fionna's world being represented by a dandelion makes so much sense ... they're weeds. yet people make wishes through them, changing their whole meaning from something meant to be destroyed to something hopeful.
dandelions are also resilient and it makes sense that something associated with them would. you know. perservere despite the destruction caused by the scarab.
but ultimately i think what REALLY made me tear up over this is that dandelions are really boring plants. when you're a kid you blow on them and make your wish but they're not eyecatching or anything but still, fionna's final wish was for her old world to still exist as it was when she left it (> plain and simple. boring even).
like the moment she realized she would lose her friends, and that her friends might forget each other if the world got its magic back, she immediately decided she didn't want it and I think that ties back to the dandelion metaphor so well... like, do you really need magic to be real to find it everywhere? or can you turn something boring into something magical?
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I don’t feel like tracking it down but that one “project sekai characters I can beat in a fight” by a popular pjsk youtuber made me sooo angry like I know he did not read any of the stories. Specifically pissed that he put emu “on several spots teams” “canonically scaled a two story building” “had the body strength to climb up to the ceiling and just hang out there” “power scales with looney toons logic” ootori in the easy win category. She would kick your ass be so serious. Wouldn’t even be difficult for her. Hydrogen bomb vs coughing baby.
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i got curious about mary's role post-resurrection so i looked at a list of all her appearances in season 12 only to discover that she's only in about half of the episodes. which is surprising because like, where the fuck is she going? where is her character arc going to take her such that she's separated from her children for entire episodes, 33 years in the future with everyone else she's ever known or loved dead?
i'm just eternally fascinated that supernatural is a show about sam and dean, and literally no other character including their own mother is allowed to impede on that. every other character has to be removed at some point from the brotherly unit so as not to infringe on their domination of the narrative. every other character is expendable, unnecessary for the show to function continuously. every other character can go off on their own for several episodes at a time and live a life separate from them. there's no limit to this and no one is allowed to get close enough to sam and dean to negate this reality.
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Mordecai probably lives in an apartment or something, but my first thought when you brought up the Caves on that post was that he won’t tell us because he’s been living in the Caves the Whole Time. Even tho he’d hate the slime mold.
yeah a Whole Damn House would be a bit much, and probably not as useful for the nightly bootlegging related goings on: see, freckle needing to stand around waiting for a ride before he can go shoot people. whereas mordecai can show up to the maribel hotel on foot, or at least have started out somewhere he could get a cab or whatever....and this is probably the closest to any relevant Living Situation Glimpses
someplace with a bed, and one with an art deco headboard....a modern style, so it's neither Antique nor unfancy enough to have less identifiable stylings at all. like just by guessing surely he lives in some apartment that's unassuming enough to live unassumingly in, with whatever alias, so something large & fancy would be unhelpful....plus if he's gonna be fairly rigorous in his domestic upkeep, it wouldn't really help to have a huge place, even if for the same reasons it wouldn't be too small (or old or otherwise unpleasant; hard no to slime mold, slime, or mold....) and like re: the rotating aliases, maybe he moves places fairly regularly for good measure, been at this like, a decade....tl;dr probably has some apartment/s that's roomy but not huge, nice but not Fancy fancy, at the nexus of practicality, resources, and preferences
but it's important to think about "what if mordecai's been living in the caves the whole time" b/c that's funny lmao
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just saw someone recycling ye olde "X character doesn't read as Y identity to me, someone who doesn't & has never held that identity & thus am not as intimately familiar with mannerisms, tropes & characterizations that are typically associated with Y identity. There is no evidence for X being Y and you guys are acting insane."
like. do you understand that you are using the EXACT SAME excuse that other people are using to shit on YOUR headcanon that you're so attatched too because it has so much evidence?
did it ever cross your mind that it would probably be harder for you, person who isn't X, to pick up on subtler tropes & identifiers of X that you've never experienced because you aren't X?
like you get how it sounds like you're shitting on other wueer people?
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there's a particular moment, in that awful space between the stone breaking, and the "you lied" and faint, halfhearted, "... yeah, we'll fix it.", where you see Imogen, distraught, at a loss, in shock- visibly pull in, on herself, away from Laudna, away from everything, you see her draw herself together, pull up her walls.
It is tragic and and also tragically familiar. We've seen her do this. We've seen her do it in crowds. We've seen her do this when stepping into a city after days of blissful quiet. We've seen her take a breath, and grit her teeth, movements careful and tense as her walls go up.
Imogen is very practiced at gritting her teeth and pulling herself in- as a protection tactic, as a survival tactic.
But to see it used for this- to see her taken apart and laid open by the shock and the horror and the sense of betrayal and hurt and fear and anger and-
and see her: draw her hands in, pull herself into shaky composure, pull away, pull her walls up, pull away, from Laudna. (Who is reaching out, who is reaching further and further, desperation growing as Imogen pulls back, further back, emotions pressed down, down.)
It's about survival. It's about it being Laudna. Its about nothing other than Imogen herself. It's the same old instincts. It is uniquely awful. Its nothing personal, except it really, really is.
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Just picking up some conversations from the ether but like...
There has been this push back against queer signifiers in media recently and I’m kind of wary of the whole thing. This isn’t just one thing, but I’ll give an example.
Nimona isn’t trans because there is a trans flag in the background when she’s talking to Bal about her shapeshifting or the rainbow in the credits. But to act like queer folks don’t use signifiers to confirm to other queer folks that “yes this is what I mean by this” or “you are included in this” is kind of asinine.
While I understand the pushback against rainbow capitalism and the co-opting of our symbols by corporate interests, or the thought that slapping a pride pin on a character makes them inherently queer in the narrative when it is never actually touched upon, I feel like we are overcorrecting in saying all flags are either coincidental or useless or both.
And in Nimona’s case, it isn’t a trans allegory just because there is a flag in the background, it is the full embodiment of her character, the story and the world that was created around her in the movie. But the trans flag in the background and the pride flag at the end? That’s just confirmation. That’s something queer folks can point to when bigots say ‘it’s not about that’, and while bigots can look passed it, it affirms it for *us*.
It can be trans both because of the story itself resonating a lot with trans, especially genderfluid, folks *and* because there is a trans flag in the background while Nimona is talking about her shifting.
Like, it can be both.
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