percy, too. He's not just self-sacrificing (which they really lean into in the show) but he's also incredibly smart and silly. In the books he's kind of a surface-level himbo with great critical thinking, but in the show he's kind of left in the dark and doesn't get opportunities to make his own plans (also, he doesn't seem to know how to control his power (by the 7th episode); whereas in the book he def did at this point. Then there are just dumb changes to make the show more "serious" like not mentioning that cell phones attract monsters or that monsters just smell demigods and not have a 6th sense for them. I'm finding that by trying to change these small details to make it something more exciting or interesting, it's distancing us existing fans by not letting us relate to the small details that really don't matter. For the cellphones, they still use Iris messages rather than getting a payphone or something, so that's kind of a plot hole in the show that is answered by the book.

Anyways, those are my main takeaways. Now, when I say "the musical" I refer to The Lightning Thief: The Percy Jackson Musical by Joe Tracz and Rick Rokicki which first premiered in 2014 but got revamped and redebued in 2017 (which is when it came into my life). I got to see it live in Toronto in 2019 with my middle school best friend, but have been an avid listener of the soundtrack since 2017 (the day it came out on streaming platforms).

The musical in my eyes is a nearly-perfect adaptation of the book. It's soo funny - def the action comedy I'm after, but does have the meaningful emotional moments (ballads, which are essential in musicals). The show itself if the full package; however, even just listening to the soundtrack gives you the whole gist. Here's a link to hte soundtrack on YouTube: https://www.youtube.com/watch?v=rFwX6FWeUFQ&list=PL0hK1fYMaqXbtZ0Fhm48TYcLJl7ikNX7Q&ab_channel=TheLightningThief%3AOriginalCastAlbum

Anyways, I want to hear more thoughts and pls tell me what you think of the show (and the musical!!)

[nikethestatue]

Do you think it matters that there are more words spoken between gwyr*el in acosf + bonus chapter than Elriel in all the books including the acosf bonus chapter?

Not really. I think it's in line with their characters--they are not talkers, they are doers. I mean, Azriel, in general barely spoke for 4 books. Elain or not. They are 'doers'.

I think there is also a matter of what info are we gleaning from these conversations. Have to really gotten any important, interesting info about anything or anyone in those conversations with Gwyn and Az? Not really.

Yet with Elain, as small as those interactions are, we glean a lot of info, about the two of them and the way they think of each other.

It's usually one liners, but they are incredibly meaningful.

"The Cauldron's made you a Seer"

"I am getting her back"

"You came for me"

Azriel's laughter at getting the gift from Elain

Him almost tripping Feyre in order to get- to Elain at Solstice

His entire conversation with Rhys about Elain and Lucien in ACOFAS

The potato scene, where he says nothing but 'Sit, I'll take care of it' and yet there is a whole ocean of activity around that scene.

Truth Teller

Offer and permission

Yes, it's not dialogue heavy, but almost all of Elain's big scenes are connected to Azriel.

That should tell you something about the importance of that relationship.