#i love my life for the first time

[anxietyasperson]

i think i reached the most aesthetic part of my life because i have 24 hours of french every week and i also take roman greek mythology lessons and i read and read and read and go to little cute cafes to study and just dark academia and it rains a lot and academic validation and listening lots of classic music and lots of tea and it's so easy to pretend like i'm at a boarding school with a lot of secrets and poetry lessons.

[lilislegacy]

Percy at ease

Percy calm, but a little on edge

Percy when mildly angry

Friendly reminder that Percy jackson - our beloved silly adorable seaweed brain - is absolutely terrifying. When he’s angry, when he’s scared, when he’s on edge - he’s not warm and fuzzy.

No other character gets that reaction from people. Jason (the sweetie) is perceived as calm and in control, nico (our favorite self-outcasted outcast) is perceived as solemn and creepy, reyna (girlboss queen slay) is perceived as confident and assertive, and annabeth (our girl) is perceived as fierce, clever, and formidable. They are all intimidating to an extent.

But not like Percy. No. Becasue even when he’s at ease, he’s described as wild and disobedient. And when he’s not at ease, even if just little bit, he’s perceived as powerful, dangerous, and scary. Someone who NOBODY wants to mess with. Nobody even questions his power. One look from him has literal gangs running the other way. One look from him has Leo so scared that he’s literally shaking, and feeling the same innate fright and alarm that he does when jason summons an ear-piercing, earth-shaking, deadly bolt of lighting.

like… HELLO??? can we all just sit on that for a moment?? good lord

One angry look from percy has people thinking one thing: Run.

Percy is, canonically, the character that people find the most frightening and intimidating.

And unless he’s in a good mood - which you better hope he is - the reality is that most of us would be completely terrified of him if we met him.

[hinamie]

unconditionally

[madootles]

dramatic eyes. dramatic lips. drama on the cheeks.

sketch

[3-inch-doodles]

INFINITE HYPERDEATH // UNSTOPPABLE FORCE

BLOOD-FUELED MACHINE

[christadeguchi]

you think YOU had a bad day at work?

bonus: sid shrieking "no!!!! NO!!!!!" loud enough to be heard in the stands and on camera

[ruubesz-draws]

When bae is angry at you

[lotus-pear]

"feels like we could go on for forever this way.." (x)

[plesiosaurys]

getting emotional over footage of an amateur scuba diver interacting with a coelacanth. they are hunted by large deepwater predators, and here comes a large creature bearing the brightest lights it's ever seen, making strange noises, but it does not shy away. it hovers, calmly, as the diver reaches out and trails a hand down its back. im strongly against the anthropomorphizing of real life animals but the stupid emotional part of me loudly insists this is because it recognizes us, the alternating movements of its four paired limbs matching the diver's four paired limbs, & it is thinking, "hello, cousins, we missed you these 66 million years, it's so good to see you again. welcome back, welcome home."

[expelliarmus]

[maybe-boys-do-love]

Mix Sahaphap gets to perform (and has the performance chops to perform) in a style that I’ve never seen any other male actor get to embody. Mix gets to unironically play the #strongfemalecharacter. The Beatrice, the Elizabeth Bennett, the Jo March. Strong-willed, emotional, kind-hearted.

Not only do the plot points line up, but Mix, more than any BL actor I’ve seen, fully leans into the embodiment of this archetype. In his roles, he rolls his eyes, pouts, banters flirtatiously, softens his posture and expression at small details. He doesn’t over-exaggerate and imposition other characters but his face also doesn’t hold back his character’s thoughts and judgments. And when the moments arrive, he lets all the hurt and anguish pour out in shatters of tears and visible heartbreak—the star-counting scene, anyone????—in a way that harkens to the operatic emotionality of well-done melodramas, soap-operas, and their contemporary Thai equivalent of Lakorn. It’s only that these have never been men’s roles in those.

It’s no surprise that one of Mix’s roles—Cupid’s Last Wish—is explicitly a gender body-swap, and Tian in A Tale of Thousand Stars is (albeit explicitly denied within the show) heavily connected to gender body-swapping. What Mix specializes in as an actor, and does exceptionally well, has been defined as feminine. To depict a kind of queer expression in this style is novel because it’s not camp, it’s not okama, it’s not a soft or femboy, it’s not a BL twink (Mix has been mostly excluded from the schoolyards and quads of the BL universe except for a role as a senior crush in Fish Upon the Sky). It’s too sincere and too adult for any of that.

In Moonlight Chicken we get to see, without the pretense of gendered mysticism, this performance style’s seduction, warmth, wit, and explosiveness within the framework of a general gay form of expression. It says that this kind of femininity might just be a gay thing. Not all gay men exhibit it, obviously—queer men aren’t a monolith. Still, it gives us something to consider about how we observe performance of queerness on screen, especially in front of an audience that puts so much more emphasis on ships, heat, and pairing chemistry to assess how well they perform a BL role. Could we look for other features to judge performance of queerness instead of how well they kiss?

Seme and uke roles would be the major performance style categories loyal BL fans assess actors with, yet even within the archetype his character’s fill within BL narratives, Mix’s performances differ from the typical uke depiction in BL because he really doesn’t perform them as passive. Rather, Mix’s characters and his portrayal of them are dynamic and demanding. It certainly fits certain stereotypes of ukes (Gilbert!) and their gay stereotype equivalent of bottoms as pillow princesses and brats. Mix’s characters, though, have more drive, agency, and compassion than that, and he plays them with all of those currents running underneath.

We certainly have openly gay writer/director Aof Noppharnach to thank for writing this kind of queer character for Mix to play in Tian and Wen. But for Mix’s specific commitment to the performance starting off with his (debut!?) role in ATOTS, we first have Earth to thank for believing in Mix’s ability and recommending him to portray the role of Tian, and then Aof’s acceptance despite his differing initial expectations for the character. Mix, Earth, and Aof have all been open about how Mix in his personal life and nature holds a lot of similarities to both his role as Tian in ATOTS and Wen in Moonlight Chicken. Some people might knock points off his performances because he’s like them. But his relationship to the characters, rather than dampening my enthusiasm for Mix’s performances, helps me appreciate his willingness to give an authentic performance in a style that hasn’t been encouraged on screens previously. It’s made more impactful that he chose to risk vulnerability to bring something personal that had previously been excluded from screens because of its gender deviance (and in broader society explicitly condemned). This doesn’t make a claim on Mix’s actual identity, but simply shows his willingness to understand and perform the expressions of his queer characters with an effort at empathy that many other actors would feel challenged to bring.

Some actors are chameleons, but some actors have a gift of a type within which they can explore depths and range that no one else can best. For me, that’s what Mix does in his work when directors and casting understands his talent. There’s a BTS video of Mix actually fainting during a scene while in Earth/Phupa’s embrace on the mountain that immediately brought to mind the wildly famous final scene in the film Camille where Greta Garbo as Marguerite dies in her lover’s arms.

For Mix, it was a serious incident due to regrettably extreme conditions and requiring the on-set paramedics, but these levels of theatrics, for me, are emblematic of what Mix is capable of as a performer, as well. After all, he had to faint in Phupa’s arms multiple times on purpose. It’s the kinds of Old Hollywood and heightened sentimental romance realms Mix takes his performances to! Then he can turn around and make it look easy to take that same character into grounded quips or dedicated everyday tasks. It only takes writers, directors, and audiences willing to see that men can feel this way and act this way. Mix has paved the way.

[raplinenthusiasts]

purple never looked so good 💜

cr. namuspromised

[formulanni]

just one lap ahead

Taglist: @st-leclerc @rubywingsracing

[heynhay]

scene from where the apple falls by @jupiters-junipers :-) wholeheartedly recommend any and all of her work

[until-i-set-him-free]

#SMITTEN4SMITTEN ❤️

[madootles]

consumed with the urge to draw with ed holding cat. that's all

edit: metal arm wrong side bc canvas flip