#but the movie didn't help with that

[kennethbrangh]

KOJI YAKUSHO in Shall We Dance? (1996)

[bet-on-me-13]

Lego Batman is just Danny's toys

So! It's a basic AU where Danny is De-Aged and sent to Gotham to be raised by Bruce Wayne. Of course he's still a kid, so he has toys. And his Favorites are Legos.

He takes a bunch of Lego's and makes a mini recreation of Gotham, and then starts playing with a Batman Lego Figure and makes up a bunch of fun adventures for Lego Batman to be in.

Unfortunately, he didn't realize that he was unconsciously infusing his Lego Pieces with Ectoplasm. And he didn't notice when the Pieces started moving and talking on their own.

...

Bruce is...confused.

Originally, he had walked into his youngest son's room to say hi, but when he found the ground littered with all of his toys he decided to help Alfred a little by cleaning it up himself.

But when he picked up the little Batman Figure, it spoke to him.

"Hey! Put me down you inconveniencably gigantic fleshy version of me!" Said a Tiny but gravelly voice.

"Uh, who are you?" Asked Bruce

"Uh, are you blind Giant man? I'm The Batman!!!" Said the mini figure, "Now out me down or I'll use my insane muscles to clobber you!"

"Well this is weird..." Said Bruce, "I should call Constantine, see what he thinks of this."

"I warned you!" Screamed the mini figure, before it karate chopped his Fingers. For some reason it actually hurt a lot, and Bruce dropped the figure.

It then ran away from him, and under the door. "You'll never Catch, THE BATMAN!!!" It shouted as it escaped into the Manor.

This may be a problem...

[riddlerosehearts]

thinking about how people who watch the emperor's new groove and somehow come out of it shipping pacha and kuzco, or thinking yzma only became evil when kuzco fired her and that she would've been a better ruler than him, are both so wrong in so many different ways and are also missing one of the things that i absolutely love about the movie. which is that, the way i see it, pacha and yzma are counterparts. as parental figures to kuzco.

like, just to get this out of the way first, yzma was a dismissive asshole to a peasant whose family was starving. and yeah, if kuzco had been in her place he definitely would've also done that, which... is why she would not be a better ruler than him. she'd just be the same because they're both horrible people in the exact same ways. her reaction to being fired is to plot murder, and as soon as his funeral is over she sets everyone to work on replacing paintings of kuzco with paintings of herself and covering the palace with imagery that makes it clear that it's all about her now. i'm not even sure why this is a discussion tbh.

and also, kuzco is literally a teenager. he's barely 18 years old. source: in the movie, yzma says at his funeral that kuzco was "taken from us so tragically on the very eve of his eighteenth birthday." she also claims in the movie to have "practically raised" him, to which kronk replies "yeah, you'd think he would've turned out better". and sure, she could be exaggerating, but what evidence do we have that she is? we learn absolutely nothing of his parents, who are never mentioned even once in the movie, or of anyone else who could've raised him, and she's his advisor who for some reason sees no problem with attending to royal duties in his place. most likely because she's his regent. also, i'm not exactly a fan of the sequel tv series "the emperor's new school" but it does have something that backs up my point: kuzco is revealed to be an orphan and just before his father went and got lost at sea, he asked yzma (who was also his advisor) to take care of kuzco if anything happened to him. so, yeah, the writers who worked on the series clearly thought that yzma genuinely did raise kuzco, and nothing in the movie contradicts this.

and i find the idea of her being his only parental figure for pretty much his whole childhood incredibly interesting because, and this also goes back into why she wouldn't be a better ruler than him--she mirrors him as a reflection of what would've become of him if he'd never met pacha. they're both incredibly arrogant, power-hungry, selfish, and cruel, with a tendency to blame their problems on everyone but themselves. yzma was even originally going to have her own reprise of kuzco's theme song "perfect world", which i really wish had been kept:

[ID: Lyrics that read:

I'Il be the sovereign queen of the nation And the chicest chick in creation I'm the cat with all the cream and ooh-la-la This deadly concentration Will put an end to my frustration Now this perfect world begins and ends with moi

What's my name? Yzma, Yzma, Yzma Yzma (what's my name?) Yzma, Yzma (What'd you say?) Yzma (Ha ha ha ha ha ha ha ha ha!) Yzma. End ID]

(this song can be fully heard in "the sweatbox", the documentary about the making of the movie, and is also on youtube btw)

anyway, i'm sure yzma would not exactly have been the most nurturing or hands-on guardian, especially given that she and kuzco don't exactly treat each other like family. but it makes a lot of sense to think that her behavior influened kuzco's throughout the years. and for the entire movie, she remains determined to kill him. when he tries to reason with her and admits that he should've been nicer, she says the same thing to him that he originally said when he fired her. she never grows or changes and in the end, she hurts the one person who was willing to stand by her (and even then, kronk had never fully been on board with her plan) and he ends up trying to crush her with a chandelier. kuzco on the other hand is able to realize the error of his ways, come to regret who he was in the past, and start taking steps toward being a better person. his theme song gets a reprise where it's changed from a song about one person being the center of the world to a Power Of Friendship song. why? because, as i've already mentioned, he has pacha.

pacha, who similarly to both yzma and kuzco is in a position of authority as the leader of the village but unlike either of them is gentle and humble. who isn't afraid to stand up to kuzco and be honest with him even though he's the emperor, who agrees to take him back to the palace but has no obligation to be so helpful, kind, and caring toward him--and just about every reason not to be--and still chooses to be anyway. pacha who is 45 years old (also stated in the sweatbox documentary) and can see that kuzco is practically still a kid, not a single day over 18, who has time to grow and change. pacha, who already has a wife and two kids with another on the way, but practically treats kuzco like one of his own. who acknowledges that if kuzco dies all his problems will be gone and then still worries about him and goes out of his way to rescue him after he wanders into the jungle. who sees kuzco shivering at night and covers him with his poncho, who carries him when he's genuinely too weak to keep walking, who refuses to give up on him even after repeatedly being betrayed by him because he believes there's good in everyone.

also, while yzma ends up repeating kuzco's harsh words of dismissal as she tells him of her plans to kill him, kuzco had previously repeated pacha's words that "nobody's that heartless" after he saved pacha's life. and as the movie progresses kuzco and pacha's relationship becomes more and more equal and is constantly contrasted by moments of yzma being cruel and unappreciative of kronk's kindness. a good example of this is how kronk is constantly being forced to carry yzma everywhere on his back while yzma literally walks all over him and steps on his hands when she gets down, whereas when pacha briefly carries kuzco after the latter collapses he tells him he'll have to walk the rest of the way later and kuzco doesn't even protest.

idk if i'm even explaining well what i'm trying to say here. but basically, if yzma actually raised kuzco and contributed to his current behavior, then she and pacha both are figures who guided him and helped him grow. only yzma helped him become the tyrant that he was at the start of the movie, who was selfish and callous and saw everyone else as beneath him. whereas pacha helped him see the value in being selfless and considerate of others. and in the end, yzma is stuck as a cat and nobody is concerned about her. kronk has found a new job that makes him genuinely happy, while kuzco has decided to build a hut on the hill next to pacha's and effectively joined his family. in the sweatbox documentary it's even mentioned that chicha and the kids were at risk of being removed from the film, but it was decided that they needed to be there because having just pacha as a single guy who lived alone wasn't interesting enough--kuzco needed to go from having basically an empty world where he had nobody to being able to come together with pacha's whole family. and i just think that's incredibly satisfying and beautiful. it also leads up to one of the few things i really do enjoy about the emperor's new school, which is the fact that during the show kuzco moves in with pacha and chicha and pretty explicitly thinks of them as basically his parents while he's like a son to them.

idk. i feel like my mind went in a million different directions while i was writing all this. but i guess i just think that for all of the praise the emperor's new groove gets for its comedy and for how hilarious yzma and kronk in particular are as a duo, the movie also has a lot of genuine heart that gets overlooked. kuzco's character growth and his unique dynamic with pacha is, for me, really what elevates the movie from just a funny movie that i like to one of my favorite disney movies. and i wish more people appreciated that aspect of it and saw it as a found family story in the same way that treasure planet, brother bear, and lilo and stitch are all found family stories.

[kerryweaverlesbian]

Dean Winchester of Supernatural fame is NOT reading parenting books he is putting on Cheaper By The Dozen, Daddy Daycare and Honey I Shrunk The Kids taking notes.

[javelinbk]

The Beatles hire a toboggan, Austria, 14th March 1965. Photo by Roger Fritz.

'Shot on Sunday, March 14th, 1965, this "toboggan hire" scene for Help! was captured outside of Hotel Eidelweiss in Obertauern, Austria, but was eventually cut from the film.'

[nelkcats]

Creator (and half of an existential crisis)

After watching Barbie, Danny ended up with a question, if Barbie was an idea that lived in his own world created through imagination, was it possible that he was also an idea imagined by someone else?

At first the idea seemed absurd, and he even laughed at the comparison, would he be in a comic book? A toy? Or maybe his life was a cartoon; each option sounded illogical, but there was always a part of his brain that told him, is it possible?

So he did the same thing he does with all his existential doubts: complain to Clockwork. And Clockwork as usual was no help at all, he answered him in the most cryptic way possible.

"We are all someone's idea, even if it is not the reason for our existence."

Danny took that as a yes, and after giving Frostbite an excuse (although it felt wrong to lie to the Yeti), he lent the Infi-map and asked him to meet the first one who "imagined Phantom."

And he ended up in Tim Drake's room, with a British butler looking at him with a raised eyebrow and a guy who seemed to have very little sleep in his system.

[overleftdown]

this is going to be my somewhat-brief analysis (buckle in, it's not brief at all) of preluding scenes to farleigh and olivers... scene, lmao. because i can't read micro-expressions and social cues IRL, but i can for movies! also, i want to give my understanding of farleigh's character using the most substantial part of his arc. i disagree so much with a lot of people's takes on farleigh. i needed to talk extensively about it.

[0:58:46] farleigh makes eye contact with a footman. this is one of the footmen that farleigh mentions to felix in a later scene, which i'll also go into. what's interesting about this subtle interaction is how wildly differently you could consider it, depending on how you choose to view farleigh as a character. if you go the "mirror of oliver," route, then this eye contact could be the moment farleigh decides the route he's going to take to confront felix.

on the other hand, the hand that i believe makes more sense, farleigh is genuine in his confrontation with felix. the eye contact he shares with the footman is reciprocated; the footman holds it, even as his body pulls back and his head turns. this gives the idea that they are making a connection. the expression farleigh makes afterwards is also an indication that farleigh isn't plotting or scheming to earn pity points; he feels a connection and comradery with the only other black people at saltburn. when the footman turns away, unneeded anymore (this can be a parallel to farleigh), farleigh glances down, back up, then purses his lips. he looks dejected, in my opinion. this is immediately followed by farleigh's dig at oliver; "i think oliver looks like he'd rather throw himself out of a window.

food for thought.

[0:59:9] elsbeth: you can invite all your friends. farleigh: what friends?

this can obviously be a petty dig. and it is, in some ways. but i think a lot of these petty digs are because farleigh has been here before. he has watched his cousin drag home mediocre and tragic (presumably) white boys for perceived self-benefit. whether felix wants entertainment, wants to quell his guilty conscious (both of which are motivations for his mother), felix seems to have these fleeting possessive relationships with the friends he brings back to saltburn. he could also be queer and deeply repressed, lmfao.

i digress; farleigh is sick and tired. the first thing he says to oliver, before oliver even got to felix, was bitchy as all hell. after that, farleigh had more incentive to belittle oliver; yes, his comments about mannerisms, class, and overall character were petty. they were also all of the qualities that farleigh couldn't afford to have. farleigh is pointing out that oliver has no social life, yet still gets a 200-person party full of people that don't even know his name. this is tragically unfair, at least in farleigh's mind.

[1:01:25] felix: and fucking farleigh, what a little shit stirrer. oliver: well, someone has to entertain us all. felix: ...right. oliver: that's why we love him.

there's a clear disregard of humanity and depth, when felix concedes that farleigh is "entertainment." the sheer fact that felix would immediately believe oliver, a "stranger (as venetia so eloquently puts)" over a close family member, is odd on it's own. there are probably more reasons for distrust; everyone in saltburn is a shit stirrer, and farleigh does put on a particularly good show.

that's intentional, though. farleigh is very intentionally entertainment. otherwise, why would the cattons keep him around? they're welcoming people to their house as family, because they want a break from the reality of soul sucking wealth. because they want entertainment. elsbeth with her friend, who's only real personality traits are being pitiful and visibly different. felix, with his summer pet projects like oliver. farleigh can't be a temporary show; he needs to keep coming back. he needs sir james to support his mother.

[1:02:40] farleigh: i'm not saying my mother isn't completely idiotic when it comes to money. felix: you just have to be firm with her. farleigh: well i can't call her and tell her no! felix: i know, i know, you've said that. i know, i understand. farleigh: no, you don't know! you don't, it's humiliating. felix: it's very hard.

felix's approach to discussing other people's issues--that he does not relate to--makes me giggle sometimes. not that he's malicious or a fumbling idiot, but because of this scene specifically. in just this chunk of dialogue, you have the "i understand" and "you don't understand" conflict. an age old one. a common representation of someone who has never lived a specific struggle yet frames themselves as knowledgeable. felix seems to enjoy the "it's very hard" verbiage. the manner in which he speaks to oliver about his supposed impoverishment and struggles is very similar to the way he speaks to farleigh, in this scene.

i don't know what else to say about this. you can make your own inferences on felix's dialogue, i suppose.

[1:02:50] farleigh: i'm sorry, but it's a bit fucking shitty. you're all throwing oliver a party for 200 people while my mother lives in squalor. felix: well, she's hardly living in squalor, mate. farleigh: well she can't pay her bills so she will be! okay? at the rate she's going, she will be.

GAH. again, this dialogue can be considered in two different ways. farleigh could be hyperbolizing in order to play into the catton savior complex. or he could be completely genuine in his anxiety surrounding his mother's finances. it's very important that you recognize the fact that farleigh isn't arguing about himself, in this situation. he's talking about his mother. later in the conversation, he recenters himself as a person of color. but the original conflict is about whether or not his mom is living comfortably. this arguably affects him, but not entirely. he could continue to maintain his oxford-student-and-saltburn-resident character and continue to frolic around while his mom struggles to make responsible decisions.

[1:03:02] felix: right, well that's exactly why dads concerned about helping her. he doesn't want to enable her. he wants her to learn how to stand on her own two feet. farleigh: yeah, like he does?

and farleigh ate.

[1:03:09] farleigh: i mean, you know how this looks, right? making me come to you with a begging bowl. felix: what are you implying? farleigh: i think you know what i'm implying, felix. why don't you ask liam and joshua? felix: who... who the fuck are liam and joshua!? farleigh: ...your footmen.

farleigh's mannerisms in this portion of the scene GAG me. the easy confidence, the self-assured and confrontational attitude. the cocky wave of his shoulders and tilt of his head. he smirks, scoffs, makes and holds eye contact as emphasis to what he is accusing. the way he says "i think you know what i'm implying" even though i'm not quite sure if felix did. this really hammers in the implicit nature of the cattons' treatment of farleigh.

[1:03:33] felix: oh, oh. that is... that is low, farleigh. farleigh: okay. felix: jesus christ, mate! seriously, is that where you wanna take this!? farleigh: right. felix: make it a race thing!? what the fuck! i mean, we're your family, we hardly even notice that you're... different, or anything like that! farleigh: mmm. felix: i never know our footmen's names!

GAGGED. i eat up this scene and lick my fingers. "wohohoho, i don't see color! i can't believe you'd make it a race thing!" i know i should cut felix some slack, but this is just a little too real. although i've cut farleigh some slack for his classism.

the complete change in farleigh's mannerisms from the previous timestamp to this one is EDIBLE. i can't cope with it. his smile as felix says "that is low" is so painfully real. it says "i've been here before and maybe i was expecting this." for a second, felix is almost entertainingly cliche. then the exasperation hits. farleigh just looks tired. he blinks rapidly, smooths over his eyebrow with his hand, vocalizes his disbelief in felix's denial. "we hardly even notice you're different," to which farleigh crosses his arms (defensive), raises his eyebrows, nods along.

i won't include the final few lines of this conversation cuz i'm blabbing FAR too much, but farleigh's expressions of absolutely exhaustion and disappointment as felix says they've "been more generous then most"... i'm so sick. it doesn't matter what other families would do, because this family passes out charity like it's their favorite pastime. farleigh is your best american girl.

oliver, overhearing this conversation, immediately knows what his next plan of action is. compare himself to farleigh. and really, it's funny, because oliver misses the obvious differences between him and farleigh. just like everyone else. he will never feel different, not in the same way farleigh does. not with farleigh's relationship to the cattons, the legacy of his parents, and his blackness.

[1:06:32] (godfather's karaoke scene, AKA apple bottom jeans. he's a disgusting manchild and he throws his jacket at his wife.) is it odd to point out that another one of the only visible black characters is being degraded/mistreated/disregarded? not crazy, right? especially following the conversation about bias two scenes ago.

[1:07:02] farleigh: y'know, i think i'd fuck richard the III. he's so insecure, so you'd know he'd put in the work, right? oliver: or you could just fuck me, right?

here, i think there's a level of projection that farleigh is using in his line about insecurity. not only is it made known that farleigh uses sex as a tool (with teachers, specifically), but it's also made known that farleigh believes/knows that he is treated differently due to his race and/or family history. oliver seems to have clocked this, considering he relates himself to richard the III, then tells farleigh they have similar experiences.

[1:07:34] oliver: y'know, if you ever wanna talk to anyone, you can talk to me, farleigh. farleigh: ...what do you mean? oliver: well, i know you're going through a hard time at home. i know how that feels, when things are so precarious. it's terrifying... and lonely. and it must be so fucking weird, having to ask them for everything. and i know you fucking hate me. farleigh: i... i don't hate you. oliver: but... if you ever wanted me to talk to them, to see if there's... if i can help in any way... just ask. farleigh: ...okay.

i love this movie. have i said that yet? i bet you definitely couldn't tell by this post. this conversation is so... there's so much to talk about.

i'll start with some of my favorite of farleigh's mannerisms/expressions. when oliver first cuts their... tensions with "you can talk to me," farleigh pulls back slightly, sits up slightly, looks across oliver's face. there's a level of shock to it, but. farleigh was comfortable with oliver, his sworn enemy, flirting with him. yet, he pulled back at a genuine offer of support. some see this as farleigh always wanting oliver sexually, but i think it's more nuanced than that. when oliver says "terrifying... and lonely" that's when the camera cuts back to farleigh. he previously wore a half-smile that is now dropping; "lonely" was the hardest word to swallow. his lip is quivering. he looks up in an almost-eye roll when he says, "i don't hate you." he's laughing when oliver finishes, like he finds it all funny, yet the way he says "okay" makes him seem genuine. however... clearly not, considering the next portion of this scene!

even though oliver is lying out of his ass, everything he's saying is a description of farleigh. people grossly misunderstand farleigh's character, even when it's laid onto a banquette sized table through this portion of the movie. he's insecure, desperate, terrified, unsure, and lonely. farleigh, with so many friends and so many scandalous choices, is so fucking lonely. he knows he doesn't belong here, so he jams his ill-fitting puzzle piece into the saltburn jigsaw and crosses his fingers.

he tells oliver he doesn't hate him, and he looks like he's struggling to spit it out. he looks up towards the ceiling, closes his eyes like he's gathering himself. again, people take this as a bonding moment. the next portion of the scene contradicts this. honestly, i'm not completely sure, either. i think he's honest when he says he doesn't hate oliver. so, what? he's jealous, definitely. he wants to hold the same power as oliver, a foreign entity with somehow so much more privilege than farleigh. maybe that bred a certain kind of infatuation; the need to emulate what you'll never be. of course, he sees himself in the boys felix brings home; they, just like farleigh, need or want something from the cattons (although i object to the idea that farleigh is somehow "a mirror" of oliver). do what you will with this word vomit, i don't know where i'm going here.

and OH MY GOD "if you ever wanted me to talk to them, to see if there's... if i can help in any way," is diabolical. so terribly diabolical. the sheer idea that oliver knows, is pummeling it into farleigh's face, that he has authority over farleigh's life like that? that he knew felix for six months and he can somehow "talk to" farleigh's family about treating farleigh better... vomit inducing. farleigh is actually your best american girl.

[1:09:39] (karaoke scene) elsbeth, so uncomfortable with the idea that oliver is using them. i suppose that's the manner of wealthy people; they don't want to believe that they're only good for their money. but... they did that to themselves, in a way. they enjoy the pet projects, the charity work, the ego boost that comes with inviting the "lesser" to saltburn. hanjob on a haybale, golden big boy summer, right? everyone in the room is scandalized. farleigh is having the time of his fucking life. yet, here's the kicker,

[1:10:10] oliver: this is your song too, farleigh. come finish it. farleigh: only if you insist!

and then farleigh gives the performance of his life, by the way. people died. but... nobody is uncomfortable. literally no one. no one shudders or gasps at the scandal of oliver saying "this is your song, too" over the karaoke microphone; everyone heard. nobody cares. they all know. they start clapping farleigh on, cheering. elsbeth relaxes back onto her bed of cushions, because farleigh is entertaining. the change in mood is soooo... interesting.

[1:10:45] curse this scene, i don't even want to talk about it. it was hot, oliver and farleigh are so homoerotic, whatever yadayada. just like every other sexual scene in this movie, it is riddled with a suffocating kind of uncomfortable tension. we are made intimate third-party witnesses to carnal, sinful, emotionally ambiguous scenes. when i pointed out farleigh seemed more comfortable with flirting then comfort, when i said farleigh uses sex as a tool, when i said farleigh was projecting with "he's so insecure, so you know he'd put in the work." i just overthink. but any person that has sexual relationships with teachers needs intensive therapy and that cannot be denied. however, it's oliver, that uses sex as a tool throughout this movie. another uncomfortable parallel between the two characters.

something about farleigh's expression throughout this scene is... kind of hurtful. the way the moonlight just barely illuminates the light in his eyes, whereas any detail of oliver's face is shrouded in darkness. it make's farleigh look young, innocent, real. (sidenote, as i'm watching, i have to mention this. the way farleigh says that second "no" is so funny. "...no...?" LMFAO). man, i don't even know what to say, past this. the whole dominant dynamic, farleigh saying "i'm going to behave" is a little too painful considering the context leading up to this scene. it's freaky. it's so very oliver.

this is way too long but i could make so many more connections with their final confrontation at oliver's birthday party. i'm drowning in thoughts. what i really wanted to highlight was how ambiguous farleigh's character is, and how differently a lot of his scenes can be perceived. i've decided that farleigh is a sympathetic character, similar to oliver but so much less powerful. some people hate farleigh! so. there's that. the end! thanks to anyone who read this whole thing!

[martianbugsbunny]

Screencap from a scene in X-Men First Class (but flipped upside-down bc they were in the middle of an Obi-Wan level happy landing lol):

Nabbed it because I love how Erik's response to Charles free-floating in the cabin during a plane crash was to just throw himself down on top of Charles and magnet himself to the plane it's so CUTE so PROTECTIVE

but I'm having immense internal screaming about the way Charles has grabbed onto Erik's wrist?!?!?!?! I love them so much?!!?!?

[theshmeepking]

hooked on the brothers

[archieyelash]

Just Danny and Jack being worried about Jann.

[hairupintheair]

Trolls fandom: The 2nd and 3rd movies really made a joke of King Peppy's character.

Peppy in the first movie:

[a-dumb-sarcastic-bisexual]

Long list of Nimona headcanons cause I didn't post yesterday

I feel like Nimona doesn’t really have great control of her shifting/strength when she’s experiencing really intense emotions 

When she’s angry or frustrated she tends to get bigger 

Sometimes it’s her whole body sometimes it’s just her arms 

She has a bad habit of breaking things on accident when she’s upset 

When they’re sad or hurt they’ll get smaller 

One time Nimona and Bal got into a really intense argument and Bal said something he didn’t mean and they shrunk like 5 inches and he knew he fucked up instantly 

When he gets happy or excited is when his shifting really goes haywire  

Sometimes when he’s really happy with someone he’ll subconsciously take on some of their characteristics 

Ambrosius complimented him one time and Nimona had his dimples for the rest of the day 

Bal fixed her headphones and she took on his laugh for two days 

At first it kind of unsettled them but they understood that it was just another way of her showing love so they got used to seeing their freckles on her face and hearing their laughs from her 

Bal needs glasses and contacts most of the time but he never uses them

He says glasses are a pain and he’s terrified of anything and everything near his eyes 

Ambrosius needs to do it for him because it’s easier for some reason 

He also has a bad habit of misplacing his glasses and recruits Nimona and Ambrosius to help him look for them the second they're supposed to leave 

Half the time they give up on looking for them and he relies on Ambrosius to help him read things 

He loves that man to death but if he has to read one more menu out loud he’s gonna lose it 

There have also been close calls where people tried to start a fight cause they thought Bal was glaring at them

In reality he was just trying to read the sign next to them 

No one should let this man drive he’s a terror to society when he’s behind the wheel

He always insists that he doesn’t need his glasses to drive 

Nimona offers to drive but no one lets them because the last time they were behind the wheel they aimed for a group of people yelling “That’s at least 50 points”

Ambrosius is the most responsible driver but as I said in this post that man can’t find his way out of a paper bag 

So his directions are always on and Bal always complains that he could find a faster way in his sleep

Ambrosius turns to him and says “Love you couldn’t find your hand in front of your face” 

And Bal shoved him so hard he almost crashed the carriage and his passenger privileges were revoked for a week

Both Bal and Nimona have resting bitch faces 

A lot of people think Bal is this mean horrible stuck-up person 

And then they talk to him for more than five seconds and realize he’s got a heart of gold and big puppy dog eyes to match

A lot of people see Nimona’s resting bitch face and get a little scared but they also have this thought of “but she’s just a teenager with a squishy little face how bad could she be”

And then they realize they’re talking to a chaos gremlin and the resting bitch face was there to protect them

Ambrosius has been trained not to frown in public 

This man puts Disney Employees to shame with his bright smile and his energetic personality 

But the literal second he’s home that mask drops 

Bal and Ambrosius are so used to this routine that they aren’t even fazed anymore 

But Nimona always pretends like they’re cutting the string over Ambrosius' head whenever the door closes 

It’s almost comical to see because the second they do it his face drops and his shoulders droop and his once energetic voice is a monotone mumble 

He’s not always like this tho being in the public eye just drains the life out of him

But when he gets to stay home with people who love and care about him he could put the damn energizer bunny out of business

[keefechambers]

NOPE (2022) + Evil Counterpart

[pianokantzart]

Trying to translate a scene (pt 2)...

... I'm still on the warp pipe scene in the Japanese dub of The Super Mario Bros Movie: X

This is the line in English: "I'm telling you! Nothing can hurt us as long as we're together!" In Japanese, I'm hearing the line as this: "Daijoubu! Bokura taru de(?) do ba, nantoka naru sa!"

I know "Daijoubu" means "It's okay." (It literally translates to "okay," but in this context I believe it's a reassurance.)

I know "nantoka naru sa" means "it'll be alright in the end."

But I'm confused about that part in the middle. Bokura means "we." I think "taru" means enough/sufficient? Though it might have a different meaning in this context. Or I could be mishearing. (See update for corrections!) "Ba" is a conditional form. (If A, then B.) So is the quote: "It's okay! So long as we're enough, it'll be alright in the end"? That doesn't seem right. I'm almost certain that the "taru" I hear is something different, but I can't for the life of me figure out what the word actually is.

(Tagging @theybibsxi and @hug-monster for their expertise 🙏 )

Update:

@dooxliss suggested that the "taru" I'm hearing is actually "futari," which means "two people"/"a pair."

"Daijoubu! Bokura futari do ba, nantoka naru sa!"

If that's the case, the quote is actually "It's okay! So long as we're a pair, it'll be alright in the end," which makes a lot more sense.

Still, any sort of extra confirmation/correction is appreciated 👍 

[rotisseries]

tired of people who want pjo movie references in the disney+ show. "logan lerman should've been-" i don’t care. "poker face in the casino-" actually i hope ms. gaga keeps her entire discography miles away from it. i don't care move on

[abelllia]

Thank you to @intr0vrt3dextr0vert who gave me the suggestion "The S1 TMA crew (Sasha, Tim, Elias etc) going on a (regular lol) work bonding trip like going to the movies or something >:]"!

[Image ID: A digital drawing of the Season 1 Magnus Archives crew watching a movie in an empty theatre. On the left sits Elias, calmly steepling his fingers together and looking at the screen. An arrow points towards him with the text "secretly Watching the better movie next door." Next is Jon, who is sleeping and leaning his head against Martin who is seemingly watching the movie with a happy expression. The arrow pointing towards Jon has the text "bad sleeping habits finally caught up to him" while the arrow pointing to Martin says "*having an internal crisis rn*." Then comes Sasha who is mischievously looking at Jon and Martin while she hides her phone behind her bag of popcorn, implied to be taking a photo of the two. Her arrow and text reads "never a bad time for blackmail." Finally there's Tim who is staring intently at the screen while he leans over to take a bit of Sasha's popcorn as his container is empty. His arrow and text reads "actually paying attention to the damn movie." There is text at the bottom right corner of the image which says "POV: They're watching a bad movie" there is smaller text underneath it which says "(they bought out the whole house w/ institute money i guess?)" and another that goes "((or the movie really is just THAT bad)) ./.End ID]

The Ceaseless(?) Watchers

I have no idea what movie they're watching but Tim's invested anyway. I thought this was only going to take me a couple of minutes but it actually took a long while because

A. I forgot how hard it is to draw multiple characters in one scene

B. Low angle go brrr

But it was fun! The crew just hanging out and doing normal stuff for a change! Sure hope nothing happens to them ahahaha :)