Will Zoro leave Luffy after they achieve their dreams? Not likely
Saying Zoro's gonna voluntarily leave Luffy at the end of OP so he can "live his own life" (i.e. get married, open a dojo, hang out in bars) is so wild to me. That's like saying Luffy's gonna give up adventuring so he can sit around and gorge himself on meat
First of all, it ignores that Zoro genuinely enjoys traveling with Luffy. Luffy (who's always getting into trouble) gives Zoro the chance to be his best self. And Zoro (who very much wants to be his best self) will always seize that chance with both hands
Second, both characters are like...the poster children of wanting to have their cake and eat it too. If you're Luffy or Zoro, you rarely need to make either/or choices. That's what makes them unique. It's why they've both got conqueror's haki! Basically: If Zoro wants to drink until he blacks out? If he wants to nap all day? Hell, if he wants to get lost in a paper bag?? He is like a big cat. He will do what he wants, wherever he is. He doesn't need to leave Luffy to get those things LOL
Third, Luffy's made it clear the Pirate King needs no less than the Greatest Swordsman by his side. Why would that suddenly stop once they've both achieved their dreams? Is Luffy going to quit being Pirate King? Why would he? Luffy wants to be the most free in the world, so he can live the life he wants...with the people he wants to live it with
In other words, Luffy isn't letting Zoro go without a fight — not unless Luffy genuinely feels he's no longer the type of man Zoro would want to travel with. And wouldn't that be the worst ending for both of them?
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My name is [BRUTUS] and my name means [HEAVY]
so with a [HEAVY] heart I'll guide this dagger
Into the heart of my enemy
Something about having absolutely no choice in who you marry. About being literally forced by the law to spill blood - to accept this stranger as your husband over a man you truly care for or accept the fact that the man you love might die because you put him in danger. Something about risking becoming the wife of a man you've never even seen before a few minutes prior because you know anything would be better than putting your beloved in harm's way. Something about the trust inherent in that decision and in the way she speaks of it after.
Truthfully, T'Pring doesn't know the captain and she doesn't know Spock. Either one of them could have taken her as their wife but she does know Stonn. She knows that Stonn will remain by her side no matter what. They made a plan together. They have an agreement which T'Pring believes will be upheld even though the plan changed with the arrival of Kirk. Stonn will always be there, always, and Stonn will be hers.
Something about the language used around T'Pring: Ownership, subservience, non-personhood. T'Pring is an object that Spock can win. She cannot reject him, she has no say in the matter other than having Stonn 'claim' her instead. Even when Spock leaves after being very clearly rejected by T'Pring he says "Stonn, she is yours." as if despite her clear rejection he still owns her and is must formally 'give' her to Stonn. But the language T'Pring uses around Stonn is a break from that: "There was Stonn who wanted very much to be my consort, and I wanted him."
Stonn who wanted very much to be HER consort and she WANTED him. The language here is very particular - It's not, for example: "Stonn wanted me to be his wife" - he is HERS. And she WANTS him. There's a mutual affection there and a strong trust - a trust which seems to be well founded since Stonn (though silent) stands by her side at the end of the episode. <- That might seem small but if Spock would reject her for 'daring to challenge' (again, the language is not 'because I don't want you' but more of an implied disgust at her having the AUDACITY to reject him) then it's not a stretch to assume that it'd be considered an insult in the TOS Vulcan society to NOT choose Stonn as her champion after a prior agreement.
Anyway T'Pring was a woman in an impossible situation within a society which saw her as more of an object than a person and she wanted Stonn and Stonn wanted to be hers and she trusted that he would understand if she had to publicly pick someone else to ensure his life would be spared and he did understand.
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I am actually. I am so emotional over the Salazar parents and I need to share this to tumblr too.
A lot of stories where the MC is adopted I feel. Either dismiss the biological parents and the impact they have on the kid's life, or makes them evil and abusive, framing the loss of the bio parents as a good thing, or at least something we shouldn't think about just look at this new family.
But Genrex doesn't do that. From the start, Rex wanted to find out more about his parents - it's one of his primary character motivations, next to helping people. He loves them, even though he doesn't know them.
And the more he finds out about them, the more he realizes they loved him. Rylander is consumed by guilt but as Rex's first connection to his pre-Event life, the first thing he does is hug him. And when he tells Rex about his parents, the two things Rex knows is that 1) they were scientists, and 2) that when he was in danger, they were desperate enough to use their secret, experimental technology to save him. Technology built from their desire to help the world, to save countless lives and end countless suffering.
And then. When he finds out that they were dead, he doesn't stop caring. It'd be so easy, too, to tie it up there - his parents were good people, he got his answer about them, the end. But they don't. He doesn't. Because the show is saying once again that they are his parents. He still calls them mom and dad, even as the show makes it clear Holiday and Six adopted Rex as their son. Even as the show even parallels Six and One with Rex and Six (and I will talk about that more later if I don't forget, trust me), to really drive home how much they're family. Rex even says he considers the two of them family, and later that he considers Noah, Claire and Annie family.
He has new family, the show tells us, but his old family still matters to him. He's upset that he never has the chance to meet his parents, that everything he hears about them, about his time with them, is secondhand knowledge. It tells us clearly that not only does Rex still love them, but that he still wants to know them. And everything we find out about them reinforces the love that they had for each other.
We see Abuela and the family in Mexico, who connect him to his birth family and tell him that he was so loved back then, and still is now. We see their office in Abysus through Rex's eyes. The picture of him and his dad on his desk. The drawing Rex drew, proudly pinned to the wall.
We see it in the familiarity of the drawing. That that robot, that build, was what Rex created when he was lost and scared and alone - that it was made to keep him safe. That it first appeared in his mind in a place he felt safe.
The show says, tenderly and softly, that the love is still there. That the fact these people died was nothing but a tragedy, that their love is a big part of what made Rex who he is today - that every molecule in his body is filled with their final gift to him. That every time he cures someone, every time he uses a build, every time he makes a machine - we see the love that they had for him.
And the way he quietly absorbs his father's face. The way he freezes and whispers "Mamá?" when he finds out Zag-Rs has their mother's voice. The fact that she even has her voice as a testament to Caesar's love, too - that it was meant to bring comfort and safety. The way Rex yells at Caesar when he finds out they have a family property, a connection to their past, the way he fights to protect it.
And, none of this takes away still from Six and Holiday being Rex's family too. None of this removes the work either set of parents did for him, the love either set has - the show says that it was unfair that the Salazar parents were lost. That Six and Holiday are not replacements, that they still love him as parents but play different roles in his life. They can not, and have no desire to, replace the Salazars. But Rex needs parents, he needs protectors, and so they will do what they can for him - at first out of necessity, to keep this kid they barely know safe, but then out of love. They aren't replacing what was lost, but are doing their best to do what Rex's bio parents would do. And they do mess up in it - they mess up in ways Rex's bio parents might not have. Six is clearly bad with showing affection, affection we saw the Salazars give Rex so easily, and Holiday is overworked and stressed constantly, sometimes breaking under the pressure and snapping at Rex and Six, things we never saw the Salazars do.
It's just. It's about how sometimes things will not be the same. They will be different. That doesn't mean the people you lost aren't still with you.
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Sometimes I think Dan and Phil are totally platonic besties and then other times I’m convinced they fuck on the daily. I think they do it on purpose and it’s honestly iconic.
kind of the best thing is that they are that and everything in between. you can tell they just like being around each other. they've made content together for 15 years and the large majority of it was done in the strictly platonic sense for their audience. and they were still having so much fun with it. we're in the 'we know you know' era now so we get to see flashes of different dynamics they have, but they absolutely have more we Don't get to see bc they're not for us.
they like each other. stupidly fond of each other. spending time together doesn't feel exhausting. they're best friends and each others' harshest critics while being the biggest hypeman and also safe space.
dnp's relationship with us, their audience, always has been and always will be different than any other content creators. part of it is how they accumulated it, but another part is just the massive history we have with them. they Get us. they Know us. they're silly goofy sarcastic guys who love us and hate us sometimes. theyre grateful but careful too. they like to rile us up, just like they do each other. it's a love language, teasing, and we've shown positive responses to it over the years. i like to say that my relationship with dnp is antagonistic sometimes--cause i know they're pushing my buttons on purpose. and ykw? it's fun! it's fun for us and it's fun for them because they have the control. i know anything they let out is cause they chose to let it out because they Know how we are. so yes they absolutely adore messing with us. we're a funny bunch.
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stultifera navis rerun AKA thinking about Iberia hours again because a lot of the Iberians have such fascinating relationships with the concept of home but specifically Thorns and Lumen are eating at my brain. like where do you call home when the place that is your home Just Fucking Hates You? Elysium's rewinding breeze specifically makes a point to hammers home how differently Iberia treats its Liberi and its Aegir
(which is especially interesting since this comes right after a conversation where Purestream commented on how despite Leizi being a high ranking government official, there are still some experiences that are universal for all Yanese people - because the experience of what Iberia itself is like isnt universal for all Iberians)
But all that being said, Thorns also straight up states that Aegir is not his home, and yeah, how could it be? How could a place you've never been to, never truly known, ever be your home? How could it ever feel like a home?
so where do you go when the place that you are from hates your people and the place your people are from is completely unfamiliar and alien to you? Thorns' answer at the end of the conversation with Aya is: my home is where i chose it to be. my home is where there are people I care about and people who care about me
in the complete opposite direction, Lumen's oprec asks: why do you still stay in a place that wants you gone? because the people of Gran Faro like Jordi well enough but when push comes to shove, they will want the only Aegir in town gone
and yet, when Rald the messenger offers him a chance to leave Jordi turns him down and when he's forced to escape Gran Faro after the people there literally try to send him to his death (or worse) at the hands of the Inquisitors he keeps trying to go back because like everyone in stultifera navis, Jordi is clinging to his own dreams of a golden age
but the shape of that dream is unique to every character and for Jordi, his dreams are deeply, inseparably bound to the Eye of Iberia, the legacy his parents left behind
and it's this dream of becoming someone great, of bringing about that golden age that his parents devoted their lives to help create that ties Jordi to this nothing town because despite everything, despite the mistrust of the townsfolk and the hostility of the Inquisition and the danger from the ocean, he simply cannot leave it behind
(or, because i personally dislike the official translation,)
"I just see this place as my home"
so yeah. not sure what overall point i was trying to make here i'm just. deeply in love with these stories about chosing what is and isn't your home, of saying you will not call a place your home because it has given you no reason to or saying you consider a place your home even though it has given you every reason not to. deeply unwell about them <3
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your post about only communicating the minimum needed reminded me of the gricean maxims (concept in linguistics describing how people communicate)! your advice was very similar to the maxim of quantity :)
From the UPenn School of Arts & Sciences site:
Grice's Maxims
The maxim of quantity, where one tries to be as informative as one possibly can, and gives as much information as is needed, and no more.
The maxim of quality, where one tries to be truthful, and does not give information that is false or that is not supported by evidence.
The maxim of relation, where one tries to be relevant, and says things that are pertinent to the discussion.
The maxim of manner, when one tries to be as clear, as brief, and as orderly as one can in what one says, and where one avoids obscurity and ambiguity.
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how do i even explain Everywhere Everything All At Once? It’s got multiverse shenanigans, sapphics, kung fu, generational trauma, taxes, rocks, romance, sausages, immigration, laundry, ADHD, nihilism, absurdism, bagels, yin yang, existential crisis, the fear of being a failure and all your choices being wrong, coming out, acceptance, choosing love and kindness despite the coldness of the universe and it’s lack of meaning, dildos, butt plugs, milfs being badasses, girlbosses, malewives, scifi, depression, passive metaphors for suicide, mother issues, ratatouille, confetti, the IRS coming for your ass, James Hong
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