#please youre not wrong

[mischievous-thunder]

Why you need to double-check before posting something:

P.S. The rebloggers:

[ochiody]

timedive concepts so far

[luthienne]

anyway literally everyone is going through something all the time!!! everyone is wounded!!! everyone is human & no one makes it out of this life unscathed!! maybe try approaching people in good faith instead of always defaulting to the worst possible interpretations of each other

[littlecub9666]

Damian: أحبك. (I love you.)

Y/N: I love you, too.

Damian: You-How did you-?

Y/N: Guess this is a good a time as any to tell you I'm fluent in Arabic.

[heybaetae]

maknae line + gestures of love 🫰🏼💋🫶🏼🌹🤟🏼 happy birthday @jkvjimin! ♡

[hedgehog-moss]

Help me settle a debate with my friends! If it seems difficult to choose that's normal, we've already dealt with the animals that are easy to sort (e.g. goats and mice are the two extremes on the spectrum of animal civility) and these are the more dicey choices that are on a similar level of perceived politeness.

[nellasbookplanet]

The tragic idea that the Betrayers loved their siblings so much that it ended up being what drove them apart. They didn't want to settle for anything that could hurt their family, and mortals were doing so, either directly (a mortal usurping one of them) or indirectly (emotionally hurting them during the Schism by just. dying so much). To the Betrayers, it wasn't worth it. They wanted their beloved family to leave and go somewhere that wouldn’t hurt them.

To them, it's the primes who are the betrayers. The primes were motivated by more than just love for their immediate family - they loved their creation, too, and more than that, felt a responsibility for it. They would rather fight their own siblings than leave it.

We saw all the gods love and protect each other during the opening of Downfall. The Betrayers were not uniquely evil from the start. They wanted to save themselves and their family from hardship and suffering, even if it meant leaving their creation, their game, and in response their siblings locked them away. Not only do they not love mortals, they view mortals as this corruptive force that somehow turned their family against them. Do they think that, if they succeed in exterminating them, the Primes will be freed from their influence? Maybe - perhaps some of them are waiting to forgive and embrace their siblings, but far from all, I suspect. Asmodeus certainly expressed during Calamity that he didn’t so much want to be reunited with his siblings as he wanted to punish them. He was betrayed by the ones he loved most for the sake of a game! Maybe togetherness and forgiveness was once an obtainable goal, but not anymore. Even if the Betrayers succeeded in ending Exandria, the Primes would never forgive them, and they would never forgive the primes. Their family can never be whole again because of, as they see it, the toxic influence of mortals. So they hate mortals for this influence, but more than that, they hate their siblings for being so weak as to fall for it.

[wilchur]

I've seen a lot of people talk about how the game doesn't give you any leeway when you play The Dark Urge, how it makes it very clear that Durge was A Bad Person, but I haven't seen it pointed out that Sceleritas seems VERY well versed in gaslighting the hell out of them and steering Durge away from any doubt or guilt in regards to their actions. Makes me think that they've probably had those types of conversations before because Durge actually always had a soft spot, only it got smaller and smaller in time. I have not had the opportunity to see the Heal cutscene yet, but I've got the butler in my camp now and he had some interesting things to say, like

[Durge: Can you tell me the worst thing I ever did?

Sceleritas Fel: There was one time you gave a beggar some coin while we were en route to the Devil's Fee.

Sceleritas Fel: You didn't kick him or spot on him or anything! I was so shocked I almost fainted!

Sceleritas Fel: I still have nightmares about it to this day. But I'm sure you only did so to lower the suspicions of the Flaming Fist. Surely?]

and it struck me because tossing a coin to a beggar is a bit of a thoughtless act isn't it? You don't put much thought into it, you just see someone in need and you do it. Out of empathy, generosity, something The Murder Incarnate should not be capable of. Sceleritas' uncertainty of Durge's reasoning for it totally convinces me it was NOT intentional. A simple act of kindness that slipped out.

ALSO

[Sceleritas Fel: The only way for a Butler to die is if we are not of use to our Master. But you have always needed abundant assistance.]

They always needed abundant assistance. Why? Because they kept slipping out of Bhaal's grasp? We know they did at least once, with Gortash. Maybe it was not the first time, maybe there are more "Letters of Forgiveness" tucked away somewhere.

To me pre-tadpole Durge is just terribly mindbroken and indoctrinated person hooked onto the sense of safety, purpose and acceptance of their dark side that the cultists and their father give them. Yeah they enjoy murder, gore and all that. That's the curse of their blood, but I don't think they were ever entirely consumed by it. Morality, guilt and empathy have always been there on the edge of their mind. Losing their memories (depending on player choices I know, but bear with me) was what they needed for them to be finally brought forward.

[hauntingofhouses]

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.

[thewalrus-said]

One thing that was really driven home for me this season was how much power Crowley has. How much influence.

To recap:

Shax, despite hating him and being his literal replacement, is constantly asking him for advice and help.

Furfur comes to the magic show in 1941 to arrest him and Crowley, like, laughs at him and goes back to sleep. "We shant, this is ridiculous."

In a room (the bookshop) with both Heaven and Hell's top brass, somehow Crowley was in charge of that meeting.

Both Furfur and Saraqael really really wanted him to remember working with them.

The Metatron knew he had to separate Aziraphale from Crowley in order to effectively manipulate him.

Like. He's unafilliated from both Heaven and Hell at this point, everyone (but Aziraphale) hates him, and yet people listen when he talks. People do what he says. It's incredible.

[keferon]

*clasps your shoulders gently and looks you straight in the eye*

Keferon. Please read Ninth by Kyn on AO3. I think you would love it very much. It has a large chapter count, but don't be intimidated, it's very easy to get into. It is currently unfinished, but is being updated regularly.

You are the seventh person that recommended this fic to me so ahahahaha yeah

I’m doing great Help I hate some parts of it but I love the other parts I’m spinning in the blender

…..I made the moodboard….

[julijbee]

girlbossing too close to the sun.

[unclewaynemunson]

Eddie loves calling Steve all kinds of Hebrew pet names. In the beginning, Steve doesn't understand what any of them mean, but the love in the way Eddie pronounces the words is so clear that it makes him melt every single time. As he starts learning more Hebrew, he starts using Hebrew pet names for Eddie too.

While Eddie loves using a wide variety of pet names, his favorite will always be neshama sheli (נשמה שלי), which literally translates to "my soul." He loves it because of how poetic it is, and it's a safe way to tell Steve how much he loves him when it's still too scary to say those things in English. Because it rolls off his tongue so beautifully, it soon evolves into something natural to call Steve.

Steve, on the other hand, starts out sticking to a simple ahuvi (אהובי - my love). Learning the language doesn't come easy to him, but as he grows more confident incorporating some Hebrew words and phrases in his vocabulary, he starts to love calling Eddie ugiya sheli (עוגייה שלי - my cookie). He learned that one from Wayne as a joke; Eddie pretends to hate it, but Steve and Wayne both know better.

[furious-blueberry0]

Star wars fans stop projecting your problems with Christianity onto the Jedi challenge: impossible

[fjordfolk]

Pretty sure if you checked my most-uttered phrase every year for the last 10 years would be "no, Sparta."

[mem-fr]

an antidote worse than the poison