I didn’t sit here for years tryna stay calm and silent while listening to your bad takes on gale (who grew up oppressed, in poverty and then witnessed his entire district getting wiped out then rightly went to fight in the rebellion because it was his inlg chance of tearing down the system the wanted him and his family dead) being a “terrorist war criminal who is single handedly responsible for killing innocent people including prim and who is the REAL villain of the hunger games” just for y’all to turn and start stanning and defending actual facist dictator and child trafficker Coriolanus Snow because you saw a young hot version of him.
consider: mad genius who's also a very kind and lonely old man
actually adores children and connects with them better than most people because they are both openly candid, creative and curious
struggles with the asexual conundrum of wanting a spouse and offspring but ultimately Sucking So Much Ass at building intimacy with another person he skipped that part altogether and mad scienced his way into a family
This entire scene makes me hurt but I wanna talk about this part in particular because it drives me insane.
Like- Splinter knows they aren’t just running errands. He can see his sons sneaking out thinking their slick and he found all their human stuff bc he’s nosey and if his sons won’t talk to him he’ll just have to investigate himself right?
So Splinter knows his sons are hiding something from him because duh- and he knows they want to be apart of the human world but he’s scared they’ll get hurt so he tries to bring the human world to them.
And you can just see the cringe and discomfort in the boys eyes because their father keeps trying to make them stay but it’ll never be in the way they want it, but they clearly feel bad.
And the real kicker is when Splinter tries that thing he did in the beginning of the movie, where he presses his sons about the truth but he specifically looks at Leo, like the screen cuts to Leo and even Raph looks at Leo because Splinter knows his eldest son would never lie to him.
But then he does
Leo lies right to his fathers face no hesitation and Splinter gets that look that just screams ‘i lost them’ because even if his son’s disobey the rules and don’t talk to him anymore, Leo was like Splinter’s insider into what his kids are doing and how to keep them safe. Splinter lost their trust.
But now even Leo is shutting Splinter out, so Splinter has been completely walled off by his sons and to Splinter he has no idea why because he’s just doing this to protect his kids.
Looking at it from Leo’s perspective, he has a strong sense of Justice. In the beginning when their father grills them about where they’ve been, Leo caves immediately even though he knows it’ll make everyone mad at him.
He braces himself for it too. There’s no reward in telling the truth but Leo does it anyway.
But Leo is a teenager, and teenagers tend to act in their own self interest. So when Leo keeps snitching and it only leads to punishment on all sides
Isolation from his brothers, distance from his father, of course Leo is going to cut his losses and stick to the thing that brings him joy. Possible acceptance and April. It’s also the most we see him bond with his brothers since Leo isn’t trying to follow their fathers rules.
I was just thinking about how funny it is that Joker is probably too kinky to be physically tortured into giving up information, but now the possibilities are turning the gears in my mind. They'd have to use psychological/mental torture to get anything out of him, and even then, it would probably take threatening Batman in some way (like in Deadly Duo). They'd also need to capture Bats first in order to actually have any leverage but that'd be pretty hard. This got me thinking about what it might take to have Batman willingly surrender himself since there are too many obstacles that might make capturing uncertain. He won't let anyone be killed because of him (using the "because of him" closely, because he tends to blame himself for anything) so I could imagine a situation where he has to give himself up in exchange for not killing a hostage. If a villain were to have Joker in their grasp and threaten to kill him unless Batman turns himself in (with no other option available), Bats surrenders. Anyways, now I have an angsty fic idea where Batman surrenders, thinking he's saving the Joker but then they turn the weapons on him to get Joker to spill some information. Cue drama
Oooh. That's an excellent premise for a lot of angst and character exploration, yeah. I entirely agree that the only realistic way someone could torture Joker would be through Batman. Other people have canonically tried to get at him by attacking Batman already (Hush, for example). But taking Joker hostage and knowing Batman would be unable to be the direct cause of anyone's death, not even Joker's, but once Batman shows up using him to get at Joker... delicious. It could be such a heartbreaking way of having Batman realize that 1) he doesn't enjoy seeing other people torture Joker actually, and 2) that Joker genuinely cares about his life and it's the only thing he'll break for.
If you're inclined to write this, I am in full support. It's a great idea.
hunting is best done at night. insects are mostly nocturnal, and while Clay can't get quality meat from them, it's good enough to satiate the desperate hunger within him. enough to quell his cravings for one more day.
he loves his brothers. he loves this new society the Trolls have managed to build. he loves living life, surrounded by people and places, instead of stuck doing the same thing day after day.
The way learning about the vinsmokes and sanji's childhood re-contextualized so much about him hit me like a truck and i still reel when i remember that feeling
"You can die for your pride if you want, but listen - if you eat and survive, won't that give you the opportunity to fight for pride truly worth having?"
"Give up your ambition and live!"
"When he's fighting, he's not afraid of anything. Not even death."
These three lines stick out to me the most when thinking about sanji, but also the progression of these three lines too. Sanji says that first line to a starving man and it's sensible, it's wise. Live to fight another day, and all that. And the second line seems reasonable too, on its own. Why throw your life away when you know you won't win? It is a waste. But it also clashes with the heart of the scene - of zoro putting his life on the line for his dream. If this fight is the ultimate goal of zoro's ambitions, the point of his whole life, how can he just walk away? Because this is the thesis of the series - that extraordinary dreams are worth risking it all. Luffy says himself, with a smile on his face, that if he dies chasing his dream then he'll die. At least he tried. So how can sanji be a main character in a show about chasing dreams if he won't risk anything?
It's because the vinsmokes are still holding him back.
Of course sanji has this mentality, that when danger arises he has to keep his head down and survive until he reaches a mythical someday when everything will be fine. That's what got him through the hell of the first eight years of his life. Things will be better later, just hold on for now.
But the thing with humans is we take our worst days and burn them in to our memories so if they happen again we can survive them again. No matter how much time passes. "Give up your ambition and live" is good advice for a bad situation, but Sanji couldn't see he didn't need it anymore. He's been stuck in that mentality for years even after breaking free of the life where he needed it every single day. And zeff didn't know how to make him see that.
But luffy could show him. And zeff could sit with his son and watch what it was like to live without fear.
I know we’ve all been praising Mile and Apo for their acting this episode, but I want to jump in and say that what’s impressive isn’t only their execution of immense tonal shifts but the speed and at which they execute these shifts. Their mood changes are seamless rather than choppy and divided. Not only does it make the scenes more entertaining and realistic, but it also makes them feel whole.
Like in this beloved scene:
The shift happens right in this gif. Kinn’s face falls ever so slightly--without saying a word, we’ve already connected the dots about what he’s feeling. It reminds me of Ep6 in a way. This flirtation between them is a break from the real world. Kinn gets caught up in the moment before reality crashes back in. Porsche’s smiling face brings him joy, but everything about their situation is fragile. Porsche is still Kinn’s bodyguard, and he must assume all of the duties that come with that, but Kinn has never really wanted Porsche in this position (and I don’t think he ever really will). In the first few episodes, it was out of obstinance and annoyance with Porsche’s attitude. But oh how the tables have turned by Ep7. Kinn has acted as Porsche’s bodyguard in previous episodes, and it’s all been leading to this realization that the only way for Kinn to guard his heart is for Porsche not to guard his body. It’s an unwinnable situation though, because regardless of Kinn’s authority, Porsche still has to assume his role, no matter how dangerous it is. Kinn failed to free him from it in Ep6, so the only option now is to keep Porsche close and pray for his safety.
Back to my point: the fact that this one scene--this one gif--can bring all of this context to mind shows just how natural and impactful the transition is. The mood flips as Kinn’s expression changes, but that’s all we need to understand the gravity of this moment. They can flirt and play with each other, but there is always this underlying threat to their interactions--the thought that for all they have gone through together, they could be ripped apart in a million different ways.
(We won’t talk about the fact that this scene also uses three different music selections, each with varying tone, to coincide with these transitions. It’s a risky move to use so many selections, but in my opinion, it works. And Jeff’s soaring vocals of “Why don’t you stay?” as they look at each other??? Yeah.)
Let’s not even get started on the newest installment of The Scene™, because that’s got mood changes galore. Rage, frustration, heartbreak, guilt, forgiveness, desperation, lust, love: all in the span of only a few minutes. Mile and Apo have proven themselves to be phenomenal actors on their own, but they have a unique way of communicating with each other through their expressions alone. Their emotions are almost palpable, and they silently interact in a way that heightens these mood transitions effortlessly and realistically.
From a screenwriting and acting perspective, this final scene is risky. It quickly becomes sexual, but this isn’t a hate-sex moment, as it very well could’ve been. Kinn and Porsche are very clearly sexually attracted to one another, but their coming together isn’t initiated solely by lust; as in both of KP’s sex scenes so far, the physical intimacy is inextricably tethered to the emotional intimacy. As @fleet-off mentioned in one of her posts, television doesn’t show emotionally-invested sex scenes very often, but that’s what makes KP’s so poignant. The tonal transition feel seamless at the end of Ep7 (at least in my opinion) because of these emotional layers they have built up so carefully over the course of the last seven episodes. I personally went into the show expecting the feelings to come after the sex, but I have been pleasantly surprised by the added layer of emotion because it makes everything feel not only necessary, but richer. And I think it’s really difficult to portray a relatively graphic sex scene and make it feel as if it really needs to be there.
Anyways, I go into more detail about how cinematographic features like lighting and camera angle play into these mood changes in this post.
As usual, this post became a lot longer than I intended, but my concluding thought is that KinnPorsche manages to handle transitions in a masterful way that I adore very much. 🙂
Haven't had the chance to play actual dnd in real life, but In this run I get the sense that bg3 perfectly captures the "party progresses in a weird sideways way that bypasses tons of the dm's prepared lore, so the dm takes revenge by dropping a near impossible encounter on them" vibe I hear so much about