#but you need to know i love this scene

[dramashii]

I must take Li Lianhua with me.

MYSTERIOUS LOTUS CASEBOOK (2023) | Ep 30

[poorly-drawn-mdzs]

Alas, this beautiful dream could not last.

[lover-of-mine]

Buddie Countdown to Season 7:

16 days.

[thasorns]

THE LAST CASE คดีสุดท้าย dir. Apple Lapisara Intarasut

[laurents-secret-diary]

oh damen we're really in it now.mp4

[yrsonpurpose]

and Alex is. well, Alex is so in love he could die.

[lucky-fy]

For the Laicion nation (aka, me and three other people)

I had this illustration commissioned (a big thank you to @lunehowls) for my werewolf AU Laicion fic (still a WIP).

The general pitch is as follows :

AU in which Laios never got to meet his sister again, putting his life on a whole other path, a more desperate one. A military deserter with barely a coin to his name, Laios hitches a ride on a boat to one of the elven continents, where he learns about magical tattoos that binds one’s soul to a wolf’s, effectively making them artificial werewolves. Illegal magic be damned, this feels like the answer to… everything.

In the process, he learns about the existence of an illegal fighting ring in one of the elven cities, where beastmen gladiators gather. Freshly tattooed and without anywhere else to go to, Laios decides to head there, where he meets Lycion, an elf and artificial werewolf gladiator. If they first bond over a simple shared meal, by spending time together (sharing the same room in the barracks, maybe the same bed? gasp) they find that they have a lot in common, notably a shared distaste for the body they were born in, a dysphoria partially remedied by becoming a werewolf.

They bond :)

[alena-draws]

Little snippet from a vashwood reincarnation comic that I do not have nearly fully fleshed out in my head with written down text that would surely be 50+ pages and which I will probably get to draw never aaaah

[songofsaraneth]

funniest choice an author can make for their main character is that they're canonically terrible at sex. forget the heroes who can do it all, this guy can only do it poorly

[cinematicnomad]

THE TERROR ▸ 1.09 the c, the c, the open c

[mistylakeee]

Never forget that Inej canonically rejected Kaz when he confessed his feelings for her after the ice court heist (as she should have) and he took it like a champ (as he should have). He literally quipped with her on the island in front of Van Eck before shit hit the fan and said something like “I’m not big on bluffing am I, Inej?”

Everything went back to normal between the two of them and I have no choice but to stan.

[theoldkyokodied]

collection of some doodles :’) plus redraws of their faces in various scenes for personal reference purposes

DISCLAIMER: Before you decide to watch Re-Animator, make  sure to check for content warnings, there is a scene that a lot of  people choose to skip!

[pensymbols]

ah yes the brook/franky/robin/jimbei polycule also known as the babysitters also known as monkey d luffys biggest enablers

[princington]

“Bea,” Ava breathes again, held perfectly still between the vice of the arm around her waist and the fingers tangled in her hair.

who needs comfortable love ch 5 by @the-ominous-owl

[brother-emperors]

ALRIGHT okay I will attempt to explain this to the best of my ability, which is currently being held together by tape and coffee

so I have a long running post philippi story focusing on the octavian-antony divorce arc conflict and it's heavily dramatized and full of dead people. it's one part historical, one part my own invention, and one part fucking around with ideas (or the lack there of) in movies about antony and cleopatra. many of which are bad! however. there is a bad one that's actually good. like, I wouldn't recommend it except that I talk about it constantly.

it's the 1953 movie, Serpent of the Nile and I have not known peace since watching it. it's one of the more interesting takes on antony and cleopatra (TO ME), and more importantly: I'm obsessed with the plot point where antony helps lucilius escape egypt to warn octavian.

this scene is partially inspired by that! this scene is partially inspired by several things, but that's the one to mention bc I haven't published any of this story except for the periodic scene I've drawn for fun so listing the rest of it will not add to this experience and also I’m very sleepy right now

the egyptian wall backgrounds in the first page and the last page are of a tomb wall painting, the third page uses an illustration of the death of antony for shakespeare's antony and cleopatra, and on the second page is actually my own painting of antony and cleopatra after giambattista pittoni's painting of antony, cleopatra, and the famous pearl incident

additionally, that last page. the floor. that's a relief commemorating the battle of actium. I'd been reading about depictions of actium and it is. intriguing, especially since my first thought wrt to all of that is usually abt the bodies in the water and how they'll never be buried or antony's parthian fuck up setting the stage for all of this.

also this specifically. fascinating.

Representations and Re-presentations of the Battle of Actium, Barbara Kellum

[aquickstart]

ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.

another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!

farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.

but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.

but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.

but the important thing is this.

farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.

farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.

the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.

as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.

but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.

and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.

to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).

to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.

and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?

but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.

the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.

so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.