#that episode with the humans is actually terrifying

[mainenorth]

what in the sam hill is beast wars s3. what the shit is happening

[izunias-meme-hole]

... Something something, The Rokkenjima massacre began not due to Sayo's game, and not because of Kinzo's past BS. Granted those things were key factors of it, but not the root of the actual murders. Those were gears in the time bomb. The real massacre began due to the paranoia, greed, and literal years of pent up emotions of the Ushiromiya siblings. Kinzo's shitty parenting made them like that, and Sayo just so happened to place the tools for it all to go down, and that's arguably more horrific than any witch story.

Also fck Rudolf Ushiromiya and Kyrie Ushiromiya, but they both die anyway so I guess their graves might as well be toilets.

[sunflowersandcherryblossoms]

Karakura Team? No, fuck that!

Seireitei Team!

[suncaptor]

The episode where everyone gaslights Deluca because he's has a few symptoms of mania (that are uhhhh not more severe than many of the nonpathological moods other characters on the show have had at different points) is SO upsetting like he tries so hard to protect this victim of human trafficking and no one believes him so she never gets help and then later on he literally gets killed too because of it 👁👄👁

[object-obsession]

Recess [one episode] > Pegagus, other bicycles, tricycles and a schoolbus

Inanimate Object Characters List | Entry: 48

It seems like a lot of the series I used to watch during my childhood had an episode (or in this case: a portion of an episode) dedicated to sentient objects. Nice. Very nice.

This short story was from a Recess compilation episode of three Halloween tales. "When Bikes Attack!" was the second story.

So technically, even in within the series' universe, these objects being sentient is merely fiction - it's just a tale. Even so, it counts, because the entire show is fiction anyway, so what's the difference, am I right?

Characters: Pegasus, horde of bicycles, tricycles, a schoolbus

Episode: Terrifying Tales of Recess (2001) | Tale: When Bikes Attack!

[yourbuerokrat2]

I think Data came to 'that' conclusion because it actually made kind of sense to most of the crew considering none of them really knew how Q was around Picard when Picard and Q were alone. For exemple, all that Data had seen so far from their interactions were Qs teasing, Qs introduction as Robin Hood and everything else he had only heard from Picard. And I doubt Picard ever told any of his crew that Q appeared in his bed twice. And then there is the clear difference in evolution, which I think is also something Data is aware of and factoring in. After all, Q is a being far above anything organic and of a life form for which the 'laws of physics' are only suggestions at best. It would also not be amiss to assume that the Q exist on more than just three dimensions and he is basically immortal and already so old that a humans life span should mean nothing to him. So, to Data and some of the crew, any fondness Q has for Picard would evolutionary be more equivalent to a human being fond of a small fish or, even worse, an amoeba.

[bumblingbabooshka]

Janeway really said “I’m gonna hunt him down no matter what the cost. No matter how long it takes. If you wanna call that a vendetta-” like ma’am you KNOW that’s a vendetta there’s no IF

[reineyday]

"how laughable that the head of the soul reapers would awaken the dead" ok wait but. theyre already dead? i thought the whole point of soul society/hueco mundo was that dead souls go there, and yet ur telling me dead souls can get even deader and yet still remain alive enough to be "awakened". is that what ur saying.

[becausegoodheroesdeservekidneys]

would love your opinion of the newest episode of DW, if you get the chance.

HAHAHAHA YES I HAVE MANY THOUGHTS

Alright okay so

I only have one complaint, which is that that wasn't a faerie ring. You could still have the shamble, no problem, but it should have been over the top of an actual faerie ring, which should be a mushroom (or, at a push, stone) circle. Not some cotton that would blow clean off the cliff edge in three minutes.

HOWEVER

This is the first time I've seen Doctor Who do a time travel story using, not Doctor Who time travel lore and rules, but Welsh faerie rules. (First time I've seen anything do it, in fact.) In Welsh myth, people who enter faerie rings or get entranced by the music become suspended in time, out of sync with the real world. They think they danced for a night, but when they return it's been 100 years, and they crumble to dust as soon as they eat/drink/step on land/etc.

In this case, this is what I think happened to Ruby. She spent that time in Annwfn, seeing what would happen if the binding on the ring was broken. When she 'dies', she returns to the spot and lasts long enough to give her younger self the warning, then crumbles to dust.

But, a time travelling Ruby is not the woman who follows her throughout the episode. That, in fact, is a gwyll.

The gwyllion were hag faeries, usually of mountain tops (though Pembrokeshire's liminal cliffs are 100% from Welsh mythology - it was said that if you found a faerie ring on one but only put one foot in, you could see the faerie islands in the sea. And that faeries used to visit the human markets in Pembrokeshire and Ceredigion. So while gwyllion are unusual there, it's not an impossible relocation.) They were malicious and sometimes vicious faeries who delighted in making people lose their way, could strike an uncontrollable and ungodly terror into travellers, and who feature in more that one myth as an old woman that someone tried to approach, but they always appeared at the same distance away, impossible to catch up.

CAN YOU SEE THE PARALLELS

And the best part!! Is that this is why she defeats UNIT!!!

Kate tells Ruby that her agents have necklaces of silver and salt to keep out the supernatural, but that's just generic fairytale shit. That doesn't work on gwyllion. Salt drawn in a line would provide a barrier, but the UNIT soldiers aren't trying to trap or block the gwyll; they're trying to capture her. What works, very specifically, is a knife. Iron or steel for preference of course, but it needs to be a knife.

But UNIT has no Welsh employees and the soldiers have guns, not knives. And so they all become entranced.

(This is also what I think the gwyll 'says' to everyone to turn them against Ruby. She doesn't say anything - she sings.)

This is also the first time I've ever encountered any mainstream media doing Welsh faeries and understanding the tone to strike, which is 'unknowable, unstoppable and fucking terrifying'. I think I've only ever read it in Catharine Fisher books, and she's a Welsh author so... yeah, obviously. But I basically vibrated with delight and excitement for the entire episode.

Oh my god, hang on, Roger ap Gwilliam! Okay, I have two theories about him.

My weaker theory and the one I don't like is the kind of boring and obvious one, which is that he is himself not human. A lot of Welsh folklore features the devil, and I get that vibe from his role in the story. But, I'm not keen, because I can't see the link to the gwyll.

But my strongest theory, and the one I have chosen to believe, is that he's a human who made a deal with the Fae for power, and then reneged. There's a Metric Fuckton of stories about humans fucking up Fae gifts in some way, and the punishment is usually something ironic but always results in the loss of the gift. It could be a faerie harp that makes everyone dance, and the Fae tell the giftee not to abuse it, but they cruelly force everyone to dance so long and so hard that the faerie returns, takes back the harp, and then takes the human's ability to ever make music again, so example (by taking fingers or eyes or tongues as well, often.)

So I think Mad Jack strikes a bargain for power - but, then tries to abuse that power (nuclear war). But part of the bargain is that the Fae cannot approach him directly ever again. In the real world, they therefore tempt him into the faerie ring and bind his soul there, problem solved - until the Doctor accidentally lets him out, and gets his own soul stuck. Ruby, therefore, becomes the instrument through which they manage to take that power away once again - and then, her final Fae gift for her service is that they use the temporal anomaly of the faerie ring to send her back, at the end of her life, and give her a second chance. This time, with Mad Jack's soul left bound in Annwfn.

The fun part is, RTD is a writer who understands the power of not explaining everything and leaving some things up to the viewer's imagination, so none of this is ever going to be explained lol. But yeah, that is a gwyll. The moment she appeared, I said out loud "Oh holy fuck, gwyllion." That was a gwyll.

As a final observation, I loved seeing Siân Phillips, and I choose to believe they filmed those scenes in a pub because they could only get Siân if they agreed to just come to her local. The woman is a queen.

[possible-eldritch-catboy]

hrhfhgshsjshdf just saw some Amazing horror animations,, currently eating up the emotional depth communicated by juxtaposing distortion and love and selfish pleasure and violence all in one beautiful showstopping piece,,,, snorfing it down rn absolutely stuffing my face. you catch me tearing into it with my hands and shoving it in my face while crying just weeping in the dark it's So good god I love animated horror so much god I love art g o d ,, ,

[twilightcitysky]

Everything Is Meant (long S2 analysis, part 3)

Part one

Part two

There's SO MUCH excellent meta out there right now, and I'm going to try not to reinvent the wheel too much, but I want to keep going with tying the episodes/ elements up together because on first watch it wasn't entirely clear how everything fit. I also strongly recommend a rewatch, no matter what you felt about the ending... if you need to stop it 10 minutes early, do that, but you pick up so much more the second time around.

So: Maggie and Nina. I spent most of my first watch wondering why we were bothering with them, honestly. Later in the season Nina, and then Maggie and Nina, gave Crowley some insightful advice, but their actual relationship didn't progress despite all the meddling, and the amount of emotional investment BOTH Aziraphale and Crowley had in making them get together was frankly strange.

I started thinking in terms of mirror couples, since that was such a big deal in S1 and that's clearly what they were set up to be, but I made the mistake that all of us made on first watch: that Nina was Crowley and Maggie was Aziraphale. It still wasn't really coming together.

Then I put the psych hat back on and started to think about displacement. Displacement is a defense mechanism, and it consists of satisfying an impulse (usually an unconscious one) with a substitute object. At the beginning of the season, Aziraphale and Crowley aren't really in a good place, and I think on some level they know that. Aziraphale is trying to SHOW Crowley that he wants to take the next step through all the casual touches and phone calls and inviting him in, and feeling frustrated because Crowley doesn't seem to be taking the bait. (I absolutely think that Aziraphale tried to get Crowley to stay with him at the bookshop instead of living in his CAR, and Crowley said no. That's a whole other meta.) Meanwhile, Crowley, I think, is waiting for a Grand Gesture. Where did he go, as soon as Aziraphale brought up trying to get two humans to fall in love? Romantic tropes. Getting caught in the rain under an awning. A dramatic kiss that opens someone's eyes. That's the sort of thing he's always done, right? Big rescues, impassioned pleas on the street, fancy dinners, "give you a lift anywhere you want to go". He's defensive and guarded and unlikely to let someone in unless he's CERTAIN he won't be rejected, and Aziraphale's approaches are just too... quiet. No one's fault, they just don't speak the same language.

Then, they're handed the opportunity to make two humans fall in love, and they're both All In immediately. Look at Crowley's face when he summons the rainstorm. This is HUGE for him. Why? Because of displacement. Look at Aziraphale arranging the ball and being borderline deranged about it. They're both desperate to demonstrate what they think it takes for two people to move past their misunderstandings and fall in love. They can't do it for each other because the stakes are too high, and if either of them shows their cards unequivocally the vulnerability feels life-shattering. They're codependent and terrified of rejection and also, importantly, have no idea what they're doing when it comes to love. "Saw it in a film", Crowley says. Aziraphale's read about it in books. But they have zero practical experience.

Instead of learning to communicate, they try to say what they want to say through the medium of Maggie and Nina, up to and including the questionable moral decision to exert control over people's actions and thoughts during the ball. If I can just make this come out right, they both think, then things between us will be alright too. It HAS to come out right. They're attempting to gain some control over their own lives, over something that feels so overwhelming and shattering they can't look directly at it.

It doesn't come out right. Nina's relationship falls apart, but that doesn't mean she's in love with Maggie. While Crowley's stress-cleaning the bookshop to the music that played when Aziraphale got his books back in 1941 (just fuck me up David Arnold), they come in and tell him so. "I don't understand", says Crowley. Because it should have worked. Why didn't it work?

They tell him, of course. "You need to talk to each other. Say what you're really thinking." But here's the thing about communication: you have to learn it. You need to get the hang of expressing your feelings without blaming your partner, and separating intent from impact, and staying away from getting defensive and lashing out. No one has ever taught Aziraphale and Crowley how to do this. It's like Maggie and Nina put Crowley in front of a loom and asked him to recreate the Bayeux Tapestry. He doesn't have the skills; he's always going to get it wrong, even if he tries his hardest.

And he does try. But that's where Maggie and Nina the mirror couple, rather than Maggie and Nina the displacement relationship or Maggie and Nina the Greek chorus, come in. Aziraphale, as Nina, has just ended an incredibly toxic, invasive relationship with Heaven. A relationship that invaded every facet of his life, isolated him, and prevented him from being close to anyone else. "Rebound mess," Nina says. Aziraphale is a rebound mess. He's transferred the responsibility for his emotional wellness to Crowley. Crowley is the person he calls when he's in trouble, or (and this is key) when he wants to report a clever/ good thing he's done, or when he's bored. (At no point did Crowley reference Aziraphale calling him for a solicitous reason-- another problem.) Crowley is meant to take care of him. He forgets, I think, that Crowley is a person with his own wants and needs, just like Maggie and Nina are people with their own wants and needs who don't appreciate being messed with. (I think things would have been much different had Aziraphale BEEN THERE for Maggie and Nina's talk with Crowley, but he wasn't.)

And Maggie-as-Crowley? Lonely. Behind on rent, at risk of being evicted (it's important to note that Aziraphale saves Maggie from losing her record shop, as he couldn't save Crowley from losing his flat). Pining. Awkward. Revolving around Nina like a planet, to the extent that we don't get much of an impression of her otherwise. They realize, there at the end, that they both need to round themselves out before jumping into a relationship. Aziraphale and Crowley need that too. They need to take time apart and learn to be healthy on their own. Unfortunately they don't have the skills to get to that conclusion in a healthy way, so it all explodes in their faces and everything falls apart.

Aziraphale tries to teach Nina and Maggie to dance as a substitute for communication. Nina and Maggie try to teach Crowley communication as a substitute for the dance they've been doing around each other. That's the reason they're a part of the plot: they exist to demonstrate the way Aziraphale and Crowley might have succeeded in forging a better dynamic. Sadly, the boys' dance is too practiced and they got sucked right back into it.

It's okay, I think, that Nina and Maggie's storyline never really went anywhere. It wasn't supposed to. It's an allegory, not something that needs to stand alone.

[mako-neexu]

i need to see who the director and animators and storyboard artists are for these episodes its absolutely insane. its seriously insane. everything has me speechless. if the narrative told you she only provided support and cover fire in himmel's party, the very party that slayed the demon king, you would never believe it.

literal chills the clone so coldly glared (keep in mind this is a clone, just a thing that's imitating memories and doesnt have a mind of its own. so the real deal's glare must be harsher) after it was backed into a corner by frieren and fern forcing it to use a spell where even fern couldnt sense any mana from that attack. its not even recognized as a spell. fern couldnt see what hit her when the clone was forced to use something so powerful enough to fern, frieren's apprentice thats been said by time and time again to be a monster of her own right against demons and even fellow mages.

the fight also near the end literally shows how capable frieren is even without her staff. just like when she was imprisoned, the demon that came in to dispose of her was literally nothing more than small fry. actually, that guy probably was even nothing to her. it took her absolute zero effort to kill draht so she's absolutely still capable of killing someone without a staff just like flamme.

from the literal black hole spell, a spell of hellfire where even being in contact in the same room with it would damage a normal human, a spell that seems more like terrifying version of zoltraak- which looks like plasma itself and strong enough to destroy frieren's barrier, to a spell that even shatters the fabric of reality, they really went all out for these fights since the manga was fairly fast paced when it comes to this part. but these displays were amazing in showcasing how terrifying frieren can be when backed into a corner.

[ohnohelpitsagain]

so, not to be insane about it on main again but a bard’s lament is one of my favorite episodes and i really think it’s gonna happen this season so i’m just gonna get into it again.

so, i like things that are emotional and messy and difficult because they can be incredibly human. and a bard’s lament is one of these things! however, i also think there’s, a lot of times, a sort of inherent misunderstanding about what is actually happening there. and to be fair, i think it’s totally natural to misunderstand on instinct and that’s kind of the point.

it’s easy to get caught up in what scanlan’s saying because sam delivers it all so well, but i think what gets missed a lot is why scanlan is actually saying it.

i think most people’s instinct is to say “oh it was vox machina’s fault for being bad friends, they reacted poorly” and “oh it was scanlan’s fault for only ever lying or joking when they questioned him” but the thing about situations like this is that both things can absolutely be true. no one won in a bard’s lament because no one ever wins in a situation like that.

scanlan was in a situation where he says most of what he says because he’s in an absolutely awful place mentally. everything has been building up and has lead to this exact moment and it was a perfect storm of across the board miscommunication and emotions and confusion. he says things that he knows will hurt the others because he’s angry and embarrassed and deeply depressed and the safe thing for him to do in that moment, in his head, is to push everyone away.

and yeah, vox machina react somewhat poorly to his outburst but at the same time why wouldn’t they! they were terrified they were going to lose their friend and now they also feel extraordinarily shitty and guilty and they’re faced with a reaction that none of them have the tools to handle. depression is an extraordinarily powerful and immensely illogical force sometimes, so yeah! scanlan said stuff about situations that he was interpreting in the WORST possible way and yeah the group didn’t know where to put that. so it’s not really about them not knowing his mother’s name. and it’s not even fully about the pudding or the prank. it’s about how it, to him, reiterates what he feels about himself. that he’s embarrassing and useless and no one really cares about him. BUT THAT’S WHAT MAKES IT SUCH AN INSANE PIECE OF RP!

because logically, of course they care about scanlan even if they aren’t perfect at showing it. there are MULTITUDES of examples of that! but scanlan doesn’t care about scanlan right then. and not much can get through that level of self loathing in that moment.

[valtsv]

i would love to hear more of your thoughts on michael shelley!!! 🌀🚪✨

you're in luck because i've sat on thoughts about him for years and i finally feel like i can articulate them. because michael shelley is such a well written case of tragic horror in the horror tragedy podcast. and, despite my criticisms of season 5, it really did do an excellent job in concluding his character arc with the gertrude backstory episode. in a podcast where a common in-universe theme is that knowledge, and the pursuit of knowledge, is dangerous, michael is a subversion in that his ignorance of the horrors of the world he lived in not only didn't save him, but was intentionally engineered to make him vulnerable to exploitation and harm (which, on a broader scope, emphasises the futility of the world of the magnus archives - regardless of whether you participate in or turn a blind eye to the systems at play, involved or uninvolved, you are not safe).

furthermore, i really appreciate the subversion of traditional tropes of the sacrifice as a typically female figure taken advantage of by a male father, brother, or lover, whose tragic and horrible death is used to motivate him (whether to greatness or self-destruction), with michael being a son sacrificed by his mother (or grandmother) figure, who never actually loved him and whose 'frail' and 'nurturing' qualities were weaponised incompetence used to gaslight and manipulate him - and who continues to operate successfully (at least in terms of what can be said to be 'success' in a world like the magnus archives) without being haunted by any apparent doubt about the decision she made, or any hesitation to use others in similar ways, following this betrayal. which makes the fact that he's sewn into the fabric of a being that represents lies in their most insidious form, used as a weapon to devour people and destroy their lives, all the more abhorrent in hindsight - he is forced to not only relive his trauma in an endless loop (or spiral, if you will), but to become the mechanism which enables it. michael is taken to the edge of something evil (at least from a human perspective), and pushed over the threshold with no hope of recourse. there's almost a reverse orphic quality to it - he descends into terrifying other world, one which exists side-by-side with but fundamentally seperate from his own, against his will, and looking back will only cause him pain as he's assaulted by memories of a life he will never be able to reach.

i think a lot of people forget to look past the surface with michael, despite there being an entire episode dedicated to doing so. which is understandable, he's a very outwardly expressive character - but this is intentional obfuscation to hide an incredibly damaged victim whose hatred of this part of himself is integral to his entire reason for being, and which the rejection of causes him to be unmade, incapable of existing as this contradictory nightmare any longer. it's a mercy killing, and yet it is violent and painful, because michael cannot and should not exist, and excising that graft used to muzzle the distortion is as agonising as latching it into place was in the first place. when michael-the-distortion says about michael shelley "he was born. he was pointless. and he should have died." there is an implicit longing there, a rage at the way he was used, his decisions made for him and used to imprison something else instead of ever being allowed to exercise any measure of free will. because michael shelley probably would have died for the archivist, given the opportunity, but he never got the choice.

[anonymouscheeses]

Obvious shit I noticed part 3 (spoilers for welcome to heaven)

Look at her! "Teehee"

Also she's nervous! Foreshadowing omg 🤯

STICKERS! Two pride stickers and a cute donut. Gives me an idea to draw Chaggie at a donut shop while everything is burning down <3 (I'll probably do it but if any artist wants to as well go ahead!)

*CHOKES ON COFFEE* I LOVE THEM. I'M SORRY I GET SO GIDDY WHEN THEY HAVE EVEN THE SMALLEST INTERACTION BUT UGHHH I NEED MORE, IT WILL NEVER BE ENOUGH 🙏🙏

KISSY! MWA! *SCREAMS INTO THE VOID*

Vivzie give me more, moar now. MOAR

DAMN. SHE CAN THROW- or maybe it just exaggerates the perspective in this frame but still- ZAMNNN

Cherri x Sir Pentious fans RISE UP.

I wasn't ever really a fan of it myself but I always thought it was CUTE. Like 3 seconds before this part I was already begging for them to kiss 😭

More foreshadowing!

AAAAAA CREEPY BIRD THINGS!!!

Oh wait- Sera's hot and Emily's already adorable

If heaven don't look like what this is in the show, I DONT WANT IT! (THATS A JOKE PLEASE DON'T SMITE ME)

JEALOUS GIRLFRIEND VAGGIE!! Can I just say how much I love Vaggie's face expressions? Not just here but like all the time. She's just made to be so exaggerated, out of all of them I thought it would be Charlie who would have the most dramatic faces but Vaggie wins it for me. I JUST GIGGLE SO HARD WHEN SHE LOOKS LIKE THIS BAHAHAH

Okay yeah. It's very obvious now. Vaggie is definitely an ex-exterminator. They don't close in on Charlie here so it's made to subtly nudge the attention to Vaggie. HOW DID THEY IMMEDIATELY NOTICE IT WAS HER THO??

Hot-

That's it.

SHARE THAT MOTHUSSY GIRL-

YOU'RE TELLING ME SHE GREW OUT ALL OF THAT HAIR?!? YEAH ITS BEEN A LONG TIME SINCE THEN BUT STILL AJJSJD.

But overall the design is pretty meh. I always loved the idea of short hair Vaggie and even have seen art of it but it's just yknow, alright. Reminds me of Cassandra from Tangled: the series. IM LISTENING TO ONE OF THE SONGS RIGHT NOW HELPPP

THIS SCENE HERE! WOOOOO! SO GLAD WE KNOW WHEN AND WHERE THEY FIRST MET!! Wish we got it extended tho. And also probably push it to next episode so it would have a better impact(atleast I think thats when they'll have the duet). BUT WHATEVER SOMETHING IS BETTER THAN NOTHING! or uh whatever

Vaggie must've been a bit terrified at first. The only sinner she ever sent mercy to was a child. Then to see someone who to her is an adult sinner who just looks really human, that must be crazy. BUT THEN IF SHE WAS TOLD THAT CHARLIE WAS ACTUALLY THE PRINCESS OF HELL? HOOOO, LOCK IN AND STEAL HER. THAT'S SOME WATTPAD SHIT. Also, I wonder how long Charlie thought of redeeming sinners. It would make sense to be after meeting Vaggie, since it could have been a wake up call to the fact not all sinners are bad people. Even though Vaggie isn't a sinner technically, Charlie didn't know that at the time. But maybe Charlie was always like this but just needed to meet someone who could start her dream with her. Long rant uhhh

Haha penis 🫵

SCRAP WHATEVER I SAID IN THE FIRST PART. THEY PROBABLY DO FUCK- OR DONT?? I DONT KNOW- ANYWAY LESBIAN SEX (BOTTOM TEXT). WHY DO I CARE SO MUCH??? SOMEONE PULL THE TRIGGER.

Lute looks like a basic asf anime gorl. Adam doesn't ever take his helmet off, or maybe he just can't. OH HE'S DOING THE GAY SIGN 💅💅 Very appropriate for what he's saying

Mentor, apprentice. I love that Husk is just trying to help Angel grow but isn't going to force him into it if he doesn't want to.

Im not a fan of huskerdust and think they'd be better friends as I can't imagine a relationship with them at all. But it's still nice and they are supportive of eachother so that's like- yknow. Basic rules. Or something like that. (HELP. I ruined it all at the last part)

I- girl- WHY IS SHE GROWLING?? GRR GRR RR (INSERT TWILIGHT SAGA HERE)

VAGGIE'S FACE. SENDS ME. WHO GAVE HER THESE OVERDRAMATIC EXPRESSIONS, I APPLAUD YOU RGAGAGA

Ooo... I didnt like this part at all... Instead of making the choice she just runs off. Then because the plot demands it, Adam says nothing. Kinda whish she atleast avoided the question, maybe in some way that would require actual thinking? For a character like Vaggie, she could choose either way and it feel like it's still her. If she chose to protect Charlie's dream, she would still be perfectly loyal to her but in the act of so would reveal a secret that could harm their relationship(which does happen at the end but that's because the plot wanted it like that). If she chose to side with Adam, she'd be hurting Charlie emotionally, sure, but it would keep a secret that could make Charlie see Vaggie less than who she is to her already(atleast what Vaggie might think would happen). Imo it should've been her deciding to protect Charlie, since it would mean she's devoted to her at all times.

ANOTHER THING! IF SHE COULDN'T MAKE THE CHOICE, THAT IS SOMETHING INTERESTING TO GO INTO. Maybe it could go deeper into how Vaggie doesn't know who she is without Charlie. So when she has a choice to make, like here, she can't do it without feeling the need to ask Charlie. BUT NOOO, YA HAD TO GO WITH THIS!! Wow. That was a long ass rant. Wtf 😭

Maybe I'm a dumbass. Maybe they'll talk about that next episode, but still, atleast touch on it a bit to not seem rushed?

Angel looking out for his kids like a mom. We always did need the motherly figure, the one closest to that being Charlie but girl needs a mother in her life too(damn, wait, I did her so dirty).

Huh, so why does it work here then? 🤨🤨 if it was said in the contract that Valentino can do whatever he wants only in the studio, then why is this the exception? 🤨🤨

Yes I'm stupid. Why do you ask? (No genuinely what's happening here)

OH ITS THE IMAGE! I really like Sera so far, hope we get more of her soon or in season 2.

Now that we know the context of this, yeah, that's fucking insane. And badass. WOMEN.

HMM. THATS STRANGE. DID YOU NOT FOR ONCE THINK THERE COULD BE A POSSIBILITY SHE MIGHT HAVE BEEN AN ANGEL? Okay I probably wouldn't either but I have an excuse, I'm an idiot. Some girl with a standing out outfit, with one eye, looks unusually human, right after/during the extermination... that's pretty solid ass proof. But I'm dumb so don't take anything i say seriously :D

Imagine this. No- shit. Just-

JUST LOOK! THEY ARE SO CUTE! EVEN THOUGH CRAZY SHIT IS HAPPENING.

*SWEATS*

Vaggie is DESPERATE. PLEADING. That's obvious yeah, but don't mind me I had nothing to say for the last 3 images I just thought they were cool

I mean. Slay I guess. 😍💅

Do all the exterminators look similar or is it just Lute and Vaggie? 🤨

Even though Vaggie and Charlie may be going through this horrible thing with a hard punch in the gut, but Vaggie is always going to comfort her and I just think that's so adorable.

Also Adam looks like a chicken hah.

Everyone fears to be like Lucifer. If they don't do bad things they believe are for the greater good and make sacrifices that put them higher than those in hell, they could themselves be fallen. It's really interesting but I don't know if it's going to be fleshed out enough with the amount of episodes left. Which also worries me about everything else that still hasn't be concluded. There's gonna be loose strings I just know it. Hopefully though they rather do that then rush everything out y'know?

I want the next episode to be mostly focused on Vaggie and Charlie's relationship and the healing of what happened. Not for the entire episode of course, it would feel drawn out if it did, but atleast address the problem for the first like I would say 10 minutes? Then the rest would focus on one or two loose threads while also having Vaggie and Charlie acting upon moving on. That's just my idea but yeah-

[autumnmobile12]

7 Ways to Introduce the Villain.

1. The Shadow

A lot of series go with the classic 'ominous shadowy figure in the background.' Here's Silco in Arcane. Sinister voice, sinister dude, sinister intent. Boom, you have your villain.

2. The Slow Reveal

Other variations of the 'shadowy figure' in which the series draws out the reveal of the villain. Avatar: The Last Airbender doesn't reveal the Firelord until the final season, but his presence is felt throughout the series. He's always this looming threat whose will is carried out by his underlings. (General Zhao, Azula, etc.)

3. The Fabulous Entrance!

Okay, so we do hear Ragyo on the phone a couple times before they actually show her face, but goddamn, this entrance. It is impressive and terrifying and, it perfectly suits the utter psycho that she is.

There is no normal expression this woman makes when she's 'happy.' She's always smug or angry or annoyed, but this face with her staring, manic eyes and smile still haunts me. Send help.

4. The Sudden Entrance

Shigaraki kinda comes out of nowhere in My Hero Academia. For the first few episodes, its all lighthearted and fun and dealing with Bakugo's BS and then the class heads off on a field trip and suddenly,

"Oh, shit! Plot is happening!"

This series started off with kids learning to be heroes, and now its tragedy and social upheaval and people's lives are in danger.

5. The Incognito Entrance

This is when some random nonthreatening dude/lady just kinda sidles into the plot the be the butt of a joke and later turns out to have been one of the villains.

This scene was so weird. Tyki is just minding his own business, scamming people at cards. Then Allen and Lavi show up looking for their friend (the guy currently being scammed), and even though he recognizes them as exorcists and his enemies, Tyki has to sit there and play it off like he doesn't know jack cause if he does anything, he's gonna blow his cover in front of his human buddies. And then he suffers the indignation of being stripped in a poker game in broad daylight because the main protagonist is absolutely evil with a card deck. And then he just walks away from this like it's a totally normal thing, not even really taking vengeance for it. (He went after Allen, sure, but that was more of a job than any personal vendetta.) He's not the main villain, but I couldn't resist pointing out how bizarre this is.

For those who haven't seen D. Gray Man, the guy in the center is one of the main antagonists, and though this is technically the second time you see him, the first encounter was so short it was practically a cameo and he was a Victorian-era, Dorian Gray dandy gentleman, not this hobo riding a train.

6. The Traitor

Since the Undertaker was more of a neutral party in Black Butler, I don't think he really counts as a traitor. Still, I don't think too many of us were suspecting the morbid jokester Grim Reaper was going to turn out to be a major antagonist later on.

7. The Protagonist

And sometimes the protagonist is the villain!