#out by it obviously but yeah

[totheidiot]

people will find any excuse to hold each other's hand.

[knifearo]

being aromantic is like. hey btw you're going to live a life that is the culmination of most of society's worst nightmares. sorry lol ✌️ but then you turn around and take a really good hard look at it and it turns out that living in that nightmare is fucking awesome and you get to wake up every day and take that fear that other people have and laugh and hold it close until it's a great joy for you instead. and being happy is a radical act that you define instead of someone else. and you're sexy as fuck that's just a fact of life i don't make the rules on that one

[sparring-spirals]

what kind of show is gamechanger? what's the point? well-

[poorly-drawn-mdzs]

I'm a doctor, not a miracle worker.

[First] Prev <–-> Next

[catsharky]

I'm sobbing and clawing at the screen begging Larian to just let my Tav give more hugs because so many of these characters need it.

WIP cause this is getting colours, I just like how the lines look

[kaladinkholins]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[inkskinned]

"it's so embarrassing you like that popular thing" "oh ew that geeky/strange thing is so cringe lol" "oh it's kind of weird you get excited about that harmless shit"

dude i love how ironic and jaded you are and that's so cool and sexy of you. and i am so so glad to tell you - you won!! we all had a meeting and we decided that you won, and we are writing your name on the inside of a burger king crown. the marker smeared, sorry, but we knew any form of real effort is ugly to you. but anyway. congrats! you are officially the coolest, most ironic, most jaded person in-the-world-right-now. we would throw you a party but you would think it was totally boring - and besides, we're weird so we wouldn't have been coming. we would have brought our love of beetles and of baking and of little canapes. we would have brought our artsy videogames and pages of writing. we would have written a poem with you, our hands covered in ink, and spread out a canvas to dance on, the night so lurid and pink.

but do not worry. we will not throw the party. we will just get you a ringlight and that crown i mentioned. it is a nice crown, except for where one of us dropped it.

the vote was a really hard one because we had so many cool ironic people to pick off the shelves. all of you have hands that rot fruit, how strange is that - you can't look at something without destroying it for other people. you like it when you can squeeze a person into a pinpoint - all us small ones scampering our little feet around our ugly joys. the vote was also a hard one because we kept our voices down because you don't like it when we talk too loud. you were on your phone at the time, talking to people other than us. you are a ghoul of every moment - half in, half out, you resent us for being here without shame or embarrassment.

so good news! we have invented an island for people like you. you get to go there and speak into the air things like if you still like watching harmless twitch streamers in 2023 you're fucking boring. you will say things like liveplay podcasts are fucking ugly and it's kind of awkward they try to make everything gay. on the island we made you, all of your words will have weight. they will form in the air like icicles, large white behemoth letters that will crumple in anvils around your feet. maybe we will send someone there once in a while to sweep, but honestly you might be there for a while, alone, waiting. we are busy being outside looking for mushrooms and flapping our hands and humming. we are busy kicking our little heels while we watch cringey tv. we are busy - sorry! as an apology, we have pre-filled the island with every bland, mediocre, unscented thing we could find. the island has the texture of american cheese. the island has an ocean that never gets angry. the island is perfect for you, trust me. you will be so happy there - as happy as you can be, ironically.

we want to say we are sorry for doing harmless things that you find annoying, childish, or unappealing - but we are not sorry. we thought we could help you, because we don't mind laughing at ourselves, but it turns out you are allergic to color and noise and atmosphere, so this is the best that we can do for now. we are all making a big shirt that says i voted in the ironic monarchy. we got you one that is just a fast fashion buttondown. i am so excited for you and this island and the big life you have won. you have a cool jaded grey life and miles of irony to roam. i love you! be well.

now leave us alone.

[spacedlexi]

its my birthday who wants some KISSIES!!!

[tsuchinokoroyale]

Happy new years… let’s stay hydrated together ✨

[turtleblogatlast]

I think about Leo’s “I’m your least favorite” comment to Splinter in “Down with the Sickness” a lot. It’s likely just a throwaway comment, a way to get Splinter to leave him alone before Leo gets sick too, but I can’t help but wonder if Leo believes it on some level.

Obviously it’s not true, Splinter loves him as much as he loves the others, but…it wouldn’t be shocking if Leo believed otherwise. After all, just in “Many Unhappy Returns” alone, Splinter has, with no hesitation, said comments like “my other sons would have taken this seriously” and “I knew I should’ve brought purple”, said “no” to Leo’s “I love you”, and pretty blatantly didn’t extend any trust in Leo’s plan even after Leo was fairly effortlessly defeating their opponents.

It was only after, when they’d already won, that Splinter finally gives him a “it was all you my son!” And…that’s basically it. Raph is the one who announces his trust in Leo. Not their father, even though Splinter is the one to witness Leo lowering his walls for once (which Splinter doesn’t react well too, because Leo only lowers his walls in the most hectic of times, and because he lowers them only then, either no one is around or no one is in the right state of mind to respond properly, leading to Leo building his walls back up, and the cycle continues.)

Again, it’s not because Splinter doesn’t love Leo, but Leo…can’t be feeling too good about all that. The way he never reacted surprised about any of Splinter’s words too…

He may know that Splinter loves them all, as a group, but individually…I don’t think Leo believes he ranks all that high with that love. Gives another meaning to “I’m nothing without my brothers” huh?

(Of course, I’m willing to bet the invasion changed that understanding, but with that comes the potential misunderstanding that his father’s outright love is tied to Leo sacrificing himself.)

[hillerska-official]

I'm fully obsessed with how willing some people are to take things at face value. I did some reading to find out the best star trek TOS novels and on so many of them (interestingly enough it's usually for the ones written by women, but I digress), people leave bad reviews specifically with the same complaint, time and again. "Spock is too emotional in this. Spock is purely logical you can't write him with emotions like this." And every time i read that complaint i am fully fucking flummoxed, because of COURSE Spock is emotional, what the hell are these people talking about. Spock is shown over and over again in the show to be a deeply emotional person. This is something he vehemently denies, granted, but it is obviously intended to be clear to the viewer that he is LYING when he denies having emotions. Jim and Bones have very specific Looks reserved for when he tells this lie.

There is a very specific reason Spock tells that particular lie, of course. A pretty emotion-based one at that. Spock has a very complicated relationship with his parents and with his human versus his Vulcan culture. Growing up on Vulcan of course Spock wanted to be less human, and be more like his peers. But the fact is that even Vulcans are not naturally emotionless/logical, and they actually have very specific historical reasons for so deeply valuing logic over emotion. So it is absolutely baffling to me to see people just take what Spock tells us about himself entirely as truth. Spock is a bitch and a liar (affectionate) and he is so deeply human in so many ways. That's why people enjoy his character in the first place, imo.

[antiqua-lugar]

aside from everything else about durgewyll I am loving how it highlights wyll and gortash as narrative foils. both their upbringings lead them to interact with demoniac entities, both can only become archdukes and join baldurian high society through uldred, both are swaying the dark urge from simply following bhaal (and arguably the dark urge sways them from simply pursuing an ideal and the dark urge can recognise both as their equal)

and by playing your card right in act 3 wyll just...gets everything gortash was trying to get? wyll really is a hero saving baldur's gate from the legion of the absolute. wyll influences gortash's favourite assassin into becoming someone they can defeat the netehrbrain together. they can even become archdukes together! ...or they can turn it down and then they can go to he hells to sneak around and have adventures (like gortash and durge used to) and save karlach's life (the same life that is at risk because gortash mindlessly threw it away).

like. it's a lot, wyll and durge can even murder raphael.

[shyybanshee]

what if... hear me out... racer au feat. mechanic andrew...

[jay-wasstuff]

Vanessa did a great job as a police officer by:

Neglecting her duties (to hang with Mike and Abby),

Not patrolling/being stationed where she was needed,

Wrongfully threatening to shoot a civilian (not due to legally reasonable reasons),

Protecting and preventing suspects/criminals from facing justice due to favourtism,

Obstructing justice by not turning in her father (child serial killer) and withholding/tampering evidence,

Supplying an untrained/unqualified civilian with police weapons,

Did I mention wrongfully threatening to shoot an unarmed/harmless citizen?

Tasking a civilian to perform police duty in taking down a highly dangerous criminal/suspect,

Refusing to aid a civilian in danger or preventing the danger,

Hesitating to take down her child serial killing father (who also held a knife pointed at her but was happy to threaten Mike because he was endangering his sister??? So you want to shoot Mike for that but your father...nevermind, at least she eventually shot him),

Committing medicine theft or destruction of property and disposing of it improperly. (Prescription medication is a difficult adjustment for your body whether you begin it or stop it as well as being a burden on your finances and she just....threw it).

[rebellum]

The whole transandrophobia discussion thing is weird bc it feels like it's a bunch of poc and jewish trans people being like "here are my experiences of how specifically being MASCULINE had affected me, and the discrimination and violence I experienced based on that. And here is how that relates to me being a racial/ethnic minority"

And then a few loud white trans people going "ohhh you wanna be oppressed so bad you *slur*. This is why there aren't any poc in your movement it's because REAL poc understand intersectionality"

[blade-that-was-broken]