#this whole scene is so fucking. god

[azumasoroshi]

i have no idea what episode this is

cannot believe the sexual tension here actually

dude i dont really have a preference between the original and the later anime art styles but damn does shizuo look good in that shot. like normally he's funni angry man but bruh my heart skipped a beat when he grinned.

someone in the comments was like 'why does shizuo look so excited when izaya drops the knife from his sleeve' and it made me choke. he does look kind of excited doesnt he. this really is their foreplay

part 2 will be linked in a second because im trying to shorten my post lengths pfff

anywaybaby girl looks so ugly in these shots

(edit: this is episode 16 of durarara season 1 ty @/pineapplething)

[sosweetsolonely]

i can be gentle. how's that for gentle?

jacob elordi in he went that way (2023) dir. jeffrey darling

[remyfire]

[pixlokita]

Page 28 (internal screaming)

Previous - next- first

[umbrace-rambles]

Clipped & stitched together the whole awakened Lucci vs Nika part of 1100 for the madlads like me that want to have it together

[icantdothistodaybruh]

yea sooooo I may have or may have not watched and instantly rewatched all kuro musicals in existence in a spawn of one week and now have roughly 40 screenshots to redraw from

I think I might be insane or something

[lazycranberrydoodles]

wei wuxian really put his whole pussy into the donghua yiling patriarch reveal huh

[simplykorra]

beatrice + every episode - episode 8: "proverbs 14:1″

[hellishfig]

just finished www #23: on your way, and i have many thoughts. all of them make me want to cry.

ame knowing as soon as she got back to the cottage that her actions had burned a bridge, not just with the citadel but with one of her best friends, and yet still needing to complete her tasks as the witch of the world's heart. the spirits she awakens so as not to leave the cottage untended or unprotected, and the way she asks and does not take. the note she leaves, should her friends make it there.

eursulon in the fire, followed by the man in black, who is a brother in the way all spirits are brethren, but not the sibling eursulon seeks. leaving through the burrow, fighting monstrosities, and seeing the citadel raze cities to ruin beside a jungle of rot. finding the tree. his tree. the tree that is emblazoned on his shield, his coat of arms, what he fights to protect. and inside... his sister. a family she made for herself.

and suvi. hurt but still afraid that ame will die if she stays. determined to not let that happen. conversations with steel where she says that another wizard said that the wizard sly lied, or did not tell the full truth. commiseration, but suvi holds back the full truth, and suspects steel of doing the same. an airship to fly north. to protect ame, yes. but the mage armor mean that no creature or spirit or witch will ever be able to touch her again. broken trust, if not broken love.

and through it all, the thread that the citadel represents a threat to the world's heart itself, and to all spirits beyond. the council of elders wishes to neutralize that threat. grandmother wren did not.

questions moving forward: what is the true purpose of the war on gaothmai being waged by the empire? why does kalaya's family look like suvi? is suvi going to have a villain arc? i have my theories, but i'll get into those in other posts.

thank you to the worlds beyond number cast and crew for giving us this incredible story. i'm so excited to see where you take us next.

[glittergoats]

And mother looks away—

father looks away—

for a second.

[nyaskitten]

This is such an insanely good scene To Me and we genuinely do not talk about it as often as we should even though it makes me so autistic... So I'm just gonna analyze it, looking mainly at Ras' manipulation tactics.

First, you have Ras, pissed off in an alley, angrily complaining about his woes, when suddenly Beatrix approaches him with an offer. (This scene will later be paralleled in the finale, but Jordana takes the initial role of Ras, and Ras takes the role of both Beatrix and himself, the Approacherrr and the Manipulatorrr.)

Ras stops, because he hears Beatrix's footsteps before her shadow appears on-screen, and based on the lighting the shadows appear to be pretty long, this scene occurs either early in the morning or late in the afternoon. We're gonna go with early in the morning, as a reverse parallel to Jordana's scene, which is pretty late at night, so already you got an additional parallel.

Ras turns around to see Beatrix approach, he gets her name right the first time, but then proceeds to ask if she could be Zeatrix instead in a slightly fake tone. She reacts angrily, of course, and Ras feigns surprise at getting it wrong, and bows respectfully, as a means of apology. This was the immediate start to his manipulation, in "confusing" their names, he was feeding into Beatrix's anger, which he continues to do in this scene, and then later on with Jordana, both in the s1 finale and in season 2!

When Beatrix says she's interested in Ras' offer of unlimited power, he seems like he may be genuinely shocked at her willingness to join him, however given the tone he takes on, this may be another tactic to further play into her anger, asking her why she'd do it so she could explain, and just get even angrier.

When Beatrix vents about how Zeatrix's birth robbed her of elemental power and Levo's father, Ras says elemental power is a cheat, and someone who may not deserve it gets it anyway, this time wearing his manipulation on his face with a smirk, he Wants her angry, he wants her rage.

Ras then fakes a scoff and waves his hand around, asking a question he likely already knew the answer to, about Zeatrix being the future Empress of Imperium, and getting Beatrix even Madder as she explains she will be left with nothing, while Zeatrix gets everything.

Ras smirks yet again, and claims it to be a waste of her "true potential." Now, I have made a post about this specific line before (which I can no longer find) but basically, I think him putting emphasis on the "true potential" is Also meant ot anger her. Why?

Aside from real-world usage, in Ninjago, ones True Potential is, as we all know, them unlocking their element properly, so in saying it's a "waste of her True Potential," it's like Ras wants to rub in the fact that she lacks powers, that she can never Have that moment like her sister, where she finally figures out what holds her back, and unlocks her powers, because she's powerless.

Beatrix asks Ras to help her in seizing the throne, offering him the resources he needs to capture a Source Dragon, and in response, Ras bows to her, as he did earlier, and he goes "As you wish, Empress Beatrix," and he smiles yet again, he's succeeded, he's manipulated Beatrix, he's gotten her angry enough that she's willing to trust him, and murder her father to seize control.

Everything Ras did in this scene was to feed into her anger, hell, the way he glances at her at the end of the cold open, part of me thinks he Knew she was gonna follow, maybe he was anticipating it, hence, the glance. Ras was angry only until he needed to manipulate, in which case he became this instigating force, there to listen to Beatrix's rage, and make her even worse.

[fuckyeah-bears]

Havent been on tumblr much lately, been running around helping students with their encampments

[skunkes]

[novelconcepts]

Do you ever just lay awake at night, turning over in your head the stark difference in delivery between Hewson's Van saying--steadily, unshakably--"it's just something that's happening to you...happening to us" and Cypress' Taissa saying--imploringly, whiningly--"this was not just my dream, this was our dream"?

Do you ever just turn it over and over, how often Tai tried to scare Van away, and how it only made Van set her feet more firmly? How Taissa's first love was this person who saw a problem fall into Taissa's lap, a problem that was quite literally trapped inside Taissa's body, and decided unflinchingly: No, that's an us problem now? How she refused point-blank to walk away even with blood in her mouth, how she flatly informed Tai "I'm never gonna be scared of you", and promptly turned a moment of pain into a declaration of love? And how this would etch itself into Taissa for the rest of her life? How she'd take these things that worked with Van--with the person Van was, with the bond they shared--and try so hard to run through an identical script with Simone?

Except Simone is her own person. A completely different kind of person. A person who hasn't been offered any of the context, any of the realities going on inside Taissa. So: naturally she doesn't respond the way Van did at eighteen--and will go on to do all over again in her forties. Naturally, she hears our dream as the excuse it is, not as a plea for connection. Naturally, she is scared away when Taissa pushes, and shouts, and begs. Because there isn't blood in her mouth, not yet, but there will be. And they have a son to worry about. And she isn't eighteen and a special kind of immortal, a special kind of romanticized. She's a grown woman with responsibilities, with priorities, with an understanding that you can't fix someone just because you love them. And Tai can't just perform a revival of the play she and Van had memorized twenty-five years later with a whole new performer in the works, and expect it to shake out the same.

Of course it doesn't work. But look at Taissa trying it. Look at Taissa trying to reframe her first love through a new lens. Trying to recast it. Trying to play it through again. Van taught her love was sticking out the blood, shaking off the pain, making a you problem into an us problem. Does it ever just eat at you, how tragic it is, watching Taissa try to shape her marriage around a woman who isn't even wearing a ring?

[preseriesdean]

8.01 “We Need to Talk About Kevin”

[jonsrightrib]

hey gang. remember that time Percy asked a god if he was broken and she said he was? can we go back to that?