#sinful trio

[dykealloy]

i really hate recommending things on the grounds of "yeah just put 1000 hours into it and it'll start getting crazy good" but you should watch one piece

[t-u-i-t-c]

@userdramas creator bingo ✦ color palette

Kamen Rider Saber: Trio of Deep Sin (2022)

[insp: ✦]

[syntrimal]

The grudge of the dead lives on forever.

[fallingtowers]

so i'm watching dollhouse currently, and watching a non-buffyverse whedon joint has got me thinking about the phenomenon of whedonspeak. it's fascinating to me, because there have been plenty of moments in dollhouse where a character has said something patently whedonesque and i've been like :/ ahh yeah i see why people can't stand this style of writing. but on btvs, where the dialogue is generally a lot more heightened than on dollhouse, it really doesn't bother me at all (outside of a handful of really egregious examples).

the big reason for this, i think, and the one i always bring up when i'm defending the dialogue on btvs, is that on btvs it always felt like a tool of characterization. at first blush it may seem like e.g. buffy and willow have very similar voices, but the truth is it's all stylized, but in different ways. and btvs is so good at characterization (a lot better, i would argue, than dollhouse) that by the end of the show you know the characters' voices so well that you can clock it instantly when a line isn't 100% in character. it helps, i think, that btvs is patient zero for this kind of dialogue -- it became an established style of the show, but it wasn't yet an established style of writing in general (note that before it was known as whedonspeak, it used to be called "buffyspeak"). it works well because it's tailored to the tonal sensibilities of btvs, whereas if you just slap it onto any old story it's bound to feel incongruous and grating.

(also, as a sidenote, by and large, btvs knew exactly when to drop the banter. that's another thing -- these days whedonspeak as a concept is so bound up in people's minds [and with good reason!] with that particular brand of annoying mcu-ass ironic storytelling that has to mock itself at every turn for fear of coming across as self-serious. but btvs is a very heartfelt work of art! it [not always, but often] takes the emotions of its characters seriously! when buffy comes home and finds her mom dead on the couch, she doesn't go "well that just happened." you hit a certain threshold of dramatic weight and the whedonspeak falls away.)

there's another reason it's become so pervasive, though, i think, and it's one i kind of sympathize with. it's got to do with the demands of television as a medium. i think modern tv and film is the form of storytelling that has the biggest gulf between Showing and Telling. like, in a novel or a comic or whatever, you can just use narration to shed light on a character's thoughts or plans or whatever, but on screen you don't have that luxury, and these days voiceovers and flashbacks and stuff are generally regarded as being kind of graceless. so you've got Showing, which always runs the risk of being too vague and confusing, and you've got Telling -- and dialogue is really your only method of Telling -- which comes with a whole host of potential pitfalls. it might feel too on-the-nose, or too stiff and contrived. or it might commit the cardinal sin of 21st century entertainment: being Boring.

that's the thing, right. screenwriters are always trying to figure out how to do good exposition. one instance of dialogue i found grating on dollhouse is a scene where echo is dreaming, and the audience needs to be told she understands she's dreaming. so what do you do? in writing, you'd just describe her moment of realization, but on tv you can't do that. so instead, they have echo go, "oookay... i think we can all agree this isn't real." which like, if we view it as an attempt to content with the limitations of the medium, it makes sense! she's alone, so she has no reason to say "this is a dream," so we solve that problem by having her make a little joke to herself. but in practice, it just kind of falls flat.

in conclusion, the art of writing dialogue is one thing and the art of writing exposition is another, and neither is at all easy, and in screenwriting specifically they often dovetail in a particularly torturous way. we're still gonna be trying to figure this out when the sun burns out probably. i certainly don't have an answer. i do have a piece of advice though: watch buffy the vampire slayer. it's really good, and the dialogue is only a little annoying

[beautynthesin]

working on the ot3 merch and the shape logistics again i cant wait to finish it and have the kickstarter up

[spidersins]

don't mind me...just screencapping angel living to piss off his boyfriends x

pry radiohuskerdust from my cold dead hands cowards

[rosalinesurvived]

Yosano’s just as willing to off herself as Kunikida is for the Agency and you may think its different because for him its to create a purer, ideal world and for her its to cleanse herself yet its the exact same thing because you can imply that they’d see the world as better without them in it and yet they’re both trying to help the Agency because what’s left of the world if you’re not in it, what’s left of the world? and I forgive the world because it has you

and also Yosano usually delegates herself to the medic position so she doesn’t have the oppourtunity to get suicidial incentitive but but by god that won’t stop her from thinking kunikida’s a silly billie for his desperation

[thesupernaturalhouse]

I vote we call eve x lucifer x lilith soemthign with an apple in the name

If we're not mashing their names together, luclieve?

Liek, apple trio, sinful apple, idk but apples gotta go somewhere

[nightingaletrash]

fem!Hawke x Isabela x Merrill is something that can be so personal actually

[hidengifs]

Trio of Deep Sin Cinematography

[sealrock]

youngest sister // only daughter

[juniperhillpatient]

thinking about relationships that never got closure. about ghosts as echoes of your worst mistakes. about hauntings & tragedies & ghosts trapped in a moment of heartbreak forever forced to watch everyone else move on…

[raiberryz]

Inazuma Eleven (Game/Spoiler) Chapter 8

Gouenji: Ugh... I hate Kidou

Gouenji: I can't stand him

Gouenji: God please send him to hell no matter what.

Gouenji: Trust in each other? Trust him??? Impossible! I don't want to practice the Inazuma Break with him. No, I'm never going back.

Haruna: Gouenji-san please come back!

Gouenji:

[lysette-lavenders]

So I finished the thing I teased with the chibi Lysette sketch.. I offer thee two slytherin guys. I drew them older, of course! ☺️

[kanouseis]

“i always knew that i wouldn’t be able to save everyone. that’s why… i will carry the whole weight of this burden.”

“i… actually cannot use magic. but… i will save you, no matter what!”

“thank you. you’ll be okay now...”

(song: meikyou shisui by kocho)

[spidersins]

*taps on microphone* uhhhh so amv of cherri, angel & verosika to the song 'sexy naughty bitchy me' when???