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#ashton ir
honeyedlashton · 1 year
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CARAMEL!!!!!
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ilostyou · 1 year
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the ultimate villain montage soundtrack
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freizusein · 2 years
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You know what I love so much about Orym? How beautifully understated he is in everything. How quiet he is, how he always defers the lead and the final decision to others, and how, in the end, he is just... a man (halfling) with a sword and a shield. Inbetween this group of characters, Orym is - what many even expressed as criticism about his character - boring, too lawful, too... adherent to morals. As Ashton says, he is not the powder keg, he is the sane one; as FCG says, he is too nice of a guy, etc. He has a shield and a sword and he druidcrafts flowers for Dorian to encourage him (and *cough* express his love) and for Ashton to stop his bleeding and calm him down after the psychic session with Imogen and FCG. He doesn't have magic; he doesn't have telepathy or telekinesis and powers of healing; he can't teleport, he can't fly, he can't transform into another form to help himself (or others) out. He just has what he has learned and trained for since his childhood, and his resolute discipline in keeping up his physical strength and skills through daily training (which Liam integrates so pointedly into his roleplay of Orym).
But the more we see of him, the more it becomes obvious that this is what makes him so brilliant as a character: the simplicity and yet the complexity; the oh-so relatable doubts he harbours for himself, the absolute humanity in his moments of panic and weakness and how he isn't afraid to show when he is in pain and physically hurting; the even greater humanity in his mourning of Will and Derrig and in preserving their memory and honouring their sacrifice, but also the strength he takes from it; his awkwardness in certain social situations, his dry & rare humour - but when he has fun, when he smiles, it is as if the sun is rising; and the clarity he has concerning the group, the devotion to them, his friendship and trust and loyality, and yet, how he keeps them accountable; not just himself, but all of them around him - that they have to stand together, what they have to do, and how strong his moral compass is in steering them ahead through all those terrible things.
The more we witness, the more Orym overflows with his immense courage. He is this small protector, easily overlooked in a crowd, who subjects his life in the service of all those he loves, and with this, he isn't small, he stands so tall with his fortitude. He baits and he goads death and stares in its face unflinching. He attacked Otohan Thull - with nothing but his sword and shield and skill - and drew her ire without batting an eye, and now he got a massive scar straight across his sternum for it; he actually died for it, and we know Orym - we know he'd do it again at once if it would mean saving his friends or even just getting his friends some more time to save themselves. The more we see of his actions, the more the others turn and even seek out Orym for leadership and guidance in moments of turmoil even if he says, again and again, that he isn't a leader. And Orym, in turn, encourages the group around him, in particular their individual strengths, supports them and in everything he does, he gives, he gives, he gives, and he gives, above all, his wonderful kindness and his undiluted, unapologetic love.
And this is everything but boring to me.
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arclundarchivist · 3 months
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And so returned through the ages, a legacy lost, reforged.
The souls of Empress and Emperor, frolicking like children once again.
Wind and Rot, Blood and Steel, Fire and Stone, guided by the Storm to dance upon the Ruddy Moon.
I am deeply interested to see what Fearne and Ashton will be able to do now, how the truths the others shared may come to a head and if anything else may transpire before they set off for Ruidus.
But worried about Imogen willing to give in, and all the unknowns that will entail.
But it is interesting, I think, how often the theme of empowerment through transformation has been.
All except Orym, in some way or another have proved to be a coccoon holding within a fairly dangerous butterfly.
Chet and the Wolf, Letters and the Beserker, Laudna and her Form of Dread and now Ashton/Fearne with their Elemental Forms.
And Imogen’s is coming, engrained into the story crafted by her subclass.
But it goes beyond that, Ludinus and his own transformations, the Raven Queen who went through a drastic transformation all her own and is a focus of Vanguard ire, the horrid mutations Predathos can unleash when it’s power is harnessed…it makes me wonder.
Will Orym go through one as well, but more over, is there something more being hinted at?
I don’t really know.
All I do know, is that I am far past ready to see what awaits on Ruidus.
Not sure if this was the last episode of the year or not, if no see y’all again next week, if so, hope y’all have happy holidays. Peace.
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wordswineandwhimsy · 1 year
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Catching up on Dimension 20's Adventuring Academy and in the episode with Matt he talked briefly about Orym and his storyline. I'm more and more convinced of my theory that the solstice/Predathos stuff isn't Bell's Hells endgame. Or at least not in full. It's gonna be the elemental rifts stuff that has been building since EXU.
I also still don't think the assassination attempt on Keyleth had to do with the moon. WHAT WERE THE MOTOVATIONS?! Why draw the ire and attention of one of the most, if not THE most, powerful Archdruids to moon stuff when [as far as I can remember] we don't know she was even remotely interested in Ruidus? Especially attacking when she had homefield advantage?
I think it's also gonna tie in Ashton's backstory stuff. If all of this turns out to be correct, it's been great misdirection and story arc planning from Matt.
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masterqwertster · 8 months
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May we know more about secret library dynamics more so when people first met/before Orym took charge for field stuff?
Sure.
...This is gonna end up Ashton-centric. Partially because I'm biased, partially because they're the member of Bells Hells that has been at the Jrusar branch the longest.
When Ashton first joined the Library, Eshteross was the Field Leader (Madam Prudaj was the Manager), so they worked under him for their first year on the Field Team. Eshteross got Ashton's respect pretty quickly for being a competent badass, which meant they behaved pretty well for him
But when Eshteross replaced Madam Prudaj as Manager, there wasn't anyone at the Jrusar branch who was really ready to step up as Field Leader. So Eshteross put out the ad to the other branches and ended up receiving Bertrand Bell from the Vasselheim branch
Now Bertrand was not incompetent, but he's bombastic and old school and a little condescending. When he looked at Ashton's profile with the Library, he saw a barely-a-legal-adult newbie and treated them accordingly: As someone who needed to be coached in the adult things of life and other forms of easing into the adult's world coddling
This did not go over well with Ashton. He proceeded to focus all his belligerent criminal punk grump at Bertrand. Maybe not to the level of "knife thrown into your shoulder," but Bert was definitely feeling the backlash of Ashton's ire
It took months (and a talk with Eshteross) for Bertrand to figure out he needed to back off, and a little longer after that for him to actually do something to get Ashton's respect (saved their life on a mission, probably)
But Ashton still enjoys giving Bertrand shit for his dramatics, so it's only in the field that the respect is particularly visible
Milo wasn't supposed to be there when they saved Ashton's life
They'd gone to medical to treat a burn they got from one of their projects, but found the place buzzing as the medics tried to figure out how to suture back together someone the needles couldn't pierce
Milo, being a mechanic and problem solver at heart, ended up suggesting (and later performing/assisting in) kintsugi for putting the rock person back together
Seeing as Milo had no obligation to help whatsoever and yet were the one to save his life, Ashton decided no one messes with the nerd on his watch was the least he could do for them
And it just turns out that Milo is cool. So they end up actually becoming friends
One of Orym's first softer impressions of Ashton was them sitting in one of the greenhouses while it was misting/rain-mode. They were soaked through and just peaced out with their head tilted back to catch the "rain" (because canon Ashton loves rain)
Ashton doesn't get to enjoy the rain much topside because the glamour doesn't cover for water physics on their actual form, so that's why he'll hang out in the greenhouses' artificial rain
Orym was respectful about it, so Ashton didn't get too prickly on him for catching them being vulnerable.
Afterwards, Orym isn't surprised when he occasionally finds an extra "statue" in the greenhouses while it's "raining"
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thinking-outloud2 · 10 months
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Se han puesto a pesar en la película del efecto mariposa?
La primera ves que vi esa película solo podía pensar “Ya ashton kutcher déjala ir!” “Simplemente ella no es mujer en tu camino, se feliz en el futuro alterno sin ella “
-Después, me enamore y perdí! Y entendí al pobre Ashton kutcher y pensaba que quizás debería volver una vez más e intentarlo diferente..
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trashgalactica · 2 years
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So I finally got around to watching the Killing Eve finale and...hoo boy. I have some thoughts. Buckle up because this is gonna be a whole essay.
I knew going in to the finale that the ending was likely to be...not good. The mishandling of the Eve and Villanelle’s relationship, the meandering plot and subsequent rush to tie off all the loose ends did not exactly fill me with hope. I had avoided all spoilers and discussion of the finale online, which meant swearing off Tumblr entirely, but still I felt the rumblings of people’s displeasure and thought, oh, this is going to be BAD. Even then, I could not have prepared myself for just how profoundly they botched the ending. It honestly beggars belief. To somehow make a worse, less satisfying ending to this show than what we got, I feel would take genuine deliberate effort. Some part of me expected Ashton Kutcher to pop up after the credits to tell me that I just got punk’d.
I think it’s important to explain WHY this ending was so bad, because already I’m seeing smug responses to the controversy asking why anyone should expect anything but death for these characters when its been clear from the beginning that this isn’t a story with a happy ending. There’s a real ‘I told you so’ vibe coming from these kinds of takes and its frustrating to me to see people upset about the finale being painted as naive petulant children who are mad about their toys being taken away from them, because I think it fundamentally misunderstands the source of  (most) people’s ire.
The issue isn’t really that Villanelle died. I think the majority of us knew, going in, that one or both of Killing Eve’s leads dying was a very real possibility. I honestly would have been surprised if they hadn’t killed at least one of them off, despite the way the books go, because much of the shows length was spent foreshadowing that outcome and showcasing Eve and Villanelle’s mutually destructive behaviour towards each other. The issue is that they executed her death so INCREDIBLY poorly. I’m not a person who thinks you can never kill a queer person in a film or TV show- the rate at which popular media does so given how few LGBTQI characters of significance are represented on our screens is of course a concern- but I do believe it is possible to have a queer character die without invoking the bury your gays trope.
BUT.
You have to EARN it. If you’re going to kill a character off it has to make narrative sense. It should fulfil that character’s arc in a satisfying way without feeling like they’re being punished for their queerness. Villanelle’s death achieves none of this. The show spends its run building up to some final showdown with the 12 only to have Villanelle easily dispatch a bunch of faceless randos in the last five minutes of the show, while Eve is dancing at a wedding (???) I guess (???), and then have another (offscreen) rando dispatch her with a sniper rifle. The End. Literally- that’s the title card. It’s abrupt. It’s pointless, sloppy. It doesn’t tie into any of the thematic elements of the previous seasons. And it does so after it spends an entire season not knowing what it actually wants to do with its leads and wasting much of the run with new characters and subplots which ultimately serve no purpose.
It’s possible to imagine an ending where our leads die but it feels like the right narrative choice. Perhaps instead of resetting the board after season 3 and have Eve and Villanelle once again on opposing paths (the writers never did seem to know what to do with Villanelle and Eve once they actually were in the same room together, preferring instead to use the tension of their cat and mouse game to see them through the wobblier sections of the show), we actually see them trying to make a partnership work from the beginning of the season. Maybe, despite knowing that they will ultimately lose, they decide to take on the Twelve together, who, in this alternate universe, are actually a real threat instead of some mooks on a boat. Imagine, Eve and Villanelle- hand in hand, each with a smile and a gun, preparing to infiltrate some grand estate, knowing they’re hopelessly outnumbered but believing it better to go out in a blaze of glory than live long and dull empty lives or submit to the control of someone else. Fade to black. Or maybe they end up killing each other – the weight of everything that they’ve done to to the other too far a gulf for them to actually overcome, their collective darkness bringing out the worst in each other leading to their ultimate demise. Either of these options would be narratively consistent with what the show had built up until now, and provide some emotional weight to their deaths and close out their arcs in a coherent way.
Instead they fell into exactly the same trope that so many films and shows do which is to have these characters consummate their relationship at the Nth hour and then kill one of them off to wring an unearned sense of pathos out of the shock value. That’s not some shakespearian tragedy like Laura Neal seems to imagine it is. It’s just lazy writing. It’s like the episode got written at 9pm on a Friday night and everyone just wanted to get it over with so they could go to the pub.
Worse, it’s obvious that the showrunner FUNDAMENTALLY misunderstands who these characters are and what they want. To frame Eve’s survival at the cost of Villanelle dying as a ‘rebirth’ and that now she can ‘move on from their toxic and obsessive relationship’, to ‘rediscover what the normal world has to offer’ as if Eve hasn’t spent the last four seasons making it clear that she was miserable in her old life, that she felt trapped and isolated, and that Villanelle was the one person who she truly connected with- seems laughably tone deaf. And given how soon it occurs after Eve and Villanelle actually get together, frankly homophobic. Much like other examples of Bury Your Gays, this framing- consummation of a queer relationship, followed shortly thereafter by death, the implied return to the status quo, makes it feel like Eve is being punished for stepping outside heteronormative boundaries, especially with that brutal hard cut ending. Villanelle, as the ‘instigator’ and clearly the more ‘deviant’ of the two is killed as a lesson to Eve about what happens when you follow in her path. It implies that Eve’s growth over the show isn’t her embracing her true nature, but rather a corruption of it. Its Hays code era messaging, even if that’s not what Neal intended. As Eve herself says- somehow I survived, but for what? Everyone is gone- Villanelle, Niko, her friends. Carolyn betrayed her. It’s remarkably cruel and yet Neal frames this as a triumph.
It’s honestly like she didn’t even watch her own season. Some of the things she says seems fundamentally at odds with what we see on screen. Yes, Eve and Villanelle’s relationship to each other has been toxic and obsessive and destructive, but it feels to me that the show has spent the last two seasons exploring how their relationship has grown out of obsession and into something resembling genuine connection, even if the way they relate to each other and the world is warped. It asks the question- can these two fundamentally fucked up people form a relationship without ultimately destroying each other?  Now it’s okay if the answer to that question is no, but if that’s the direction you’re going in you need the rest of your narrative to support the conclusion. If you want your audience to go with you when you say clearly this relationship is destructive, that it doesn’t work and can never work, maybe don’t spend the only episode where they do get together, demonstrating how well it IS working. As the writing maxim goes, show don’t tell!
The mischaracterisation of Eve this season is probably the most egregious, but nobody comes out of this season unscathed. Villanelle’s growth over the previous three seasons is thrown out almost entirely, Carolyn, though charmingly mercenary in previous seasons, is downright sociopathic here, and her constantly flip flopping allegiances and unclear motivations- while I think meant to demonstrate her lack of loyalty and capacity for betrayal- end up just making her seem silly and incompetent. The Twelve, a mysterious far reaching, dangerous and seemingly unbeatable organisation? Turns out you can find them all just hanging out on a wedding boat, and despite their importance and the fact that they are surely aware that somebody is killing a bunch of them off, it’s super easy to get on board by pretending to be a celebrant!
So to conclude this rant, like most of those criticising the show’s ending I’m not angry that they killed Villanelle. I’m angry that they squandered the incredible potential of this show, the talents of its actors and insulted the intelligence of its collective audience by killing her in the most cheap, lazy and unsatisfying way possible. Sandra Oh and Jodie Comer are incredible actresses and they did an admirable job with what they had, but I’m devastated for them that the show went out this way. No real resolution, or sense of thematic closure, just a rushed hack job by someone who doesn’t understand the characters that she’s writing. Laura Neal, may you spend the remainder of your miserable days haunted by angry, shitting seagulls.
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normallyxstranger · 1 year
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Fictober22 (@fictober-event) Day 19 — "Do we have a deal?"
featuring Carla Carlyle & Sara Minder — characters from The New Ashton Chronicles, written & role-played by F.R. Southerland (@normallyxstranger | @frsoutherlandauthor | www.frsoutherland.com) © October 2022
original fiction
general warnings: strong language, violence mention
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     Of all the people that could’ve walked into The Other Realm Comics shop, Sara was the last one she expected—and the one she most loathed.
     No, not people. Not a person. Demon. Carla had to remember to correct herself on that because Sara was… very different. Carla knew demons—she worked for one, after all—but Dylan was a different sort. He was able to act remotely human, showing some sort of capacity for emotion and even seemingly enjoying the time he spent among humans in their world. Sara, on the other hand…
     She could see the hate the second she entered the shop via the backroom. Her nose went up in the air and her dark eyes stared down at everything, but especially at Carla. 
     “Oh. You’re here,” she said with clear disdain, exhaling an exaggerated sigh.
     If it was anyone else, Carla would not have hesitated to answer with her usual snark. Knowing Sara would kill her in two seconds flat, with just a swipe of those sharp—but finely manicured—nails, she thought it best to have some respect along with her fear. Sara certainly wasn’t Dylan and wouldn’t react at all in the same jovial way.
     “Yes. I am,” she stated, working to keep her voice completely flat, even. “I work here.” As if that wasn’t clear from her position behind the register, the stupid name-tag. 
     The demon’s eyes swept the room. “Hmm.”
     Carla took in a deep breath, biting her tongue to hold back a nasty comment. “Is there something I can help you with?” She put on her best customer service smile, the tightness of the feigned friendliness straining her cheeks. 
     “You? Help me?” She gave a sharp laugh and strode forward, past Carla and the counter and toward the shelves of comics and graphic novels. “I doubt it. I don’t need the help of a human.” She spat the word out, as if Carla were a roach or a bug or some disgusting thing that shouldn’t exist.
     That just about did it. She very nearly threw back her own harsh words, but managed to hold back. She searched her mind for something to say, some counter that wouldn’t further incur her wrath or ire or piss her off any more. The only thing she could think of was another question. “What are you doing here?”
     For a few moments, Sara’s gaze continued to look over the bright covers of the comics on display, before she turned to her. “Obviously, I’ve come for him. Dylan. He was not upstairs, I thought he might be here, but I was clearly wrong.” Her upper lip drew back in a sneer. She stood a little taller, her lithe form having all the grace of a black cat ready to pounce. “I’ve decided to wait for him. Leave.”
      There was no question in that. No request. It was a demand. Ugh. Demons.
      Unable to hold back any more, Carla scoffed. “Uh, no. I’m not leaving. I’m working my shift and I have a right to be here—”
      “Go or I’ll slice that thick neck of yours.” Her lips pulled into a tight, humorless smile. “I don’t offer a choice often but because he likes you, for some reason, I’m willing to play… nice.” A pause. “Do we have a deal?”
     Well, Carla wasn’t gonna argue with that. She could just think of this as… paid time off. A much needed day to herself. She didn’t even need to think about it. It was leave or die and she was not fucking dying today in this damned comic shop.
     “Just let me grab my purse.”
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samuraiko · 2 years
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A *lot* of late-night thoughts about C3E32... <SPOILERS AHOY>
You have been warned.
Like seriously.
As in I don’t want to hear any complaining that you didn’t know spoilers for tonight’s episode were coming.
WHAT THE FUCK WAS UP WITH THAT QUIP AD BIT OF SAM’S?! Oh my fucking gods. And Liam, how the HELLS did you pass up the opportunity to snark about knowing EXACTLY how much Sam can fit in his mouth and/or his gag reflex? REALLY?! I am so disappointed in you -- that wasn’t just a softball pitch, that was practically Mage Hand-ing it in slow balletic style right into your strike zone.
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I’m still not entirely convinced that Fearne’s not actually a sociopath. There’s stirring up shit just because occasionally it’s entertaining, and especially if it only blows back on YOU... and then there’s the shit that she’s doing (like putting two Gnarlrocks near Imogen and Laudna when just ONE caused all sorts of fuckery and problems, or trying to “but this shouldn’t apply to me” when Orym is warning all of them about their potential ‘kind of awful’, or telling Imogen to hurt Ollie if it meant getting answers).
Like fucking REALLY, Fearne? You’re going to steal a TOP PRIORITY CRATE FROM THE CERBERUS ASSEMBLY AND THE PARAGON’S CALL RIGHT IN FUCKING FRONT OF THEM?! I was almost hoping she’d be that stupid JUST to watch her draw the Call’s ire, and then (hopefully) have the Hells just sit back and go, “you brought this on yourself, YOU get yourself out of it.”
Which is why I’m REALLY wondering if Ashley is potentially setting up Fearne based on the alternate DARK version of her from ExU (a la what nearly happened to Caleb in Campaign 2) to maybe become one of the BBEGs of Campaign 3.
(I know there are a lot of folks who love Fearne - more power to you... me, the more I know about this character, the less I like her. But it’s a big fandom. You do you, I’ll do me, we’ll both be cool. And I have *NO* problem whatsoever with Ashley -- I enjoy her as a player, I liked her a lot as Pike, and I fucking ADORED her as Yasha.)
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And on that note, for FUCK’S SAKE, Chetney, it’s clear that FCG is AFRAID of his darker self. Quit ENCOURAGING that side of him to come out until he’s more accepting and comfortable with it, given how much that side of him has COST him already. Leave him the fuck alone. (That said, I’m REALLY hoping we get a case of Chetney losing control and REALLY hurting someone he cares about, and who’s a lot less likely to forgive him than Orym was. Like if he wolfs out and hurts Imogen or Laudna, the other one is going to utterly wreck his shit. And seeing Chet shoved facefirst into a painful situation he can’t just bribe or sneak his way out of has a lot of potential.)
Related to that - Imogen and Chet have this undertone of vitriol going on that I find kinda fascinating in a weird way. It’s not like the whole belligerent sexual tension that Chet and Fearne kinda have going, and it’s not like his hazing of Dorian before the two of them became thick as thieves. I think Chet’s gonna snap at some point and go after Imogen, probably because she’ll have done something to poke the badger one too many times.
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I really liked seeing the FCG/Imahara Joe dynamic on this one, and also I was a REALLY big fan of the FCG/Dancer meeting. It’s just so NICE to see Sam stop clowning around for once and just bring simple, earnest honesty to a scene, and come back to what I really see as the core of FCG’s character (as in personality, not as in the D&D gaming construct). That may have been one of my favorite moments of his yet in this campaign.
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And then there was that absolutely glorious trainwreck of a conversation between Ashton and Laudna. I don’t quite know if I full-fledged ship those two, but Team Tombstone is rife with so much bittersweet HEART to it. And for me, I just love watching Marisha and Taliesin act off one another. Not that I think Imogen and Laudna together is a bad thing, I think they make a great couple in their own sort of weirdass way, but just seeing the two walking disasters with each other is a beautiful thing.
(Someone PLEASE do fanart of Laudna and Ashton screaming an intimate conversation with each other in the middle of a dust storm.)
I don’t know, maybe Imogen wouldn’t mind them being a polycule. Especially since she knows that Ashton really does seem to have Laudna’s well-being at heart, and he’s certainly capable of protecting her in a way that Imogen herself can’t.
We’ll see how that all comes together.
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And then there’s Orym. Everyone already knows I love this character and I love Liam, and if anyone ever hurts my favorite cinnamon roll halfling fighter, I will rain down such wrathful vengeance upon them that their nightmarish fate will only be spoken of in hushed and terrified whispers for a thousand years.
(Side note - I want to smack Laura every time she derails Liam with some wiseass remark when he’s trying to be serious. I know those two love each other like brother and sister, but try to give him the same respect he gives you when YOU’RE having a big serious RP moment, Laura. It’s just a quirk that drives me nuts.)
I really hope we get to circle back around to his storyline soon. But no big shock there, considering my aforementioned love of Orym and Liam.
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Personally, I think Artana Voe is in Bassuras to tie up a loose end in Treshi... though who hired her is open to debate. So the question is gonna be, do the Hells try to keep Treshi alive, or do they let her kinda/sorta solve the problem for them while they go off after more important things? Though I think it’d be fun to see her and Orym go head to head.
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daisyjoners · 1 year
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poppy
give me a character and i’ll give you 10+ headcannons: poppy calvery.
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o sonho inicial das mães calvery e tremblay eram que, na verdade, a poppy ficasse muito amiga da hanna e formassem uma amizade assim como elas tinham. mas... porém, contudo, desde que as crianças se conheceram nas férias de verão - antes da família calvery se mudar oficialmente de sacramento pra são francisco -, desde o início ficou claro que a conexão real existia entre a poppy e o ashton. desde seus primeiros dias juntos, ainda criancinhas, sempre andaram pra lá e pra cá juntos, e era com ele que a poppy queria fazer tudo.
por vários anos, a poppy escreveu contos no caderno dela (e algumas fanfics com teor duvidoso sobre casais que ela gostava em séries e livros), e a única pessoa de confiança que ela deixava ler tudo era o ashton. só inscreveu o seu primeiro conto em concurso da escola provavelmente por incentivo dele, então, ele tem muuuita influência em ela ter tomado coragem pra levar a escrita como carreira.
atualmente, tem três livros lançados - you deserve each other, hook line & sinker e beach read. embora não sejam nenhum best-seller, ela se tornou bem popular entre o nicho dos fãs de livros de comédia romântica, e o último ganhou bastante destaque no tiktok desde o seu lançamento.
em todos os livros, um hábito de poppy está presente: ela sempre coloca alguma piada interna ou cenário que só o ashton vai entender a origem, porque gosta da ideia de terem essas conexões e referências um com o outro que somente os dois poderiam compreender e entender a verdadeira graça.
por mais que seja extremamente romântica e acredite no amor verdadeiro, além de ganhar a vida escrevendo sobre isso, a vida amorosa de poppy é um desastre. somente teve dois relacionamentos que duraram mais que alguns meses. um foi durante o ensino médio, com o namorado de dois anos e meio - terminaram pela universidade e, naquela altura, ela estava dando graças a deus -, e o outro mais recentemente. ficou com seu último namorado sério durante quase dois anos, porém, acabaram a relação, estando há um ano e meio separados. não tem a menor pretensão de manter um relacionamento com ele de novo e, usualmente, acaba apenas usando o tinder ou encontros marcados por amigos em comum pra sair com outros caras.
poppy é o tipo de pessoa que faz uma playlist para absolutamente toda situação possível em sua vida. é um hábito que criou durante a escrita de seu primeiro livro, quando descobriu que criar playlists de músicas sobre os personagens, cenários e o casal em si ajudaria muito, assim como para diversas emoções possíveis. nunca consegue se concentrar para escrever em seu computador sem que esteja usando fones de ouvido. a maior parte das músicas que escuta são pop, mas ela também gosta muito de indie.
sua relação com a família anda um pouco estremecida desde a descoberta de que sua mãe estava traindo o marido e, por alguma razão, ainda pediu que guardasse o seu segredo por não querer destruir a relação de tantos anos. embora poppy tenha concordado com o tempo, por imaginar que doeria mais em seu pai saber, e com a promessa de sua mãe de que seria a última vez, se sente constantemente culpada de não ter falado nada. nunca conversou com ninguém sobre tudo isso, e não fala mais com sua mãe da mesma forma.
adotou recentemente um cachorrinho de cor caramelo, que uma amiga resgatou e não tinha como cuidar em sua casa por questões de espaço e ter outros cães. ele é praticamente um filho pra poppy, que o nomeou de darcy em homenagem ao tão conhecido personagem de orgulho e preconceito, o seu livro favorito da escritora jane austen. como darcy é muito enérgico, frequentemente sai pra caminhar com ele no parque perto de seu edifício ou na praia.
gosta muito de ir em cinemas drive-in e, provavelmente, todos os seus amigos já foram arrastados ao menos uma vez para acompanhá-la, embora não veja algum problema em ir sozinha. as suas maratonas favoritas são as de filmes de romance, seu gênero favorito de cinema. seu filme favorito, por sinal, é when harry met sally, embora também ame la la land e sleeping with other people.
quando a questionam sobre o homem de seus sonhos, geralmente poppy dá uma descrição que qualquer um que os conhecesse poderia encaixar em ashton - e, na maioria das vezes, ela nem sequer se dá conta disso. muitas vezes, entretanto, ela já admitiu para as amigas mais próximas que queria alguém como o melhor amigo e que a tratasse da maneira que ele faz, embora nunca tenha levado a sério nem a ideia de algum dia ficarem juntos. parece muito fora da realidade, de tanto que ela é acostumada com a amizade - e, caso ele fosse querer algo, teria falado há muito tempo.
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C3 E30 Notes
aaaand here are all my reactions from episode thirty! WHAT an episode I am loving where this is headed!! Can’t wait for tomorrow!!! once again this is for @mysticalspiders and there is no context or timestamps. just vibes. 
YEAHHHH CASHAPP
I will never be over “fingerblaster”
THE LADY FINGERS????
Oh Laura killing it as always
“What about Matt?” “Fuck that guy”
“Do you trust me?” “No, not really”
Rippling bridge nope nope nope
“I throw up in my mouth a little bit” oh imogen
There’s beauty to be found in the most unlikely of places (in Birdie’s southern accent)
SKI JUMP POSE
“I’m gonna keep steering into the corner.. just to make it awkward”
“Sun-scarred, like my forehead.” “Let’s all go around and say one weirdly personal thing about ourselves”
MARRIED “I’m gonna telekinetic shove Laudna down so she doesn’t fly off”
AUTOMATON WAR MACHINEEEEE this is getting very Castle in the Sky
Hmmm the ire of maricris
IMOGEN WHAT THE FUCK
8D6 OH MY GOD
MAP MAP MAP MAP MAP
WHYYY does imogen keep blowing stuff up
Oh my god 60 shots marisha is perching
FIVE SHOTS PER PERSON
Laura is learning how guns work tonight
God this damage rolling is taking so long
“For the rest of my move I’m gonna-“ “apologize”
“Sixteen misses the leg” *in a please sir may I have some more voice*
“Should we just change? Do you wanna be laudna?”
FCG IS DOWN OH NO OH NO
Brennan it’s fine just keep going
Four! FOUR!
Marisha oh my god how does each form of dread get even worse
“Sinewy halfling arm” is not a phrase I ever want to hear again thank you Liam
Yesssss ashley with the hdywtdt
Oh my god they are will not let this poor group that attacked them rest
“I am conscious…” me wanting to fall asleep so bad at 4:44 pm
You see a dark mushroom cloud in the distance
Oooooh calamity seeping in everywhere! I love this detail of the rumedan desert once being a jungle!!
"What’s 420 divided by six” “70” “I’m pretty sure it's 70"
GIANT THIMBLE
Good for you sam! No more regrets.
Break! Heading to the Calloway layaway!
SHORT ELF DAD ALERT
Llajdnakjsdn nightmare king is STILL gross as hell
Fearne introducing Ashton second is somehow very Laura Bailey Eyebrows to me
THE FINGERS WRAP AROUND EWWWW NOOOO
Ashley that was so funny
So this green glass door can SEE lay lines?
Gently!
This moon shit is getting creepy y’all
Sam stop yawning you’re making me yawn
“Two? Just two of them?” “Yep” “no.” Laura’s face is correct this dude is disgusting
Ollie is sitting like a cool teacher and I respect it
Sounds like birdie and ollie got into… some stuff… in the feywild
“I feel like I might be… on ruidus?” GIRL STOP ARE WE GOING TO THE MOON OR NOT
Insight check whispers!!!
Ashton and laudna are going to date the nightmare king
“What does it look like?” “It looks like a crown”
WHAT is the history between ira and morri I am desperate to know
THE UPRIGHT SEELIE BRIGADE Liam get out of here
I wanna meet morrigan so bad shes the tall lady rep I deserve
Oh shit what was the underlie court building
Excuse me??? The moon has a shell?
IMPRISONED GOD???
WHISPERS AGAIN
"Its cause my glasses keep bumping into them!”
Little moon looking at the little moon
NATURAL TWENTYYY TELL US MATTTT
THERES A CITY ON THE MOON
MATTHEW MERCER YOU SON OF A BITCH
“Why are there keys on that?” “You dont know!”
We are GOING to the MOON
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Cumpleaños 🎂
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Hoy cumple 45 años Ashton Kutcher y lo recordamos con su excelente método para criar hijos trabajadores e independientes.
Hace poco causó polémica que Mila Kunis y Ashton Kutcher relevaran que no tienen a sus hijos en su testamento pues eso va en contra de la educación que quieren darles
La pareja tomó la decisión para evitar que los pequeños se conviertan en malcriados, y fomentarles el valor del esfuerzo, el trabajo y el salir adelante por sí mismos
“No vamos a dejarles nada de dinero. Cuando se acerque el momento, donaremos todo lo que tenemos a causas benéficas”
Sin embargo, no dejarles nada de herencia no significa que no apoyen a sus hijos, por el contrario, ambos han dejado claro que lo más importante para ellos es que sus hijos entiendan que hay que trabajar y formar un patrimonio propio, no pelear por herencias que son sudor ajeno
Mmmm está bien inculcar a los hijos el valor de las cosas pero suena tan mal eso de "no pelear por herencias que son sudor ajeno" ... como padres, no solo deben apoyar y educar, si no facilitar la vida de sus hijos si está en sus manos y eso no significa "mal criar"
Me imagino a estos dos derrochando a lo grande y a sus hijos jugando con juguetes de madera, como antaño ... nunca me cayó bien esta pareja
Ya pueden sus hijos por pequeños que sean ponerse a trabajar para ir ahorrando para la Universidad o por si necesitan tratamiento médico (recordemos que están en USA)
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einsteinsugly · 1 year
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Thanks, I'm Giving, Part 5: My Stash of Michael Kelso Pics
Sources: Weheartit, Tumblr, Pinterest, Google, etc. I literally just cropped some of these.
A/N: Kelso and Brooke forever. :)
Bonus: Kelso and Hyde. Ashton Kutcher, Jackie and Kelso (again), Brooke Rockwell (looking at Jackie and Kelso with ire).
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claudiosuenaga · 2 years
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The Thirteenth Floor (13º Andar), o filme que questiona a natureza de nossa realidade
Por Cláudio Tsuyoshi Suenaga
Dois meses depois que Matrix foi lançado em 1999 (em 31 de março), um outro filme a ir até mais fundo em certos questionamentos – mas que devido ao sucesso retumbante deste e por não apelar a efeitos especiais “bullet-time” mirabolantes, acabou passando totalmente despercebido – pôs em cheque a condição humana e sugeriu que não somos mais do que seres simulados eletronicamente (electronic simulated characters): The Thirteenth Floor (13º Andar), com direção e roteiro de Josef Rusnak, adaptado do livro Simulacron 3 (1964), de Daniel Francis Galouye (1920-1976).
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Hannon J. Fuller (Armin Mueller-Stahl), presidente fundador da Intergraph Computer Systems, uma mega empresa de vanguarda em inteligência artificial que desenvolve um projeto de realidade virtual dentro de um ambiente de sistema computacional inovador capaz de sustentar um mundo simulado totalmente autônomo e que recria de forma realista a Los Angeles de 1937, época da juventude de Fuller, é assassinado logo no início.
O detetive Larry McBain (Dennis Haysbert), interroga o sócio e melhor amigo de Fuller, Douglas Hall (Craig Bierko), bem como a jovem e linda filha de Hannon, Jane Fuller (Gretchen Mol), que surge do nada como única herdeira da companhia. Ao vê-la, Hall se sente imediatamente atraído por ela e lhe pergunta de chofre se já não se conheciam de algum lugar, indicando ter experimentado um déjà vu. Era a segunda vez que não conseguia acessar suas memórias, pois não se lembrava também do que fazia no momento em que Fuller era assassinado.
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Principal suspeito do crime, Hall já não tem certeza de sua inocência e resolve ir atrás da verdade mergulhando no mundo virtual criado por Fuller com a ajuda do programador Jerry Ashton (Vincent D’Onofrio), que de início reluta em transferir a consciência de Hall a esta realidade virtual onde os usuários acessam os seus avatares e interagem com outros seres virtuais sencientes, autônomos e autodidatas (fully formed self-learning cyber beings) que pensam e reagem como pessoas do mundo real sem saberem, no entanto, que vivem em um mundo virtual, que são apenas dados e impulsos elétricos em um computador.
A transferência se dá com a consciência do usuário sendo projetada no ciberespaço até incorporar-se ao seu avatar, que é a imagem e semelhança dele mesmo, um reflexo do seu caráter. Avatar (avatara, em sânscrito), aliás, é um conceito hindu que significa “descida de uma divindade do paraíso a terra” e a consequente aparência terrena desse ser celestial – em referência particular às dez formas de representação de Vishnu.
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Nesse processo de transferência, o usuário experimenta um outro fenômeno transcendente, o da bilocação, que é aquele quando uma pessoa é transferida em corpo e alma para um outro lugar longe da sua residência habitual até que a sua missão esteja cumprida, e regressa instantaneamente ao lugar onde habita, sem que os que convivem com ela percebam. Mas a pessoa que faz esta viagem conserva a lembrança do local onde esteve, assim como de todos aqueles que, vivendo lá onde esteve, viram-na e conviveram com ela, exatamente o mesmo que ocorre no filme.
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A cada incursão, Hall se arrisca neste mundo simulado até que descobre que ele próprio estava vivendo em um mundo simulado surgido de dentro de outro mundo simulado. Uma simulação dentro de outra simulação, dentre milhares de outros mundos simulados!
No final, ao ascender para um mundo superior, mais tranquilo, espiritual e etéreo, situado em 2024, ficamos sem saber se aquele era o mundo real ou apenas outra simulação.
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Bem antes de The Thirteenth Floor, em 1973, o ator e diretor alemão Rainer Werner Fassbinder (1945-1982) já havia adaptado Simulacron 3 no formato de uma minissérie de duas partes para a televisão alemã. Filmada em 16 mm e estrelada por Klaus Löwitsch, seu foco não esava na ação, mas nos aspectos sofísticos e filosóficos da mente humana, na simulação e no papel da pesquisa científica.
Em World on a Wire (em alemão Welt am Draht e que em português poderia ser traduzido por Mundo em um Fio), o supercomputador da Cybernetics and Future Science (Institut für Kybernetik und Zukunftsforschung) hospeda um programa de simulação que inclui um mundo artificial com mais de 9.000 “unidades de identidade” que vivem como seres humanos, sem saber que seu mundo é apenas uma simulação. O professor Vollmer (Adrian Hoven), que é o diretor técnico do programa, está aparentemente à beira de uma incrível descoberta secreta. Ele se torna cada vez mais agitado e anti-social antes de morrer em um misterioso acidente. Seu sucessor, Dr. Fred Stiller, tem uma discussão com Günther Lause, o conselheiro de segurança do instituto quando este desaparece de repente sem deixar rastro antes que ele possa passar o segredo de Vollmer para Stiller. Mais misterioso ainda é o fato de que nenhum dos outros funcionários da IKZ parece ter qualquer lembrança de Lause.
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Enquanto isso, uma das unidades de identidade na simulação tenta suicídio. Esta unidade foi excluída pelo colega de Stiller, Walfang, para manter a simulação estável. Para investigar os motivos do suicídio, Stiller entra no mundo simulado para entrevistar a unidade de contato. A unidade, chamada Einstein, é a única unidade de identidade que sabe que o “mundo” é uma simulação, e isso é necessário para executar o programa. Na tentativa de se tornar uma pessoa real, Einstein muda sua mente para o corpo de Walfang enquanto Stiller está em contato com o mundo simulado. Einstein dá a Stiller uma explicação para os mistérios, memórias que desaparecem e pessoas que desaparecem, dizendo-lhe que o “mundo real” de Stiller nada mais é do que uma simulação do mundo real, que está um nível acima.
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Esse conhecimento faz com que Stiller mergulhe na insanidade. As outras pessoas “reais” interrogam Stiller e ele é ameaçado de morte, encarceramento e internação involuntária. Stiller finalmente consegue convencer Hahn, o psicólogo da IKZ, de sua teoria. Este último logo morre em um acidente que é preso em Stiller, marcando-o como o suspeito assassino de Hahn e Vollmer. Stiller foge e procura a unidade de contato necessária que possa conectar seu mundo “real” com o mundo real, um nível acima. Ele sobrevive a várias tentativas de assassinato e descobre que o contato é Eva, que foi projetada na simulação após a morte de Vollmer (como sua filha inexistente). Stiller aceita sua presença, acreditando que eles já tiveram um romance. Eva diz que ele foi modelado no verdadeiro Fred Stiller, uma pessoa que Eva amava, mas que enlouqueceu com o poder de dirigir a simulação no mundo acima. Enquanto Stiller está programado para morrer em uma emboscada, Eva muda as mentes dos dois Stillers e traz o Stiller simulado para o mundo real.
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Saiba mais sobre realidade virtual e simulada no artigo completo que escrevi a respeito aqui no blog: https://www.claudiosuenaga.com.br/post/653609277934698496/matrix
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duhbatmann · 2 months
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History of Mary Linton
Background
During her youth, Mary was in a romantic relationship with Arthur Morgan and the two were deeply in love, but it ultimately fell through due to Arthur's life as an outlaw and affiliation with the Van der Linde gang, leading to prevalent disapproval from her family as a result, particularly her father.
Afterward, Mary eventually married a man named Barry Linton and took on his surname. Barry later passed away after contracting pneumonia, leaving her a widow. To make matters worse, her family grew to be dysfunctional as well; her younger brother, Jamie had joined Chelonia, an infamous fanatical cult, while her father gradually became more withdrawn and verbally abusive to his children, growing increasingly dependent on alcohol, whoring, gambling, and eventually began pawning off much of their family's property.
Horseshoe Overlook Chapter
Mary contacts Arthur for the first time in many years and pleads for his help in convincing Jamie to leave the Chelonians. Arthur is apprehensive due to poor relations with the Gillis family but admits that he was at least on good terms with Jamie. If Arthur accepts, he successfully chases down Jamie and persuades him to leave the Chelonians, before taking him to Mary at Valentine train station. Mary thanks Arthur for his help and then boards the train with Jamie to return home. After this, Arthur laments how he feels both elated and foolish for how Mary can manipulate him and resigned to the fact that he would not be able to refuse her. He also writes his initials and Mary's in his journal with a heart between them.
Saint Denis Chapter
Mary later asks Arthur for help with her father, much to Arthur's ire. Mary begs for his help and tries to justify her father's poor treatment of him, but Arthur angrily points out that Mary's "pure life" hasn't fared well at all, referencing Jamie joining the Chelonians, Mr. Gillis' deeply hypocritical and deplorable habits, and the fact that she was now begging him for help. If Arthur accepts, he accompanies Mary to Mr. Gillis, who verbally abuses Mary before storming off. Arthur and Mary follow Mr. Gillis to an alley and discover him selling a brooch gifted to Mary by her mother. Dismayed at what she had seen, Mary angrily confronts her father, as Arthur goes to take the brooch back from the buyer named Ashton. After Arthur gets the brooch, he returns to the alley and finds Mary sitting down dejectedly, expressing indifference to wherever her father went.
After the situation with Mr. Gillis, Mary asks Arthur if they could go to the theater together as friends. If Arthur accepts, he takes Mary there and the two begin to warm up to each other and reconnect. After the performance, Arthur walks Mary to the trolley. As they reach their destination, Mary laments the deteriorating state of her life and asks if it is too late for her and Arthur. Arthur admits that he does want to run away and be with her, but states he does not want Mary to get hurt, he has people in the gang to take care of, and that they need money. Arthur promises that his gang life is really coming to an end this time and as soon as he can get some money, they can run away. The two part ways again for the final time.
Beaver Hollow Chapter
Arthur later receives a letter from Mary, enclosed with the engagement ring he gave her many years ago. In the letter she says her goodbyes to him and that it was time to let each other go, as he never kept his promise to show up after the supposed final robbery. She acknowledges that Arthur is unlikely to ever leave his life behind and apologizes for how their relationship turned out. She hopes that the ring can be passed down to another couple in love in order to help them too.
If "Of Men and Angels" is completed and Arthur has high honor, he will meet Sister Calderón at Emerald Station during "The Fine Art of Conversation", in which Arthur mentions Mary when conversing with her, describing her as "a girl who loved me" and regretting giving up the chance to run away with her.
Mary's final words to Arthur are some of what he reflects upon during his last ride.
Personality
Mary is a well-meaning woman, who tries to see the best in people and most situations. She loves her family but tries to see past its apparent dysfunction, the brunt of which is attributed to her father.
She loved Arthur and desired to have a life with him, even retaining feelings for him over the years. However, she acknowledges that Arthur's preference for his criminal lifestyle would prevent them from ever having a future together, eventually coming to terms with it and deciding to cut ties with him. Despite that, Mary visited Arthur's grave and wept for him, showing that she still loved him enough to overlook his faults.
Appearance
Mary has long, dark brown hair, tanned skin, brown eyes, and a beauty mark on her right cheek. In her first appearance, her hair is tied back in a low braid and is then tied back in a low bun for the rest of her appearances.
In her first appearance, Mary wears a dark green blouse with light brown ruffles on the front, a gold brooch with a red stone, a brown belt with a gold buckle, and a long dark blue skirt. In her second appearance, Mary wears a pale blue shirt over a checkered yellow dress with a long skirt of the same color. She will always be wearing worn brown boots with light brown half chaps.
Trivia Time~
Should Arthur refuse to assist Mary in "We Loved Once and True II", the contents of her letters will also change slightly depending on whether Arthur previously helped her out.
Susan Grimshaw expresses her disdain for Mary, stating that she "never liked her". Similarly, Tilly Jackson says to Arthur that Linton is "not worth it". Mary-Beth Gaskill says to Arthur that Mary was a fool in "No, No and Thrice, No". This line can also be heard in "A Fork in the Road" if the player has high honor. Mary-Beth additionally mentions her in several private conversations at Horseshoe Overlook and Beaver Hollow. John Marston will also mention Mary once in "The Sheep and the Goats" when the two of them are arguing and comparing their own lives. Karen Jones asks Arthur if he will get back with Mary to which he responds that "it's too late".
Abigail Roberts on the other hand will mention that she "always liked" Mary. Considering that Abigail joined the gang in 1894, this implies that Arthur's relationship with Mary before the latter got married must have lasted at least until then.
For the credits scene where she cries over Arthur's grave, her motion-capture was done by Roger Clark, who is Arthur's mo-cap, voice actor, and face.
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