#kinda feel like some people on here

[reivrze]

谷 : mutuals !!

disclaimer - !! -> i'm so sorry if I forgot anyone ! you can dm me or send an ask if you want to officially be moots :) this list is mostly people who i've interacted with quite a bit with since the beginning !! also these are in no particular order ^^

✿. @chacottone - sana !! ( my main girlie ♡ )

✿. @maiverie - mai bb !! ( see what i did there 👀 )

✿. @enaus - ely !!

✿. @dazed-hee - tiff !!

✿. @j0swhiterice

✿. @aernx - aerin !!

✿. @kazmura - lana !!

✿. @ikeuz - selena !!

✿. @eulris - natalia !!

✿. @talesofyuan - yuan !!

✿. @seolboba - mako !!

✿. @yeomha - raine !!

✿. @wheeboo - rania !!

✿. @boydepartment - jayjay !!

✿. @luvistqrzzz - rim !!

✿. @bobariki - rue !!

✿. @simplhee - rene !!

✿. @moonmoongi - fahma !!

✿. @wvnkoi - seol !!

✿. @flwrshee - ri !!

✿. @cybrki - rina !!

✿. @hee-poster - jan !!

✿. @ctrlcntr - tia !!

✿. @ashxxgyu - ash !!

✿. @apple-brees - bree !!

✿. @nicholasluvbot - ira !!

✿. @tnyhees - chae !!

✿. @baeksofty - mari !!

✿. @heezpng - rin !!

✿. @en-une - winnie & balle !!

✿. @yeosljin - lyna !!

✿. @riikiblr - bee !!

✿. @aefolrin - flo !!

✿. @nyanggk - mirai !!

✿. @heeflrs - rora !!

✿. @hanniluvi - soph !!

✿. @haknom - kayla !!

✿. @heesuncore - honey !!

✿. @malarign - joo !!

✿. @yswon - lily !!

[oars]

[somnimagus]

My page for @sheikahzine; about Impaz's duty to her village, empty of people and full of memories.

[id in alt text]

[bunnieswithknives]

Dev this is serious stop beatboxing.

[anakirui]

hot take ??

the only reason people say that "mafuyu and tsukasa have nothing in common" when presented with mafukasa parallels is because they equate mafuyu and tsukasa being similar to "tsukasa has depression" because the fandom equates mafuyu's personality to being depressed and nothing else.

it doesn't help that people (primarily younger people in the fandom) who DO believe in mafukasa parallels end up making the mistake of portraying tsukasa as depressed because as of right now he is not (although it's possible he was in past because of his Very Unclear Middle School Backstory but that's irrelevant)

anyways, mafuyu and tsukasa are narrative foils because their core personalities are built off of the concept of wanting to make the people around them— especially their families— happy.

they both developed personalities at a young age based on someone they looked up to. for tsukasa, it was seiichi amami's performance that inspired him to be a star— a hero that could cheer anyone up. for mafuyu, it was her mother taking care of her that inspired her to be a nurse— and you can see the similarities from there.

for mafuyu, her identity would first come into conflict when her mother expressed her want for mafuyu to be a doctor— suddenly, "everyone's" happiness didn't match what she wanted to do, leaving her in a state of disorder and eventual depression.

for tsukasa, his identity was something he nearly forgot in its entirety at the start of the main story— becoming arrogant and fully absorbed in a hero persona, forgetting the kind person he truly is. furthermore, his current character arc seems to be foreshadowing that what "being a star" to him is going to be called into question— maybe it is something more than just being the main character that saves everyone.

their insecurities are incredibly similar.

in mafuyu's first mixed, mafuyu feels insecure towards ichika because unlike ichika, she feels as if her lyrics have no genuine meaning to be expressed to other people— despite them being her very real feelings. this is brought up again in her second mixed as well.

in tsukasa's third focus event, something similar happens. when watching seiichi's performance, he thinks that his acting is "real" and feels inferior towards him, which is ironic because tsukasa has been method acting this whole time. when tsukasa is acting out rio or bartlett or really anyone at this point in the story, it's not just those characters— it's a reflection of his traumas.

just like mafuyu, tsukasa undermines his passions he's poured his feelings into because someone else's work is more genuine in his eyes.

now, then, foils have many similarities and parallels (and i could honestly list a lot more), but how i define them is that they usually have some kind of major branching difference that MAKES them foils.

for mafuyu and tsukasa it's pretty straightforward.

mafuyu's people pleasing behavior comes from external expectations and pressures— her mother's demands.

tsukasa's people pleasing behavior comes internally, from himself— if he can't meet his own standards, if he can't be the perfect big brother or the perfect star, then he is nothing.

and even then, there's some overlap.

tsukasa's behavior was indirectly encouraged by his mother praising him for being a "good big brother" over the phone instead of asking him if he was okay while home alone.

mafuyu's terrified to be herself around other people because she doesn't want to worry or bother them— she doesn't want to be a burden— and projects her mother's expectations onto them, not realizing that they would prefer the real mafuyu if they knew the truth.

and the concept of mafukasa being foils is most perfectly and blatantly portrayed in these two cards.

mafuyu, the marionette, sitting limp on the floor— puppeteered by her mother's demands and donning a mask to hide her true self.

tsukasa, the jester, standing above everything else— puppeteering silenced plushies— his feelings. he's not being completely honest with himself, and he doesn't even realize it.

mafuyu has cut her strings and ripped her mask in half. she has acknowledged her true feelings and expressed them to her mother, even if she had to run away in the end.

tsukasa has not yet cut his.

[turtleblogatlast]

AU starts here!

Previous |

Here we have just a taste of Path A - also known as “All Together Now.” If you’re confused - good! Things will make sense in time, trust me.

[twentyfivemiceinatrenchcoat]

AGH FASHION DESIGNER SUGURU AND MODEL SATORU W A NEW INTERN DESIGNER UNDER THEIR WING 😞😞☹️ - 🌺

WAHHHH I LOVE THIS 🥺🥺🥺 the pining and flirting and slowburn of it all… model!satoru and his favorite designer suguru geto, both of them undeniably skilled and born with an eye for fashion….. well-known and adored……..

designer!suguru who gets tasked with showing you the ropes, who’s always so patient and kind despite your inexperience. diligent with his teaching but also so laidback, so easy to talk to… he looks intimidating, but he’s so polite that you can’t help but swoon a little. and he admires your enthusiasm so much…… grows fond of you soooo quickly bc you’re just such a breath of fresh air compared to the divas he’s forced to work with all the time. he thinks you’ve got real potential and he wants to nurture it.

and ofc you end up running into model!satoru eventually…. bc he’s always hanging around suguru whenever he gets the chance. and he’s maybe a little jealous that you’re hogging so much of his personal designer’s attention, but… he also thinks you’re so cute . T_T like a little puppy following suguru around… so excited to be apart of what you’ve dreamed of for so many years……… he looks into your eyes and sees the same sparkle he had before he made it big, and it makes his heart race.

yeah . i’m just thinking abt the peaceful coffee breaks with suguru….. how he’d insist on paying for your drink, ”since he’s your senior” (he wants to be your favorite </3)…… and how he’d just be so protective over his little intern. don’t get me started on the close proximity with satoru when you’re taking his measurements, the glance and smile he sends your way during an impromptu shoot… the way he always calls for you with a sweet coo of ”how’s my favorite intern doing today?”

😔😔😔 yeahhhhhh. they make me feel ill.

[toxiccaves]

I think what a lot of tumblr-only people are missing about twitter failing, is that it was always a better website when it came to small businesses, instant world event news, fact checking, having users from all over the world, being a source for disaster relief information or warnings, and anything else to keep people up to date with going ons.

Sure, tumblr has many users from all over, but the website is still largely english biased and not nearly as widespread as twitter. I know a lot of news and knowledge comes in on here too. I've learned a lot and see a lot of donation posts in regards to world events, but its nothing like twitter unless you know who to follow. Not to mention, half the news I got here, was days later and from twitter to begin with.

Seeing that being taken away in favor of hate speech and enabling abusers (with the recent potential of getting rid of the block feature over there) and pushing blue user comments to the top (aka elon's weird fans), drowning out anyone else on popular posts, sucks! It sucks for the world and small businesses. because there's really no alternative to it right now.

The site's running rampant with spam and scammers and its becoming more and more unusable by the day. And some people think it's silly to be upset over it or "you shouldn't have all your eggs in one basket" well there only is one basket! This is literally people's livelihoods people seem to be making fun of anytime a change happens that breaks the site and people post all their socials.

And everyone from every country is talking about different websites they're considering, and its splitting up our connection to the world. And surely he knew who this was hurting with every decision.

[batsplat]

random throwback to fabio's response to casey saying he should've been black flagged for the whole open leathers situation

[ganondoodle]

totk made me feel like i got scammed so badly i dont think i want to get any new zelda on release and instead wait until i know its worth it

im afraid zelda will turn into half baked games with flashy imagery to distract you from its shitty writing and superficial references to older games to catch your nostalgia, that the name alone will sell anyway so why try

[skrunksthatwunk]

actually i'm still thinking about the moral orel finale.

he has a cross on his wall. do you know how much i think about that bc it's a lot.

a lot of stories ((auto)biographical or fictional) centering escape from abusive/fundamentalist christianity result in the lead characters leaving behind christianity entirely. and that makes complete sense! people often grow disillusioned with the associated systems and beliefs, and when it was something used to hurt them or something so inseparable from their abuse that they can't engage with it without hurting, it makes total sense that they would disengage entirely. and sometimes they just figure out that they don't really believe in god/a christian god/etc. a healthy deconstruction process can sometimes look like becoming an atheist or converting to another religion. it's all case by case. (note: i'm sure this happens with other religions as well, i'm just most familiar with christian versions of this phenomenon).

but in orel's case, his faith was one of the few things that actually brought him comfort and joy. he loved god, y'know? genuinely. and he felt loved by god and supported by him when he had no one else. and the abuses he faced were in how the people in his life twisted religion to control others, to run away from themselves, to shield them from others, etc. and often, orel's conflicts with how they acted out christianity come as a direct result of his purer understanding of god/jesus/whatever ("aren't we supposed to be like this/do that?" met with an adult's excuse for their own behavior or the fastest way they could think of to get orel to leave them alone (i.e. orel saying i thought we weren't supposed to lie? and clay saying uhhh it doesn't count if you're lying to yourself)). the little guy played catch with god instead of his dad, like.. his faith was real, and his love was real. and i think it's a good choice to have orel maintain something that was so important to him and such a grounding, comforting force in the midst of. All That Stuff Moralton Was Up To/Put Him Through. being all about jesus was not the problem, in orel's case.

and i know i'm mostly assuming that orel ended up in a healthier, less rigid version of christianity, but i feel like that's something that was hinted at a lot through the series, that that's the direction he'd go. when he meditates during the prayer bee and accepts stephanie's different way to communicate, incorporating elements of buddhism into his faith; when he has his I AM A CHURCH breakdown (removing himself from the institution and realizing he can be like,, the center of his own faith? taking a more individualistic approach? but Truly Going Through It at the same time), his acceptance (...sometimes) of those who are different from him and condemned by the adults of moralton (stephanie (lesbian icon stephanie my beloved), christina (who's like. just a slightly different form of fundie protestant from him), dr chosenberg (the jewish doctor from otherton in holy visage)). his track record on this isn't perfect, but it gets better as orel starts maturing and picking up on what an absolute shitfest moralton is. it's all ways of questioning the things he's been taught, and it makes sense that it would lead to a bigger questioning as he puts those pieces together more. anyway i think part of his growth is weeding out all the lost commandments of his upbringing and focusing on what faith means to him, and what he thinks it should mean. how he wants to see the world and how he wants to treat people and what he thinks is okay and right, and looking to religion for guidance in that, not as like. a way to justify hurting those he's afraid or resentful of, as his role models did.

he's coming to his own conclusions rather than obediently, unquestioningly taking in what others say. but he's still listening to pick out the parts that make sense to him. (edit/note: and it's his compassion and his faith that are the primary motivations for this questioning and revisal process, both of individual cases and, eventually, the final boss that is christianity.) it makes perfect sense as the conclusion to his character arc and it fits the overall approach of the show far better. it's good is what i'm saying.

and i think it's important to show that kind of ending, because that's a pretty common and equally valid result of deconstruction. and i think it cements the show's treatment of christianity as something that's often (and maybe even easily) exploited, but not something inherently bad. something that can be very positive, even. guys he even has a dog he's not afraid of loving anymore. he's not afraid of loving anyone more than jesus and i don't think it's because he loves this dog less than bartholomew (though he was probably far more desperate for healthy affection and companionship when he was younger). i think it's because he figures god would want him to love that dog. he's choosing to believe that god would want him to love and to be happy and to be kind. he's not afraid of loving in the wrong way do you know how cool that is he's taking back control he's taking back something he loves from his abusers im so normal

[justaz]

as much of a fan as i am of arthur falling head over heels for merlin in the lower town during their fight and knowing the entire time while merlin reluctant to admit he actually finds arthur sometimes pleasant to be around until like a year later when he's like "fuck i kinda like him as more than a friend" when he's actually in love with him,,, the alternative has been plaguing my mind recently.

merlin is like "aw man he sucks but destiny is destiny" until like around the poisoned chalice when merlin drinks the wine and falls unconscious and he's wondering to himself why he would do such a thing and like yeah nimueh probably cursed it so he would drink it but also he's not really that upset about it?? he's kinda relieved??? why???????? oh bc arthur didn't drink it so he's fine and alive and oh he's checking up on me and his voice is soft and not at all mocking or brash like normal and his hand is on my shoulder and my heart is racing and i'm blushing and his touch is so warm and- oh fuck. so merlin is like reluctant about feeling this way but makes his peace with it, hoping that one day it'll just fizzle out. but the thing is: it doesn't. merlin continues to fall deeper and deeper in love with arthur and it just becomes a part of him like his magic. it's a simple fact. he has blue eyes, he has black hair, he has magic, he's in love with arthur. it becomes intertwined with his very being and he can't imagine ever not loving arthur.

meanwhile, arthur is fond and protective of him idiotic, bumbling servant. he's also a good friend not that arthur would ever call him that but anyways arthur keeps him safe bc if it weren't for him, the fool would trip over air and impale himself on his own thumb. so arthur grows more fond and protective of merlin as the series progresses and yeah at some point he finds it in himself to murmur the word friend to merlin but he blames that on the wine and the late hour. then he finds out merlin has magic and it hurts. arthur isn't entirely sure why either but he knows it hurts to be around merlin, to hear him, to see him, but it also hurts to be apart. so he swallows it all down and sits with merlin to lay it all out. anyway time skip and he sees merlin as he truly is without all the hiding and lying and the fondness and protectiveness just continues to grow and grow and grow. he watches merlin cast spells and watches his eyes light up gold and gods isn't he just beautiful. no wait- okay he's in love and gods is he fucked because now he can't managed a damn sentence around the man and morning and evenings are torturous in the best way. merlin bodily dragging him out of bed, his touch never leaving as he strips him of his night clothes and dresses him for the day and sits him down at the table before sharing stealing his breakfast. at night he's much slower as he strips arthur, his fingers dragging across his skin and his words spoken low and soft. the sweet heat in his blood isn't new but the force of it almost knocks him on his ass.

just merlin being his usual enamored self while arthur is flooded with these feelings he couldn't name before but now that he knows just what they are, they lodge in his throat and block his words from escaping him, they block air from filling his lungs, and they keep blood from flowing through his brain. arthur shutting down while merlin is oblivious and concerned and pressing his hands to arthur's face and pulse and leaning in close and asking all these questions as his eyes shine with worry and this isn't helping-

disaster!arthur x oblivious!merlin is actually my new favorite dynamic. forget what i said at the beginning. this is it.

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[graciehart]

katebeckets -> graciehart ✨

I've changed my url like five times this month (lol sorry) but this one feels like it might stick. and in case anyone didn't know, I love Sandra Bullock soooo much!!

still tracking #emilyblr and crying about all the tv shows :) ps I love you so so much Kate Beckett

tagging some friends under the cut <3

@mikelogan @scullay @dylanlila @scullysconstant @userlaylivia @joshoconnaissance @renee561 @sitpwgs @madisoncounty @loveaffairmaimyou @superseal76 @burningblake @robntunney @joey-potters @bruceewayne @singinprincess @elssbethtascioni @chippdhearts @sculien @spencereid @lucy-mclean @mauraeyk @emilysbader @quinnfebrey @cressida-cowper @placeinthisworld @joshxdonna @debbielouocean @twelverriver @casualkoalatea @killingsboys

[13eyond13]

love it when a character that's hard to read intuitively for you has like a dedicated fandom interpreter who can just glance at their blank face in a panel and then give you a 3k word essay on their innermost thoughts & desires & fears and neatly tie it back into the themes & whatnot as if it's the most obvious thing in the world

[skitskatdacat63]

2023 Las Vegas Grand Prix - Qualifiying - Fernando Alonso