#parting ways daniel

[diazmaximoff]

Two possible futures.

[seancefemme]

Listen as though I'm the voice of God or an angel talking to you. Telling you this room doesn't matter, this night doesn't matter. You're not inconsequential or a junkie. You're a bright young reporter with a point of view. There are stories that need to be told. If things ever get bad again, these are the words you'll hear in your mind like a tape playing over and over, like a song stuck in your brain. These words will hold you up and carry you. They are your lifeline.

[reunitedinterlude]

april 7, 2015

happy 10 years to dnp announcing their japan trip <3

[slutforpringles]

Daniel Ricciardo | Australian GP 2018 | Darren Heath

[oldbutchdanielcraig]

Guidry shrugs, looks him over. He notices Allerton��s camera. JOE GUIDRY: When did you get this? Lee doesn’t say anything. Guidry laughs.

[danandfuckingjonlmao]

it just hit me how embarrassing it is that dnp can see what parts of their videos we rewatch the most. like it’s not just that they see what we post, they can legitimately see that phannies are going back every time they touch or look at each other and watching it over and over and over like THAT’S SO HUMILIATING LMAO

[dreadfuldevotee]

I'd like to discuss the elephant in the room. Why did we get zero Loumand sex scenes? We got hints and implications, but season 1 was pretty explicit. Do we think that that's a creative choice or something else is happening?

I'm glad I ended up ruminating on this for about a week because episode 7 & 8 really solidified my opinion on it.

I do wanna start by saying that it's very clear to me that there was supposed to be more explicit scenes between them. There has been some thoughts tossed around that censorship happened with the 9 pm timeslot (as opposed to the 10 pm timeslot of S1). I believed this hearing Assad and Jacob talk about the BDSM dynamic between Louis and Armand, but what really sold me on this was Production Designer Mara LePere-Schloop talking about the bedroom set and more specifically about their beautifully carved custom headboard. (If you're a production nerd like me or just want to know more about the design philosophy of IWTV I recommend giving the entire thing a listen!).

I think there are several reasons I think as to why they decided to leave any more explicit scenes on the cutting room floor but above them all is: you cannot separate Armand's sexuality from his abuse. I am really against pulling a "well if you read the books" card but reading just the first couple chapters of "The Vampire Armand" makes me understand so much about not only Armand as a character, but the care being taken to his adaptation. It's clear to me that alongside Rolin & Co.'s commitment to not watering him down to a one-dimensional villain they are also trying to not fall into Anne Rice's tendency to romanticize his trauma.

Sex and sexuality is not the same pillar of Louis and Armand's relationship it was in Louis and Lestat's and so I don't believe their story suffers from the lack of on-screen sex. But I also firmly believe that maybe we don't need to be slutting out the character who we literally just watched talk about how he doesn't remember his life before being sex trafficked. And even when he was "freed" he was still being repeatedly assaulted at the hands of, and under the eye Marius de Romanus. Like it is extremely important to remember that Armand's craving for dominion in his relationships is a manifestation of trauma that deserves the same level of care and depth given to every other trauma portrayed in this show.

I think people have gotten too comfortable calling IWTV a romance when it has always been Gothic Horror. Romance and sex are pivotal to the story but I have found the demands for sex scenes this season a bit absurd and also? unfounded? Loustat share more kisses on screen but there are two sex scenes and both are very plot relevant. I truly figured we were all in agreement that the eroticism of this show is found in the various displays of power, and the dynamics it creates and not the actual clapping of ass-cheeks...which also wasn't happening in S1 either. S2 does not suffer because of the lack of sex-scenes, but the likelihood if it suffering trying to make one work is

[armandposting]

I can't think about armand's age/gender dysphoria without wanting to scream for a thousand years. how he's constantly seen as a young boy because he was turned at 17 but by that point even before he's lived a minute as a vampire he already hasn't felt like a boy for years. and all the men who see him this way want to use him like a man without treating him as one. he's constantly saying to their faces that he is a man with wants and desires and feelings and they're like hmm that's nice. not to me though. but not in a way that protects any of the child in him. they're not like, you're a boy and that means you should be kept safe. they're like, you're a boy and that means whatever I do to you is not real. because you're not real and now you're so frozen that no matter what you do you never will be. literally no wonder he has every problem.

[nessberry]

Uhh something something the way armand broke out of whatever character he was doing when daniel started genuinely sobbing and breaking down something something the way armand immediately comforted older daniel when he teared up about the proposal to "alice" something something that's the love of his existence something something

[reunitedinterlude]

phil 🤝 mio

[slutforpringles]

Daniel Ricciardo reveals he nicknamed his 2014 Red Bull RB10 "Hell" in an interview with Road Book Magazine during the 2024 Belgian GP [translated]

[rosie-tyler]

The Karate Kid Part II

[bandtrees]

something i've always loved about tma is its massive potential for someone to get attached to literally any random character and get something substantial out of it. tma fans reblog and tag with your favorite one-off/statement characters! i like seeing peoples' obscure faves and love for characters others forget exist.

graham folger's an easy pull for me but i do like him a lot, i think about all the not!them victims in general a good amount. if i had to pick someone else it would be justin gough!

[zelpharofficial]

Diaz Brothers

🐺Diaz Brothers🐺

~ I miss Sean and Daniel 🥹 (I got Blood Brothers ending :3c)

[connecting-the-stars]

But In the End, We Stay the Same

Matt, Fisk, and Frank:

Spoilers for DDBA ep 4

Matt walking through an entirely different apartment. Fisk refusing to dawn his white suit. And Frank? Frank is setup in a filthy, half-haphazardly thrown together base of operations that is a striking mirror to the first base we see him in from Netflix Daredevil season 2.

Character introductions really set the tone for where their arcs may take them. Very interesting how they have painted each of these characters this season.

Of course, I am not blind to the criticism and where the cracks show from the creative overhaul, but I already viewed the show coming in as… well different. A “new era” both due to the gap in time since we’ve seen these wonderful characters, in real life and in universe, and due to Disney’s influence. I’m not one to focus a lot on time/age but the era when DD season one premiered was a year after Captain America: Winter soldier. This was years before Endgame and the Global Pandemic, the impact of such events are felt in the fictional universe and real world. I am a true believer in rewatch value from my multiple rewatches of Netflix’s Daredevil, but I also acknowledge that there will be elements lost, left in that era of film making and studio management. The colors and the certain level of grim are noticeably absent, when you see characters fall through several floors and they cough up dust/debris. The certain spark found in much of the dialogue of season 1 really is incredibly difficult to replicate.

Despite the places where “season 4” falls short, I can absolutely appreciate the dedication of the actors and actresses, returning and new. While I am comforted and reassured by Karen’s confirmed involvement in season 2, I appreciate Kristin’s and Cherry’s performances as they bar Matt into this new… stage of his life. Of being a full time lawyer and keeping his fists mostly unstained. Fisk’s new environment is half hilarious and half ominous as ever. Watching him stumble through politics and its niceties, and his uneasy speeches are relatively unexplored in Netflix’s series, forced into throne he has to keep his best face on for, rather than crushing skulls. Compared to his handful of appearances in the public being executed in precise manner that always had an end goal, for example, provoking Matt after the murder of Ms. Cardenas. Furthermore, with Vanessa’s distance and unfamiliar distrust. I am eagerly looking forward to Fisk’s manipulation in his mayorship as well as Vanessa’s standing in her business with her ever loving husband. The side characters playing off Fisk, have been given parts that challenge Fisk into different ways, which is much appreciated as he navigates being a truly public political figure.

Matt standing dead eyed in front of his window, right after the reshoot with Foggy’s death. Man, knew something was different. Like are you not crashing out and living out of a basement rn because….? I know that he only received medical attention after the finale of Defenders because he was in a Coma, how is the King of Guilt, Self Destructive Murdock not crawling out of dumpsters again? (Crit: where is queen of sass Sister Maggie?)

But it is fascinating watching this Matt Murdock listen to a nice record player and cook his own meals and walk like he isn’t living in the Bad Ending timeline. The quiet despair washing over him every time he reaches for Foggy’s prayer card. My dread as I realize he takes a piece of Foggy with him everywhere. The idea that Matt has lost faith in Daredevil, this utter stab to the heart proof that he Failed as daredevil, that he was not enough to save his best friend. Every which way you look at Matt and Foggy’s relationship, they are each other’s person. College, first internship, first official business. Matt of course sees this as his fault, that guilt clinging to him like a bad cold. Eats him (in the words of Castle), tears him up to the point he refuses to allow himself to enter a church. The sermon mention a person’s worthiness. Point blank. The fact that he no longer lives in Hell’s Kitchen is major flag of Distress (avoiding Sister Maggie who could talk at least some sense, some kindness to him, the absence of the church he visited so often in the Netflix show). Thus, refusing consolation of faith, of worthiness to be daredevil, Matt clutches twice as hard as ever to the Judicial system. To the part of his life and faith he shared with Foggy, where they promised each other they would do good. The abrupt introduction of Cherry and Kristin apparently filling said places of Karen and Foggy by Matt’s side is jarring as much as it is telling. While Kristin is a comic book character brought into this series, the knowledge of her and connection built with her so far is minimal, when set besides how much of Karen’s development we saw in season 1 of Netflix series. Similar to Cherry’s role being a mix of Ben Uriah and “Foggy” in essence. (I say very lightly. No one will compare to our Foggy.) Cherry’s reminders to Matt of the reality of the system and praising his efforts of being a Good Lawyer, mirroring in a way to Foggy’s constant mission to ground Matt when his head is in his ass. Heather also being pulled from the comics is quite interesting as I had no thoughts of who would be Matt’s love interest, though her being wedged between Vanessa, Fisk, and possibly Muse is not a good sign for her. New apartment, new firm, new co-workers but he cannot outrun grief. It will catch him.

(I know the lack of Karen is mostly due to the overhaul, but the fact that he does not have her to rely on currently also pushes this unresolved/unaddressed grief. The one person who also endured losing Foggy)

The time-skip is certianly something I’m intrigued by. Where it plays in the current story, and the pieces of Matt and Karen’s grief that are unexplored. Wonder if it had been inserted due to the creative overhaul?

Fisk and Matt’s parallel stories this session have been done quite well. While there was a particular balance the Netflix series formed for telling both their stories, I find giving more time to Fisk’s arc strengthens how well these characters are as narrative foils of each other. Fisk arriving this season through a slow flip of the camera, setting the city on its head and picking through a meager breakfast and his tense reunion with Vanessa, while Matt ghosts around his apartment before reaching for Foggy’s prayer card to leave. Both characters are damaged, pieces of themselves lost. While I have not watched Echo, the psychological damage done to Fisk appears to have followed him into Born Again. His confidence seemed to be shaken and his lack of support from Vanessa further pushes him towards stress. Matt facing Bullseye without Karen beforehand, the brief strained conversation with Karen afterwards. While Kristin does tell the audience that Matt needs someone in his life, that he needs a win, it is clearly seen how destitute he is when Fisk announces his mayoral campaign and he sits idle as his food burns behind him. Both Fisk and Matt turning to different ways to get by, to proceed to their goals, by refusing their “darker halves.”

This refusal to indulge in a part of who they are will double the pressure, suffocating until they can no longer stand it. Matt faced with the consequences of revealing Hector’s vigilante identity and the injustice of his murder, of being forced to face the grief and righteous anger of his niece. “No one will do anything about it!” As well as his extremely emotionally intense encounter with Frank. Fisk squaring away first steps of many in political action and faced against the failure of Daniel, then pecking through yet another modest meal. That is until episode 4’s reveal. Indulging in that carb heavy and seasoning rich meal for a king, paired swimmingly with a tortured soul’s pleas. That power, that desire for absolute authority, never truly left Fisk. Most likely never will. Then Matt scaling the roof’s ladder to his pristine collection of cowls, hand already reaching for his billy club. Their darker halves never left them, refused and placated for a time, but never not in the corner waiting for them.

Frank. Haha. Frank is great, let him take a few verbal swings at the Devil of Hell’s Kitchen and he can work out more than his therapist girlfriend. Matt really is not coping, not processing. Cannot tell most people in his life everything, why he feels so responsible for the death of Foggy, for failing him. Best keep his name out of his mouth, because it’s not about him, right? Frank sitting in this grief of losing people who meant Everything to him, and recognizing that pain and stifled rage in Matt. When he retaliates, apologies and curses falling immediately afterwards, Frank does not accept it. Knows that his Darker Half is apart of him, is apart of his grief and pain. Being Daredevil, that righteousness and ruthlessness fueled him. Losing his dad to the criminal underground that got away unscathed, that injustice and lack of closure. Acting as that immovable object to villains unstoppable force. If it’s him or these innocent people behind him? Matt’s stepping to the plate everytime. Even when he attempted, he prioritized saving the victims. Frank is taking out people he deems worthy of the death penalty, Frank is “by any means necessary.” Frank’s grief, the Punisher is a part of him, of course he is going to see Matt’s grief as part of Daredevil. “You lose him. Didn’t you red? You hear him don’t you?”

Frank started out as a corpse on mission for vengeance. He got the people who took his family. He spends his efforts to end the threats permanently. Startling similar to how we first met him.

Matt and Fisk have denied themselves from fully indulging, allowing themselves to lean into their Darker Halves. However, after the events of episode 4, that is clearly going to change. I hope it does in the most explosive way possible.

All of this started from listening to Mother Mother’s - Try to Change

[diazmaximoff]

What your TWO favorite Life is Strange 2 endings tell about you?

I've been in this fandom long enough to notice a clear divide in opinions on the four endings in LIS2. We've all got our favorite, shaped by many factors like brotherhood, contentment, emotional impact and morality.

What I've also noticed is that while there's usually that one preferred ending that overrides the others, many people also have a second favorite ending. I find that so significant because it actually reveals so much about what kind of a person you are and what you truly value in life and in storytelling.

This is my breakdown of what your top two LIS2 endings might say about you as a person and how you interpret the message of the story in the game:

Redemption & Parting Ways: If these are your top two endings, you likely have strong moral values and prioritize responsibility over personal desires. You believe in doing what’s right in every step of the way, even when it’s painful, and you don’t see running away as a sustainable or justifiable solution. The noble, selfless sacrifice in Redemption—Sean giving up his life and freedom for Daniel’s future—or even in Parting Ways, where Daniel refuses to hurt anyone and partially sacrifices his freedom to ensure a peaceful life for both Sean and himself, is more powerful to you than Daniel unleashing his powers at the border. The sense of closure, ending the cycle of running, and seeing Daniel have a stable childhood bring you the satisfaction you need. Ultimately, your priority is what’s best for Daniel.

Parting Ways & Blood Brothers: If these are your favorites, you focus on what’s best for both brothers. You value balance and are willing to set aside morality for a more gratifying resolution. Crossing the border and potentially harming cops is a compromise, but as long as both Sean and Daniel have the opportunity to live their lives, you’re okay with it. The focus here isn’t necessarily on freedom together; it's just that you value the idea of both brothers having a future, no matter what form that future takes. You don’t believe in self-sacrifice that involves surrendering to an unjust system, or in a future where one gets the short end of the stick while the other one gets to live freely; instead, you think Sean should have a chance at life, just like Daniel. To you, Sean going to prison or ending up dead after everything he and Daniel have endured together feels contradictory to his journey, making them an unsatisfying conclusion.

Blood Brothers & Redemption: If these resonate with you most, you’re drawn to the story’s themes above all else, the one important theme being togetherness. Morality and personal satisfaction take a backseat to narrative cohesion. You see the game’s core message as unity and brotherhood, so you prefer endings where Sean and Daniel remain like-minded and end up together by the end of the story. You also might judge endings based on how in-character they feel—Sean sacrificing his youth for Daniel in Redemption or choosing to cross the border to stay with him in Mexico forever feels more fitting than Daniel abandoning Sean at the last moment or Daniel inadvertently getting Sean killed. If a character’s actions seem illogical, out of character, or break the bond, it pulls you out of the experience. The story is about the wolf brothers, not about morality.

Lone Wolf & Redemption: If these are your favorite endings, you likely resonate with tragic conclusions where the main characters are placed in a helpless position, unable to escape their fate. Both Lone Wolf and Redemption strip away the brothers' agency in different ways—Sean either sacrifices his freedom for Daniel or loses his life entirely, leaving Daniel to navigate the world alone. These endings reflect a harsh reality where no matter how hard the brothers fight, their circumstances ultimately overpower them. You may appreciate stories that don’t offer a clean victory—where the weight of past choices, external forces, and tragic inevitabilities shape the final outcome. Whether it’s Sean resigning himself to a system that was always against him or Daniel being left to carry on alone, these endings reinforce the idea that life isn’t always fair, and that sometimes, no amount of love or effort can prevent a heartbreaking end.

Lone Wolf & Parting Ways: If these are your favorite endings, you view Life is Strange 2 as ultimately Daniel’s story rather than Sean’s. While the game begins with Sean guiding and protecting his little brother, both of these endings mark the moment where Daniel fully takes control of his own destiny—separating from Sean, whether by choice or by tragedy. To you, this shift in perspective is what makes these endings the most powerful. In Parting Ways, Daniel actively chooses his own path, rejecting Sean’s decision to cross the border and deciding to live a lawful life in the U.S. under surveillance. Meanwhile, in Lone Wolf, Daniel is once again left to forge his own way—only this time, it's not a choice, but a consequence of losing Sean entirely. Both endings reinforce the idea that, in the end, Sean’s role was always temporary; his journey was about shaping Daniel into someone who could stand on his own. You may appreciate stories where the torch is passed to a younger character, and where the protagonist's role shifts from leader to memory—someone whose influence lingers even after they’re gone.

Lone Wolf & Blood Brothers: If these are your top two endings, you probably favor the most "badass" conclusions—ones that others might dismiss as the "wrong" or "bad" endings. You reject the idea that the brothers should conform to a system that was never built to protect them. Instead of watching Sean and Daniel submit to authority, you prefer seeing them carve their own path, even if it means breaking every rule to do so. You don’t buy into the idea that Sean should surrender, nor do you think Daniel should be forced to suppress his powers just to fit into a world that fears him. To you, Lone Wolf and Blood Brothers represent true freedom—one where the brothers refuse to be controlled by society, even if it leads to a tragic outcome. You may not trust the system at all and would rather see them fight tooth and nail to get to Mexico, even if only one of them makes it. The struggle, the defiance, and the refusal to back down are what make these endings satisfying to you.