#which is completely reasonable

[calfkill]

Pretty much the only situation in which trigger tagging isn't okay is if you are tagging an oppressed group (ie; women) or something along those lines. But otherwise it's stupid to get mad about it.

[mothidocandart]

I would be such a free spirit if I did not have a million little social rules dictating my every action

[dandelioncore]

Idk if it's just me misreading tone or whatever but it'd be really nice if my family asking me to do stuff didn't always sound like admonishment for having not done it already the first time they ask

[biggest-gaudiest-patronuses]

the fact that shakespeare was a playwright is sometimes so funny to me. just the concept of the "greatest writer of the English language" being a random 450-year-old entertainer, a 16th cent pop cultural sensation (thanks in large part to puns & dirty jokes & verbiage & a long-running appeal to commoners). and his work was made to be watched not read, but in the classroom teachers just hand us his scripts and say "that's literature"

just...imagine it's 2450 A.D. and English Lit students are regularly going into 100k debt writing postdoc theses on The Simpsons screenplays. the original animation hasn't even been preserved, it's literally just scripts and the occasional SDH subtitles.txt. they've been republished more times than the Bible

[iheartbookbran]

My favorite part about the Debling plot was Penelope and Cressida doing the most over there top cat-fighting in order to win him over, not because they genuinely liked the guy, but because they wanted to escape their families and also lowkey just hate each other.

[ruporas]

kisses of affirmation (ID in alt)

[kaladinkholins]

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.

[almea]

[claraoswalds]

It's racist, my dear, to be blunt. People come from outside, they think we're all witches and druids. For God's sake, child, you walked into a piece of string!

[courtmartialme]

saw someone reposting this without credit so here it is reposted by the person who actually drew it👍

[padawansuggest]

Obi-Wan in his natural habitat in the temple sleeps in a loft bed (it was supposed to be storage he said cat instinct and turned it into a loft bed they’re shockingly common with Jedi tbh tho) and under 17 fluffy blankets with a pregnancy pillow (he’s not pregnant he just can’t sleep off his stomach if he don’t got one and sometimes autism requires squishing to keep it all down) and three more fluffy blankets on top of him. He has an optional Padawan or pet (not really a pet, just whomever followed him how from the gardens today) in bed with him also. And he’s got a projector on the wall and has a night stand with water and gaming devices so he can survive up there forever.

The clones, who have learned to sleep with full kute coverings and usually without blankets or pillows cause they just pass out on each other, most of whom identified with their Jedi for having similar sleeping types if they weren’t human, realize they are quite horrified by his Stewjoni nesting instinct. And he’s offended and refuses to sleep with any of them till they apologize to his favorite stuffed animal for insulting his HOUSE. Fuck you bitches he and Master Sparkle Bantha deserve better.

Cody is groveling while Alpha is still trying to negotiate a less intense number of blankets and Anakin is just shaking his head like ‘it’s not worth it Bro’ and Alpha is like ‘shut up ur an omega too you brat’ and that’s the last straw, you called them omegas now Cody is asking what an omega is and Alpha is trying to figure out how to keep his AO3 account hidden from his vod’e and nvm he’ll sleep in the barracks forever-

Obi-Wan holds this info over his head like a guillotine and convinced him to get in the damn nest right this second and cuddle him better.

If you don’t sleep with at least two comforters and a queen sized fuzzy blanket then I don’t trust you. Yes I refuse to trust my sister and wife okay. Everything in the world has a downside and that’s theirs. My bed is half dragon hoard of yarn and squishmallows. I’m not changing for anyone.

Anakin’s bed is 90% pillow and squishmallow and 10% blanket. Padme uses a thin cotton blanket and lets him burrito wrap himself and uses him like a body pillow while he’s captive in the blankies.

[caeslxys]

I’ve mentioned this elsewhere but it feels relevant again in light of the most recent episode. Something that’s really fascinating to me about Orym’s grief in comparison to the rest of the hells’ grief is that his is the youngest/most fresh and because of that tends to be the most volatile when it is triggered (aside from FCG, who was two and obviously The Most volatile when triggered.)

As in: prior to the attack on Zephrah, Orym was leading a normal, happy, casual life! with family who loved him and still do! Grief was something that was inflicted upon him via Ludinus’ machinations, whereas with characters like Imogen or Ashton, grief has been the background tapestry of their entire lives. And I think that shows in how the rest of them are largely able to, if not see past completely (Imogen/Laudna/Chetney) then at least temper/direct their vitriol or grief (Ashton/Fearne/Chetney again) to where it is most effective. (There is a glaring reason, for example, that Imogen scolded Orym for the way he reacted to Liliana and not Ashton. Because Ashton’s anger was directed in a way that was ultimately protective of Imogen—most effective—and Orym’s was founded solely in his personal grief.)

He wants Imogen to have her mom and he wants Lilliana to be salvageable for Imogen because he loves Imogen. But his love for the people in his present actively and consistently tend to conflict with the love he has for the people in his past. They are in a constant battle and Orym—he cannot fathom losing either of them.

(Or, to that point, recognize that allowing empathy to take root in him for the enemy isn't losing one of them.)

It is deeply poignant, then, that Orym’s grief is symbolized by both a sword and shield. It is something he wields as a blade when he feels his philosophy being threatened by certain conversational threads (as he believes it is one of the only things he has left of Will and Derrig, and is therefore desperately clinging onto with both bloody hands even if it makes him, occasionally, a hypocrite), but also something he can use in defense of the people he presently loves—if that provocative, blade-grief side of him does not push them—or himself—away first.

(it won’t—he is as loved by the hells as he loves them. he just needs to—as laudna so beautifully said—say and hear it more often.)

[starspoiler]

as a reformed cinniter the thing that really gets me about people refusing to see the nuance in cdream (and cdiscduo) is that cdream not being fundamentally evil is literally the point of the story. the finale did an excellent job of forcing ctommy and by extension the audience who was actually paying attention to reconsider their opinions on cdream, and the ultimate takeaway from the disc arc is a really relevant commentary on refusing to see people who have hurt you as people with feelings and complicated perspectives of their own, and that choosing to respond by escalating and trying to hurt them worse than they hurt you is a completely ineffective way of solving problems. and in ignoring this you end up doing exactly the thing the story is critiquing!!

[clansnaphance]

I am so weak for the hood + cool mask combo

[likegoldintheair]

no but buck surprising tommy by initiating the next kiss and it's just as soft and tender as their first one and it lasts for nothing more than a few seconds but when they break apart this time they stay so so so close sharing a breath and giving themselves a moment to just. take it all in. that they're here and that they get to have this. and there's this almost electrifying static between them that just keeps building and building until all they can do is to dive right back in and not come back up for air until they physically need to.

[royalarchivist]

Quackity: Oh, it's gonna be so cool to see how this develops. I'm excited, I'm gonna try my best. I'm not the greatest at Minecraft whatsoever, I did nerf Green Team a little bit by accident on the second day. My bad! But, you know, I'm so ready to just grind out and see what we can do, and I just–

I wish everyone saw it with the same amount of, like, kind of enthusiasm. I think all of this and all the development and all the potential arcs, that's going to fcking allow for something absolutely incredible.

And if anyone ends up clipping any of this, something I do want to say is I implore people to view everything with a lot of enthusiasm. No stress, no anxiety, just a lot of enthusiasm. Because, again, this is going to allow for a lot of cool things in the server. Not just now, but in the future, too.