#but we're sticking with it!!

[precariouswizardry]

[redgoldblue]

'oh eddie getting jealous' this 'buck's first gay sex experience' that. what I want to see is, in the early days after Buck comes out, Tommy very gently pushing him against the wall in the lower level of the firehouse and sweetly but thoroughly kissing him goodbye before pulling back and smiling and leaving. and a 10 second close shot on Buck still leaning against the wall all blushing and giggly before we pan back to see half the Fam on the top level leaning over the railing as Chim wolf-whistles

[sergle]

Ah fuck ah shit we found a kitten again

dude screaming his LUNGS out in front of some random building in lawton. literally just screaming as loud as possible. his plan to cry for help worked flawlessly.

[egophiliac]

How do you imagine Levan/Revan/ Mallenoa's husband?

Appearance, personality etc.

Revaan/Laverne/whatever-his-name-is's title sort of implies that he might be from a fantasy-Eastern country (they've established that in Twstland, 竜 = Eastern-style dragons, andドラゴン = Western-style dragons). and that's about as much as we know right now about...anything in regards to what he might look like. so I've been trying very hard not to form too much of a mental picture of him, because I'm still hoping we'll get to see him (or at least a silhouette)! ergo, in my head, he kind of looks like this:

so handsome. surely Malenoa fell in love at first glance.

I do think the funniest thing about what we've learned so far is that Malleus being kind of quiet and reserved and dignified...absolutely did not come from the Draconias. and he sure as heck did not learn it from Lilia. so he probably got a lot of that from his dad! the vibe I get from how Lilia talks about him is that he could be a bit of a prim little fancyboy sometimes, but was (mostly) willing to go along with his wife's zany antics out of love. he sounds sweet, honestly! I'm sorry he (maybe) died. :(

my favorite thing about Mal's parents is that Malenoa and Lilia's dynamic was "long-suffering guard and princess who has long been the cause of said suffering":

but then they would happily join forces in order to gang up on Revaan:

tl;dr Revaan was the straightman in Malenoa and Lilia's comedy act until it all ended horribly whoops

[beannoss]

Something I think about a lot and wonder if maybe gets overlooked in Twilight’s story and as vitally indicative of his character is actually in the very first chapter:

Anya isn’t needed for Strix. Twilight decides to adopt her anyway.

[Spoiler warning: Mostly this post deals with early chapters already in the anime but there is reference to chapter 62, which has not yet been animated and will be in season 3]

Twilight decides it — “I’m going to rework the mission so it doesn’t involve a child because that’s too dangerous” and he’s 100% right! Donovan Desmond is canonically a far right warmonger with fascistic authoritarian aims. His government made liberal use of the SSS — a group to mirror the Stasi — who continue to operate in morally dubious ways (much more likely they’re actively morally reprehensible, though we’ve mostly only had rumours of that so far). From what we can tell, Desmond is at best an absent father and likely actually worse than that: if that's how he treats his own children, imagine how he might treat others. And the timeline seems to indicate that the experimentation performed on Anya was done under Desmond's government — even if Twilight isn't aware of experimentation on children, he is aware of both human and animal experimentation under Desmond's government. Taking all that and also the complexity of Strix's aims, undoubtedly there were other things that could be done, more straightforward if not necessarily easier.

So. Why? Why entertain the change at all? And then, having entertained it, why go back when the reasoning is indisputable?

On the Doylist level, I think Endo wanted to ensure that Anya had some agency within the set up — Endo also does this with Yor. It would be much harder to be on Twilight’s side fully, or to trust him on an ethical level/take him as any sort of moral authority, if he were just straightforwardly using these two people. To have them be active and consenting participants (arguably to actually be affirming the arrangement: Twilight sets it up, but Anya and Yor actually make it happen) even if the audience only knows the depth of their knowledge/motivations/etc currently, shifts the power dynamic in important ways.

But it also the set up tells us important things about Twilight. He is largely impatient, cold, detached in chapter one. His overarching feelings towards Anya are, I think, real annoyance, real confusion, and real impatience. He just doesn’t understand this damn kid and it turns out she’s a person which is frankly unacceptable — he’d needed and anticipated an automaton, ideally of himself in miniature form. (Though I think one could ponder whether Twilight was, in many ways, an automaton himself at this point, but that's maybe for another meta 🙃)

He’s not entirely unmoved of course — we're given to understand he’s affected when Franky tells him how many times Anya’s been adopted and returned, and isn't amused by Franky's joke about names. Franky's comment — "Just don't get attached" — reinforces this. The prospect of “the future” perturbs Twilight when he’s reading the parenting books. His initial reaction to Anya’s kidnap is horror. All these are true too.

Then there’s also this, from earlier in the chapter:

It’s exposition, yeah, and it’s also exposing. "Hopes" and "joys" are very specific words to describe those events. It could simply have been "A marriage? An ordinary life?" but describing them as such — hope for marriage; joy in ordinary life — expose something of what Twilight feels about those two experiences and, on the flipside, they expose what he deems he's lacking. No hopes of intimacy; no joy in (an ordinary) life. There's an argument as well, of course, that he's being ironic but I don't think that actually invalidates the above analysis. Drawing attention to 'hope' and 'joy' at all are revealing, regardless of Twilight's tone in thinking of them. I think it's also interesting this panel, taken in conjunction with a pair of panels in chapter 62, Twilight's backstory. The above is almost a pulled out version of this below panel of Twilight's recollection of his childhood, and of course the returning image of not just a rubbish bin but a rubbish bin on fire when it comes to disposing of his identity:

Back to Strix. Both his final interaction with Karen and the whole everything of the framing of Strix is making Twilight think (and feel, ahem) things that he hasn't for some time. Twilight decides, I’m reworking this. It can’t proceed this way. Not because Anya is a pain in his ass, not because she’s not as (apparently) intellectually advanced as he’d originally thought, not even because he thinks he can find another child who would better be exactly what mission parameters called for. No:

And what changes his mind is Anya asking to come home.

One of the important parts of this to me is this:

He seeks consent.

This moment is a keystone, I think, to understanding Twilight. It’s also more telling than he maybe realises. Twilight is decisive — we all laugh because he spirals at the drop of a hat when his daughter or wife look even mildly upset but outside those (also very telling) scenarios, he makes decisions and he pursues them. Often he makes decisions quickly. He’s a dab hand at it; it’s a large part of why he’s as good a spy as he is.

He’d decided to change Strix.

Anya asks him, in essence, not to.

So, he doesn't.

But it's wild that he entertains keeping her request at all — why? Why even entertain it? It’s dangerous; it’s impractical; there are too many moving parts outside his direct control; Anya isn’t the sort of child he’d wanted for the mission if he’d spent any time thinking about what a child might actually be like; Strix is in many ways an extremely long shot anyway, Desmond could just stop attending for reasons unknown and unrelated; etc.

So, yeah, why? Maybe because of this —

In conjunction, I often think of this moment in the cruise arc:

Twilight first naming the feeling as lonesome, and secondly tacitly conceding that he perceives Yor as a companion and that that relationship is important to him, something to be missed. What makes this for me though is that Anya calls this out "Papa's you're so sappy" and Twilight's reaction is that of someone caught-out. He doesn’t say “nuh-uh!” but he may as well have. Essentially, something landed a bit close to home, hm? Maybe some of that hope for marriage? A soupçon of joy of an ordinary life?

Twilight’s loneliness underpins many of his decisions with his family — probably without him being fully conscious of it. I think he is at least somewhat conscious of it, but also if he looks too closely... Well, best not to. I could fill this post, I think, with images that demonstrate his loneliness throughout the series; that sorrowful/pensive close-up of his eye(s) is one of the abiding motifs for Twilight throughout. I'd probably start with this one from Twilight's backstory arc:

Anya's request plays directly off his loneliness. Still though, he doesn’t immediately capitulate — he emphasises Anya’s choice. Is she sure? The last day has been scary for a child (and for him, but he's ignoring that part) and Twilight, in his increasing recognition that Anya is a person, is probably aware in the back of his mind that he hasn’t exactly been warm or welcoming or at all patient with her. Things that people respond to — he's otherwise excellent at manipulating people, so of course he understands this. So. Given she'd just had this scary experience, given he hasn't exactly been great with her: Is she sure? She wants to come home — with him?

I think the moment may get a little lost because Anya says something riffing off his own earlier thoughts and self-revelation (featuring that shadowed, lonely eye motif again!)

Were this a post about Anya, I’d talk about how it’s an important character moment for her as well by way both of demonstrating her agency/choice and also that she isn’t nearly as dumb as Twilight thinks (and the audience, maybe, also thinks).

But in my view, she didn’t actually need to say anything about it making her cry. I think she could simply have said yes in that moment and Twilight would have agreed.

Twilight’s an unreliable narrator; he’s disconnected from his heart and that shrouds his own motivations from himself — something he actually also concedes in this chapter!

And it shrouds from us just how much he actually understands himself. He’s also a master of deflection. Easy to assume or say that bringing Anya home is just to align with Strix. Nothing more to see here; nothing else going on. But also that ripping off of the mask in the panel above — and the literal 'riiip' sound effects — also indicate to us that this is an unveiling to himself.

In my view, Twilight agreeing to Anya's request, deciding to go back to original mission parameters, actually shifts his motivations, subtly. Now he’s committed not only to the original mission goals, but also to Anya. He needs Anya to succeed at Strix, not only for Strix's sake, but also because otherwise the mission will end and she’ll have to go back to the orphanage, and he’s just agreed with her not to do that (not right away, in any case). I don’t think at this point he’s thinking it’s forever — his thoughts throughout the manga indicate he still expects the Forgers to be temporary. I don't think the shift in motivation is necessarily even conscious, but given the set up, I think something inside Twilight recognises that agreeing to bring Anya home is a compact, jointly engaged. Mostly all this has become subsumed into Strix: he makes decisions. He pursues them. He deflects, even from himself. Of course it's just for the mission; this saved him the trouble of reworking it, of figuring out something else. Nothing more to see; no need to think any more on it. And to be fair to him, Strix is very high stakes, resting pretty solely on his shoulders, so of course that is, objectively, motivation enough. Why even consider beyond that?

But I personally think that to the extent he's aware of it at all, there is something else going on, that he wants to have Anya for as long as it takes him to work something else out for her. If that's the case, then of course, we have Occam’s razor: the simplest solution may be the best one.

Maybe Twilight should just keep Anya himself, eh?

[Image description: gif from Spy x Family season 1, episode 1. Twilight and Anya have just found out Anya passed her entrance exam and are overjoyed. Celebratory, Twilight picks Anya up and swoops her into the air as they smile at one another. End image description]

[usercelestial]

okay but literally what if buck and tommy end up together? like what if we get to see them moving in together or saying i love you for the first time or getting engaged or getting married? what if we get to see buck having a husband? literally what then...

[tomaturtles]

Got inspired by this and had to

[chaosxcrushed]

hi. second offering to this fandom.

we think tdl and tco spar in their free time. fun. couldn't finish this piece tonight or else we'd die /silly

[buckera]

just to be clear Oliver never in any way, shape, or form has confirmed as of today that buddie was supposed to go canon in s4 or that they were having an 'oh' moment during the shooting arc or otherwise at any time or that Buck has been in love (?!?) with Eddie since he joined the 118.

all he said was; there was a pitch about the bi Buck storyline in s4 that got shot down (at whatever stage we don't even know, there might not even have been a single scene written for it, for all we know) and that in retrospect and considering the slow-mo and the music in the scene, Buck was possibly confused about his feelings around Eddie when he joined the team — which is something Tim has already talked about before.

please stop acting like the conclusions you're jumping onto are facts or canon — even if the shooting was meant to be an 'it' moment, it didn't end up happening in canon so, as interesting out-of-universe info this is, it doesn't have an affect on the in-universe canon at the moment.

and I promise, I'm not saying all this because I hate fun, hell, not even because I necessarily disagree. only because I can already see this leading into Oliver and the cast being harassed in case the show doesn't end up confirming these ideas that are currently being passed around as cold hard facts.

[thelolarahaii]

Ben Shakir, head Ghosthunter. This is Kristen Bouchard, skeptic; and Father Acosta, believer.

Evil 4.01 | "How to Split an Atom"

[confusedmothboy]

pretending marco didnt die by drawing him if he had been rescued

[rampantram]

Uncles~ 🖤 ❤️

[bisexualfbiagents]

I just want to go back to the place. Where it first started. Where they first came and got me. A mountain. We went up… and up. Ascending… ascending to the stars.

THE X FILES GIF MEME [1/5] LOCATIONS Skyland Mountain, Virginia

[thcrin]

― Jenny Han, It's Not Summer Without You

[arthursfuckinghat]

Dude I get it I get why Arthur spends so little time at camp like aside from how that man doesn't get a moments peace from anybody who bothers him about chores or money or arguing, when the camp IS actually quiet Dutch turns on his fucking gramophone to play the same THREE SONGS OVER AND OVER

[bootlegramdomneess]

I'm just thinking about the story of two young and hot people connecting on something they both love. Cooking. Creating. Something that obviously gives them so much joy, a sense of belonging and peace. (when they allow it to happen)

Just thinking about the deeply intimate space they constantly found themselves in without even realizing or acknowledging it. Just thinking about the possibility of those young and hot people truly opening themselves up to the vulnerability of being incredibly intimate with another human you share your joy with in such a beautiful way.

They can't deprive us of this beautiful and true love story...

THEY CAN'T!!!