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#and she still got the girl in the end
folklaurr · 9 months
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Whenever someone mentions “the gay angel” it’s always Castiel or Aziraphale but nobody ever mentions the only gay angel that got a happy ending (so far).
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suja-janee · 3 months
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(Mostly) Harumi centric doodle page for a friend
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calware · 6 months
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"i happened to not find this character very interesting or likeable" doesn't automatically mean they're an objectively bland and boring character it just means you have a personal opinion
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jaheira please im trying to have a serious conversation
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The Twin Boys; One in Black, One in White
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nias-keca · 2 years
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sapphic--kiwi · 11 months
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Gus Week Day 3: Friends
willow and gus taking selfies at the weekly cookout 😗✌️
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doctorwhoarchive · 10 months
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as someone who absolutely adored Sam/Melissa in Scream 5 while most everyone else was hating on her and her acting, I’ve been thinking about this for a while and can honestly write a whole dissertation on this SO
Melissa was never a bad actress in 5. I’d argue it all comes down to how Sam was written and that she was intentionally a little more stoic. And then, as soon as Melissa had more input on the character and fought to give Sam more complexity in 6, suddenly everyone loved her and was praising her for “getting acing lessons”. Someone doesn’t just improve their acting that much in the few months timespan between when 5 came out and 6 was filmed, she was always that good!
The real reason I’m writing this though is because there’s a certain subtle aspect of Melissa’s acting that I’ve never seen anyone talk about before, but it might just be my favorite thing about her portrayal of Sam. MELISSA’S BODY LANGUAGE ACTING IS INCREDIBLE AND IT’S TIME WE SPEAK ABOUT IT!!
Maybe it’s just the mental illness in me that sees the same things I do in her, but a lot of little things she does/the way she carries herself stick out to me and I love it so much. The way she crosses her arms like she’s closed off whenever something particularly bad or uncomfortable is happening (she does this in shrine scene when Tara catches her talking to Billy, at the police station after Gale is attacked, and in 5 when she begins to tell Tara about finding the diary), the way her leg bounces when she’s nervous/anxious (like when she’s talking to Danny after the ladder scene), the way she fiddles with her hands (like in the scene right after she’s attacked in the hospital in 5), it all really catches my attention and it’s so subtle but perfect.
Melissa’s crushing it as Sam, and was way before everyone finally started appreciating her performance in 6. When I see her do those things I’m like!! I do those exact things too! It may not be a big deal to anybody else and they may not even notice it, but I notice it and absolutely love it and feel seen by it. It just feels like Melissa really put the time, effort, and thought into Sam and her mannerisms to make her a more well-rounded character, and I just think we all need to talk about it more.
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pangur-and-grim · 2 years
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dusk under the lilac trees
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moghedien · 10 months
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when I tell you I would commit federal crimes for Michiru's backstory from her pov....
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mic-check-stims · 7 days
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Walkshipping board for that one anon from forever ago who asked about my ships
X-X X-X X-X
#i call i walkshipping because i'm pretty sure their only interaction together was walking bakura home#the dynamic to me is unrequited crush -> friends -> fake dating -> possible qpr -> crush x2 combo -> awkward maybe-kinda-unofficial-polycul#i think since mihos crush on bakura was solely aesthetic‚ it'd start to fade once she started actually viewing him as a friend#and i think once that happened and bakura got more comfortable they would end up hanging out a lot#i think miho would love tabletop games (you cant convince me her enjoyment of capsulemon didn't just come from rping with the pieces)#and her immunity to traditionally scary things means bakura could get her into a lot of his other interests as well#anyway i like the idea that eventually they decide to fake date each other purely to get the girls to leave bakura's demi ass alone#which in turns leads to honda third wheeling them a lot bc 'ur just fake dating right ur not gonna catch actual feelings right'#the idea of this going anywhere romantic hinges on my belief that finding out abt mihos weird strange interests makes him even more into he#and that realizing how many traits she shares with bakura is‚ unfortunately for him‚ how he finds out he might in fact be bi#so now he's still desperately trying to romance miho AND coming to terms with the idea that his jealousy of bakura might have deeper origin#meanwhile the two are like 'hey honda likes us isnt that cute. wanna see how many trinkets we can get him to buy us'#<- (i warned you. i warned you about the extreme yapping that came with this)#moodboard#yugioh#yugioh s0#miho nosaka#honda hiroto#ryo bakura#ryou bakura#tristan taylor#walkshipping#hands#dice#flowers#planchette#ouija board#jewelry#puzzle
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blueskittlesart · 11 months
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any thoughts on how once again zelda was robbed of her agency because her "father figure" didn't listen to her? even if rauru was kinder to her than her father. and that she had sonia who was patient and loving for a little while before she died (just like her mother). i know rauru apologizes for his hubris but still, i wish we saw zelda be upset about it. and even if zelda was such a big part of the quest she still literally sacrificed her humanity once again because of someone else's mistake- because rauru literally didn't listen to the girl from the future that warned you that shit was going to go down. o know nintendo just loves putting zelda inside crystals and stones but i wish we got something better. even if it was her decision to become a dragon... did she have any other choice? it really just feels like they robbed her of agency again just like botw and the games before
i've been trying to figure out how to answer this one. because there are two ways i could analyze this plot point, either from a writer's perspective or an in-story perspective, but neither of those lead to me fully agreeing with your interpretation? I think there's definitely something to be said about zelda consistently being pushed aside in these games, but. well. ok let's get into it ig
from a writer's perspective, I do honestly have quite a bit of sympathy for the zelda devs as they attempt to navigate the modern political landscape with these games. The cyclical lore, though canonized relatively recently, holds them to a standard of consistency in their games in terms of certain key elements. one of those key elements is that there has to be a princess, and that princess must somehow be the main macguffin of the game. The player must chase her, and the end goal of the game must be to reunite the player and the princess. In 1986 this was an incredibly easy sell. women didn't need to be characters. players were content with saving a 2-dimensional princess whose only purpose was to tell them "good job!" at the end. but as society advances, that princess becomes a much more difficult character to write while adhering to the established overarching canon. (as a side note: i don't necessarily believe that the writers SHOULD be held to the standards of that canon. I think deviating from it in certain areas would be a good change of pace. but i also recognize that deviations from the formula are widely hated by the loz playerbase and that they're trying to make money off these games, so we're working under the established rule that the formula must be at least loosely adhered to.) Modern fans want a princess who is a person, who has agency and makes decisions and struggles in the same way the hero does. but modern fans ALSO want a game that follows the established rules of the canon. so we need a princess who is a real character but who can ALSO serve as a macguffin within the narrative, something that is inherently somewhat objectifying.
the two games that i think do the best job writing a princess with agency are skyward sword and botw (based on your ask, our opinions differ there lol. hear me out) in both games, we have a framing event which seperates zelda and link, but in both games, that separation was ZELDA'S CHOICE. skyward sword zelda runs away from link out of fear of hurting him. botw zelda chooses to return to the castle alone to allow link the time he needs to heal. sksw kinda fumbled later on by having ghirahim kidnap her anyway, but. i said BEST not PERFECT. botw zelda I think is the better example because, with the context of the memories, she's arguably MORE of a character than link is. we see her struggles, her breakdowns, her imperfection, specifically we see her struggle with her lack of agency within the context of the game itself. when she steps in front of link in the final memory, and when she chooses to return to the castle, those are some of the first choices we see her make almost completely free of outside influence; a RECLAMATION of her agency (within the narrative) after years of having it stripped from her. from an objective viewer's standpoint, this writing decision still means she is absent from 90% of the game and that she has little control over her actions for the duration of the player's journey. however I think this is just about the best they could have done to create a princess with agency and a real character arc while still keeping the macguffin formula intact--you're not really SAVING zelda in botw. SHE is the one that is saving YOU; when you wake up on the plateau with no memories, too weak to fight bokoblins, let alone calamity ganon. the reason you are allowed to train and heal in early-game botw is because SHE is in the castle holding ganon back, protecting YOU. When you enter the final fight, you're not rescuing zelda, you're relieving her of her duty. taking over the work she's been doing for the past hundred years. in the final hour, you both work in tandem to defeat ganon. while this isn't a PERFECT example of a female character with agency and narrative weight, i think it's a pretty good one, especially in the context of save-the-princess games like loz.
as for totk, you put a lot of emphasis on rauru not believing zelda and taking action immediately, which, again, from an objective standpoint, i understand. but even when we're writing characters with social implications in mind, those character's actions still need to... make sense. Rauru was a king ruling over what he believed to be a perfectly peaceful kingdom. zelda literally fell out of the sky, landed in front of him, claimed to be his long-lost granddaughter, and then told him that some random ruler of a fringe faction in the desert was going to murder him and he had to get the jump on it by killing him first. the ruler which this girl is trying to convince rauru to wage an unprompted war on has the power to disguise himself as other people. no one in their right mind would immediately take the girl at her word. war is not something any leader should jump into without proper research and consideration, and to rauru's credit, he DIDN'T ever outright dismiss zelda. he believed her when she said she was from the future, he allowed her to work with him and he took her warnings as seriously as he could without any further proof. but he could not wage an unprompted war on ganondorf. that's just genuinely not practical, especially for a king who values peace among his people as much as rauru seems to. as soon as ganondorf DID attack, giving rauru confirmation that zelda's accounts of the future were real, he began making preparations to confront him. remember that zelda didn't KNOW that rauru and sonia were going to be casualties of the war--she didn't make the connection between rauru's arm in the future and rauru the king until AFTER sonia's death, when rauru made the decision to attack ganondorf directly. I think the imprisoning war and the casualties of it were less an issue of zelda being denied agency and more an issue of no one, including zelda, having full context for the events as they were unfolding. if zelda had KNOWN that sonia and rauru were going to die from the beginning and was still unable to prevent it that would be a different issue, but she didn't. none of them did.
I think another thing worth pointing out with rauru and his death irt zelda is that rauru is clearly written specifically as a foil to rhoam. this is evident in how he treats both zelda and link, with a constant kindness and understanding which is clearly opposite to rhoam's dismissiveness and disappointment. consider rhoam's death and the circumstances surrounding it. He died because, in zelda's eyes, she was unable to do her duty; the one thing he constantly berated her for. Rhoam's death solidified zelda's belief that she was a failure, a belief which she KNEW rhoam held as well. his death was doubly traumatic to her because she knew he died believing it was her fault. Now contrast that to the circumstances surrounding rauru's death. Rauru CHOSE to die despite zelda's warnings, because he wanted zelda and his kingdom to live. rauru's death was not agency-stripping for zelda; in fact, it functioned almost as an admission that he believed her capable of continuing to live in his place. With him gone, the fate of the kingdom fell to her and the sages. he KNEW that he would die and still went into that battle confidently, trusting zelda to make the right decisions once he was gone. where rhoam believed zelda incapable of doing ANYTHING without link, rauru trusted zelda COMPLETELY with the fate of his kingdom. several details in totk confirm that when rauru died there was no plan for zelda to draconify, that all happened after rauru was gone. it was HER plan, the plan which rauru trusted her to come up with once he was gone. and I think it's also worth noting that zelda's sacrifice with the draconification parallels rauru's!! Rauru gives up his life trusting the sages and his people to be able to continue his work in his place. Zelda gives up her physical form trusting link and the sages in the future to be able to figure out what to do and find her. these games in general have this recurring theme but totk specifically is all about love and trust and reliance on others. zelda relies on link, link relies on zelda, they both rely on the champions and the sages and rauru and sonia and they all rely each other. reliance on others isn't lack of agency, it's a constant choice they make, and that choice is the thing which allows them to triumph.
The draconification itself is something i view similarly to zelda's sacrifice in botw--a choice she makes which, symbolically & within the confines of the narrative, is a demonstration of her reclaimed agency and places her at the center of the narrative, but which ALSO removes her from much of the player's experience and robs her of any overt presence or decisionmaking within the gameplay. again, I think this is a solution to the macguffin-with-agency dilemma, and it's probably one of the better solutions they could have come up with. Would I have liked to see a game where zelda is more present within the actual gameplay? yes, but I also understand that at this point the writers aren't quite willing to deviate that much from their formula. the alternative within the confines of this story would be to let zelda DIE in the past, removing her from gameplay ENTIRELY, which is an infinitely worse option in my opinion. draconification allowed her to be present, centered the narrative around her, and allowed the writers to reiterate the game's theme of trust and teamwork when she assists the player in the final battle, which i think was a REALLY great choice, narratively speaking.
In any case, I don't think it's right to say that zelda was completely robbed of her agency in botw and totk. Agency doesn't always mean that she's unburdened and constantly present, it means she's given the freedom to make her own choices and that her choices are realistically written with HER in mind, not just the male characters around her, and I think botw/totk do a pretty good job of writing her and her choices realistically and with nuance.
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kicktwine · 5 months
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oh so alisaie’s exaggerated bully behavior is 80% fanon. saying this she casually picks up a large rock
#say one thing wrong to me and you will have a wonderful few days with the rock#if angry silly girls have 100 fans etc if they have 0 fans i have died#sorry i saw a YouTube meme i vehemently disliked on principle and got mad at the only child behavior-#kipspeak#she is just short tempered and uses anger to mask other more ‘shameful’ emotions!!! alphy did the same thing with just deciding not#to express them. which is still not good and I think why he breaks and ends up teary so often now#this shortness does not translate to actually being mean to people. she only uses being mean as a shield for herself and being snarky#Is just fun for her. it’s fun for Me. you have to inconsequentually tease people or they’ll never learn to laugh at themselves#the twins and thancred 🫵 do this thing where they have big emotions but they don’t want anyone to SEE they have big weird emotions#so alphy pretends he doesn’t have them under a veneer of dignity and alisaie pretends the emotions are Something Else. thancred is#just so emotionally constipated he has trouble expressing anything. he’s got enough baggage for a flatbed#anyways. alisaie is such a compassionate and kind girl and she learned how to make snarky jokes and went ham. and she hates appearing sad o#weak or vulnerable so she blocks it off with an unapproachable emotion so no one pities her and they maybe get on with the plot#it is in fact also great at getting ppl to move away from the sad or embarrassing topic. even if the tradeoff is being more offputting#she would never (grabs youtube meme) she would never seriously bully her brother. this is sibling ribbing only. Cain instinct#just leave her be she is learning how to snark humor and she loves it she loves being sharp. alphy has wit he just keeps it close#my brother didn’t learn how to tell or receive a joke until he was 14 he took everything so seriously. he can do it now though and he’s#HILARIOUS. Don’t tell him I said that. my man knows exactly where the funny points are even if he hasn’t learned when to stop yet#too many tags. Whatever. jokey snark alisaie who sometimes compliments is happy alisaie grouchy snappy angry alisaie is way too stressed#very easy way to tell between the two. even alphy can tell between the two I believe! He tends to rib back in protest if they’re having fun#and try to stop her if they’re not having fun. case in point ‘what is that supposed to mean?!’ vs ‘alisaie ryne was only trying to help.’#I know they’re twins but that’s such an intensely older sibling thing to do that it reels me#LONG TAGS AND THREE EDITS TO ADD ON SHORT I resent this stereotype taken too far into ooc behavior. it happened with nya#It will happen again and as a postscript let me regale you with Things U Can Notice About Character Motivation and Actions—#I’m not done let me s#she and raha are friends now I decree. ‘haha you like me’ SPUTTERING PROTEST FROM BOTH
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fizzytoo · 10 months
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nothing better than a pancake breakfast
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and im reminded of when a teenage adrien made pancakes for a baby julie 😔
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marchsage · 2 months
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world's most well-adjusted daughter
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scribefindegil · 4 months
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Fewer Troi-centric episodes about weird dudes being creepy to her, more Troi-centric episodes where she gets to be a cool spy and yell at Romulans! That ROCKED!!
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