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#I love overanalyzing
shoechoe · 1 year
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I find it interesting that here, Diavolo says "if I were to face all six of those Stand users, one of them would end up learning my true identity". Not "kill me" or "defeat me"- "learning my true identity".
I always saw that as showing that Diavolo's commitment to severing all ties he has to the rest of the world and having not a single living person know his name or face is ingrained into his psyche- for him, anybody figuring out anything about him and being left to live is synonymous with an instant loss. When he thinks about defeat, he doesn't think about dying, he thinks about people knowing who he is.
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ferulifolia · 9 months
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Hello I would like to contribute something to think about All potatoes are mashed potatoes
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wait- holup
define mashed- cuz if were thinking the texture of mashed potatoes by that logic that would mean potatoes are grown... already mashed-
and what about those ppl that make their taters look like malt o meal and drown it in milk LOLL
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loveandthings11 · 2 years
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I mean they could just be hanging out but the timing seems 👀 does it not?
@tvgremlin
@ratmonk
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musical annabeth "my grand plan is that i will be remembered/someday soon someone will notice me" -> show percy "you're better at this than me. and you know it"
musical percy "i swear that im a good kid/i just need one last chance to prove im good enough for someone" -> show annabeth "hes not like that. hes better than that"
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nid-pysgodyn · 5 months
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The more I watch Sunny, the more they come across as if, for a very long time, she's had this fantasy of living a life of luxury and having every want and need taken care of, except that this fantasy is being filtered through how a child would conceptualise it e.g. everyone wearing specifically crowns and feather boas.
Now, they have a father figure who is very willing to do everything he can to fulfill that fantasy, and to an extent already has (golden crown, golden rooftiled train house, gets almost everything she asks for). I can't wait to see how their character develops as a result of their relationship with q!Tubbo, and how the realisation of that fantasy affects their view of what they actually want.
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turtleblogatlast · 5 months
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Something I love to think about is every iteration of Leo’s relationship with Splinter and how Splinter’s interests always define how a Leo presents himself.
I used to abide by the idea that a Leo will simply emulate his Splinter directly, and to an extent I still believe that to be the case, but moreso I think Leos have a tendency to mold themselves into what they believe is their Splinter’s ideal son - someone who embodies all the traits Splinter has explicitly shown to admire or value in a person.
Most of the time, they try to be a dutiful and honorable boy abiding by the full extent of ninjitsu teachings. Then you have Rise Splinter, who very much still has undeniable prowess in the art of fighting and being a ninja, but when it comes to how he shows his interests to his boys…one thing reigns supreme.
Acting. Shows. One liners. Flamboyance in the name of gaining an audience’s attention.
He showcases Lou Jitsu movies on repeat for the boys, passing down the morals and words from those movies to them with no small amount of pride. All while fully expecting them to respect these teachings.
So, of course, Rise Leo picks up on this. He’s a Leo, after all, as much a daddy’s boy as any other variation of him, only he clocked his father’s interests to be different than most others. He picks up on the art of showmanship, of keeping things to himself so as to be a more exciting twist later, of treating the world as a set to act in.
He’s an actor, not just because Splinter himself was one, but because Splinter likes acting and showed one particular actor (unknowingly to the boys, it was himself) as the pinnacle of all his teachings. As someone to value and admire. And even more than that - Splinter focuses on the character the actor is portraying rather than just the man himself.
And I think this is all even more interesting when taking the turtle tot short into consideration, because very, very briefly, just as with many times else throughout the series, we see how easily Rise Leo aligns with his other selves, seeming to pick up the sword easier than his brothers do their own weapons - after quoting Lou Jitsu of course. After emulating his idol - the person who his father seems to admire so much.
Point being, it’s so interesting to see how Leos tend to mold themselves in one particular way throughout every variation - that being, what their father is shown to value most in people.
#rottmnt#rottmnt leo#tmnt leonardo#rise of the teenage mutant ninja turtles#tmnt#this is mostly a rottmnt post but it aligns with others as well#idk I just think it’s so interesting#because at his core rise leo is the SAME as the other Leos#they’re all goofy they’re all natural leaders they’re all quiet wanderers they’re all daddy’s boys#but these inherent traits take second to what they believe is valued more#specifically what their splinter values more#and sometimes what is valued allows them to more commonly broadcast themselves as who they actually are#but other times their core personalities directly go against what they think they NEED to be#so they stifle it#and soon enough their emulated selves become so tangled into their real selves that it’s a struggle to tell who they are without it#god I love Leo#and this is not to say that the other bros don’t do a similar thing#they just tend to be much more separate about it in terms of what they admire and who they are#whereas Leo blurs that line#don’t mind me just once again overanalyzing a fictional turtle boy#edit: AND ANOTHER THING#but Splinters value placed on Lou Jitsu ALSO helps push Leo into being someone who does things on his own#sure he loves his brothers and they’re everything to him#but he pre invasion he often does things himself or just expects to handle things on his own#y’know#like Lou Jitsu who notoriously does NOT have a team#so this Leo doesn’t care about being a leader - because who he’s emulating isn’t one#he’s like ‘okay we’re just a group of Lou Jitsus’#and there’s something so painfully childlike about this
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midnightfox450 · 11 months
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Love undertale and deltarune and the stanley parable and the beginner's guide. Love games that have you sit down and think about what you've done. Love games that just want you to feel normal about them. Love games that beg you to stop playing them over and over and over again but still give you new content on successive playthroughs because they know you'll do it anyway. Love games that assert that participating in someone else's creation is more than just an act of love, it can be an act of invasion, of violation. LOVE METAFICTION IN MY VIDEO GAMES!!!!!
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dinogoose · 2 months
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i’m a believer in buck falling first but eddie falling harder. i think buck started falling for eddie while shannon was still alive, and obviously, eddie at that time wasn't looking (nor was he ready to after shannon died) but once he did, he fell harder because that’s how he loves.
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poppedbubblgum · 1 year
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Donnie tears up more than once in the rise movie.
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For a split second, we can see him crying while he and Mikey were about to be crushed in the turtle tank.
He really thought he was going to die and the fear was enough to spur that reaction. It’s really sad to me actually, like, it looks like his life is flashing before his eyes.
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mitsuki91 · 4 months
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Okay but you know what could really destroy Snow?
Seeing Lucy Gray slowly starting to fall out of love with him. Lucy Gray knowing him so well she starts to be repulsed by him. The pain and disdain and the masks she has to wear (expecially if they are in the Capitol and she depends on him) in order to survive... With him because she has no other option. Lucy Gray, who put trust above everything, slowly starting to lie to his face, to hyde the fear and the pain behind fake smiles to make him happy with her.
And he will see this. He will see because, as always, as they are connected by the stars, as they are both performers, he can read her as she can read him. He can see her pulling back from their love story.
So. He may think that he want her to be caged, because so he can feel safe. But in reality he can not. In reality, he needs her to choose him. Everyday. They have to be a team. They have to be alone against the world (even if that means they have to perform to find a place in that world). He has to know, to feel sure, to feel warm about the fact that his Lucy Gray wanted him and wanted to be with him in the same way he wanted to be with her.
He has to be sure they truly love each others.
Or he is going to be insane. After all, he already did. One trace of doubt - he lost it. He lost it so bad.
But betrayal in a so giant way is a thing; a thing that set him in a rage, that make him spiraling without control and do despicable things in a matter or seconds.
Slowly see your only love slowly fade away? This is another type of pain who can drive one mad in a more subtle way, because he still had hope he can just fix things and surerly he will do it. Just a little time. Just a little patiente. He will do it. But in reality she fade. More and more far away. And panic arise, day by day.
So yeah, Coriolanus Snow was a boy in love, and as a boy in love (the first time I must add) wanted to cage her loved one, to control her. It's normal to feel this way when you love someone, because you want the other one to love you the same. But it's a passing thought, not a real one, because physical possesion doesn't mean owning someone's feelings, and he knew this. Deep down he knew. And he wants Lucy Gray's love above everything else.
Seeing her simply perform their love story to him will be too much.
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bayleymania · 5 months
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This gifset summarizes Max: Loving wrestling, cursing a lot and talking about money.
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This scene made me realize something I should have far too long ago.
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The real reason Kim Dokja wanted to be Yoo Jonghyuk so bad in his youth was not because Yoo Jonghyuk's escapades and feats in WOS gave Dokja the strength to endure the torment at the hands of his bullies, like Jonghyuk did with the Constellations. While it was part of the reason, there was something else bigger they both had in common.
Both Kim Dokja and Yoo Jonghyuk have lost their lives for the sake of other people's entertainment. Kim Dokja with his mother's book and Yoo Jonghyuk with the Star Stream. But while Yoo Jonghyuk continued fighting for everything he lost for over centuries worth of lives, Kim Dokja squandered his life away trying to fly under the radar and protect himself from those prying into his life.
The Fourth Wall's censor works in a way that it makes Kim Dokja look exceedingly average and easy to forget. The censor works like this because this was exactly what Dokja wished for the most before the Scenarios started. He wanted his life back and it would only be possible if he was entirely forgotten altogether.
The Scenarios were, in a way, a new start for both Dokja and Jonghyuk. It was at this point that Dokja finally felt like he was in control, despite all the danger and death, and he finally has the power he's always needed to right the wrongs in his life. Kim Dokja takes the narrative into his own hands and he works so hard to write better ending for it, because he finally has a chance at saving Yoo Jonghyuk. And in saving Yoo Jonghyuk, he finds his own salvation and is freed from the shackles his mother placed on him.
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thetarttfuldickhead · 11 months
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The way Jamie’s new hairstyle combines the blond walnut mist highlights and generally soft look of his season 3 mister fucking humble great teammate era with the darker and sharper undercut of his season 2 slowly reforming prick era, symbolizing the reconciliation between the two extremes and Jamie finding himself (and a healthy balance between being-for-others and being-for-himself) somewhere in the middle.
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merakiui · 2 months
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SK! Jade: Me too. (Reader: Me too.)
Serial Killer Floyd lives rent free in my head! TWT (fingers crossed I can finish the comic somehow.) Thank you for feeding us, meraki!
:O UUWUWAAAAAA SK!FLOYD COMIC?!?!?! Omg,,, I adore the way you draw the tweels. ( ≧ᗜ≦)💖 Floyd's expression is so cute (Jade looks equally cute, too)!!! And the monologue: from the moment I was born, I could never understand the idea of a norm. AAAAA THAT'S SO GOOD!!!!!! SO YUMMY!!!! *chef's kiss* I am eating this up. orz orz thank you very much for feeding me with such wonderful art. May sk!Floyd continue to live in all of our heads hehe. >:D
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o-vera-nalyzing · 16 days
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what if i rewatched all of season 1 fantasy high to see if riz did anything worthy of making cabbagepatch christmascake hate him
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theyarewrestling · 24 days
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Dan and Phil, The Blair Witch Project, and taking back agency.
In their latest video, «DanAndPhilCRAFTS - Slime» Dan and Phil have made a very clear homage to the 1999 found footage film «The Blair Witch Project» directed by Daniel Myrick and Eduardo Sanchez. The movie tells a story about a group of students, who travel to a small town in order to film a documentary about a local legend. In the process of filming, however, they get lost in the woods and never make it out of there, being haunted and then presumably killed by the witch. In this essay I am going to analyze how the visual narrative is structured in both films in relation to one another, the way «Slime» differs from «Blair Witch» and how that difference conveys the shift in Dan and Phil’s public presence.
Let's start with imagery associated with the paranormal in both films. In Blair Witch one of the signs of the witch's presence become the "dolls" made out of sticks. They are filmed by the characters, who are naturally freaked out by the dolls appearing seemingly out of thin air, signaling the presence of the dangerous and inhuman Other.
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Dolls are also used in Dan and Phil's video, the main difference being that the pair are not haunted by the paranormal and unexplainable Other, no, they willingly put the dolls there, they are taking active steps in bringing about their own doom.
While in «Blair Witch» the dolls are placed ominously in between tree branches, filmed from below to make them look like they’re floating above the camera, being forces of a power that the characters ought to be afraid of, in «Slime» the dolls are nailed to a steady surface at camera-level, and while they do provide an unnerving atmosphere, they are not a danger to the characters, at least not a danger they’re not aware of.
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The same can be said for other "occult" imagery and artifacts. While in «Blair Witch» the characters finding strange symbols and even bloody remains in the forest strengthens the tension and suspense, signaling the close presence of the witch, in «Slime» all of the unnerving, "occult" and "satanic" exists under the characters' control. Dan draws the symbol on the wall himself, the animal skulls are presumably also brought in by the characters. Instead of being signs of danger, uncontrollable, they are merely tools in the hands of the pair.
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The interior of the shack where the students meet their end in the 1999 film is filthy and decaying, which only strengthens the fear within the characters and us as the audience. It is filmed using close up shots which show the shack in it's decrepit and unnerving state. The shack that Dan and Phil's video is filmed in also seems abandoned from the interior, it is broken down, dark and dusty. However, instead of being mortified, like the characters of «Blair Witch», they occupy the space quite comfortably. Instead of being haunted by the building, they become the ones who haunt it, once again taking back control of their own demise. The interior is filmed at strange angles, almost reminiscent of German Expressionist films, in which the odd angles conveyed the detachment from reality and perpetual insanity, which in Dan and Phil's case could be used to depict the pair's descent into madness which leads them to their ritual.
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Nature plays a crucial role in «Blair Witch» as the witch herself is never shown. The characters are "surrounded" by the unnerving dark trees, which presumably hide the horror that is never allowed to be seen directly.
Dan and Phil make an obvious homage to that with their shots of the trees, however there is a major difference. While the shot is still desaturated and somewhat unnerving, the flowers on the tree are in bloom, symbolizing a new beginning and the hope that comes with it. The new "life" that is going to happen after the pair summons Baphomet.
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In «Blair Witch» Heather's final message is a long shot filled with pure fear and desperation. Dan and Phil's shot mimicking it is almost unnecessary as it lasts only a few seconds, however in those few moments it manages to showcase the pair as a unit, they are calm and in the process of their ritual, determined to bring it to fruition. While Heather is left alone in the dark forest in which she will die, Dan and Phil are not alone: they are in this together, they are a team. If they die, it's because they chose to do so. "Creativity is nothing without friendship".
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Now for the infamous "Blair Witching it in the corner". In this memorable scene from the 1999 film one of the students is stood in the corner facing the wall. Heather and the audience both know that, according to the Blair witch mythology, this position is a prelude to being killed, as that is how the murderer, who was persuaded by the witch, used to place his victims, for he couldn't bear to look them in the eyes. This face-to-the-wall position conveys pure helplessness at the hands of the persecutor. In «Slime» there is a scene that makes an obvious homage to the «Blair Witch» scene: Phil is stood in a dark corner of a room, the shot is in black and white. There is, however, a stark difference: Phil is facing the camera. With just this one change the scene no longer feels like a display of helplessness. Phil is looking straight at us, he is not a victim at the hands of unknown horrors, he is in control.
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The way the "monster" is presented in both films differs significantly. A big part of the horror in «Blair Witch» is our inability to ever see the witch herself. The "monster" not being shown to the camera is a trope as old as low-budget horror: it helps build suspense and also hides the lack of budget. In «Blair Witch» the rapid movement of the camera also makes it feel like the horror is too great for a human mind to comprehend, too great to be caught on camera, Lovecraftian in nature.
The 1999 movie starts with the characters interviewing Blair locals, who tell the characters and us, the audience, the legend of the Blair witch. The witch was sentenced to death for practicing witchcraft, so she haunts those who try to disturb her peace. Here we can make the connection between those persecuted for "practicing witchcraft" aka being Other with being queer and being othered and, historically, persecuted for it.
This interpretation correlates well with the fact that the "monster", in this case the devil Baphomet, is present in «Slime». More than that, Dan and Phil actively seek him out. In the final scene of the short film, Baphomet has his arms around the pair, claiming them. The characters are willingly allying themselves with the Other. Dan and Phil see the "monster" and yet they do not run away, instead, they worship him. In the theme of reclaiming your agency, this could symbolize coming out, proudly and purposefully becoming part of the Other.
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They are doomed from the start, but they are not helpless victims of the Other, scary and unknown, they are the ones bringing about their own doom. This is taking your agency back, and I feel like this narrative rhymes really well with Dan and Phil's current presence on the internet. While the early years of their careers were filled with public speculation and being stripped of their agency, something that "was just theirs" being scrutinized by the public, which definitely affected the way they had to behave, their current self-described "chaos era" is very different. They no longer make the effort to pretend to be anything they're not. They are the ones in control of the narrative, keeping their private life private, while also sharing way more openly and freely, knowing that we know and not really caring about the public's perception, as post coming out they have taken the power and agency back into their own hands.
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