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#c: Sophie
ewansmcgregors · 9 days
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ewan + sophie
Ewan: Suppose I've seen all of Game of Thrones except the last few episodes. Ewan: Would you judge me for that, Sophie? Would you? Ewan: It's only out of reluctance to see its end. @sophiebelindasx
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jesschastcin · 2 months
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Queen of the North, Queen of the Chug and Queen of my entire heart. I hate how the universe is keeping us apart, but I won't let it. We need to bring back our FaceTime dates, asap. How are you, my love? How are the girls? / @sophiebelindasx
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tomsland · 4 months
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El viaje había sido relativamente corto, pero la espera en el aerorpuerto luego de un atraso de tres horas fue algo con lo que no contaba. Apenas había podido dormir en el avión y en medio de todo ese cansacio, no podía evitar sentirse aún más exhausa al imaginar la discusión que debía enfrentar al llegar. Se detuvo en el baño del aeropuerto para recuperar la compostura, lavarse el rostro y maquillarse como si no hubiese llorado la mitad del vuelo. Finalmente y de la mano de un equipaje relativamente ligero se dirigió hacia la salida para encontrar a su pareja. No podía mentirse a sí misma y no admitir que lo extrañaba demasiado, pero el motivo de su visita en ese momento era muy diferente a lo que el corazón tanto anhelaba. Sintió cómo se le sacudió la caja torácica al reconocer al más alto entre la gente. Debes ser fría, debes actuar distante; se repitió a sí misma una vez más, esperando no caer en la tentación de ir corriendo débil a sus brazos. Al tenerlo de frente, quiso ser fuerte, pero los ojos se le empañaron de inmediato y tuvo que tragar fuerte para deshacerse del nudo en la garganta. "Hola, Cole." Extendió su mano hacia la del contrario, dejando sobre ésta la cantidad exacta de dinero que le había depositado, en efectivo. "N-no quiero tu dinero, sabes que esa no es y nunca fue la razón por la que estuve contigo." aclara, ladeando entonces su cabeza hacia el auto. "Andando. Hablaremos en el hotel, no vaya a ser que alguien te vea conmigo."
@mvrcielago
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notquiteahitman · 10 months
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Open
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“Oh! D- did I fall asleep? I’m so sorry! How- how long was I out?”
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belialdior · 1 year
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and under wild blue skies, marble movie skies, i found a home in your eyes.
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iamhisangel · 5 months
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Brand New Day
This seemed like a good neighborhood at the time. Aziraphale could feel that this area was well loved. The people that lived and visited here enjoyed their time. To him it was the perfect place to put the bookshop.
He was looking forward to meeting the type of people that lived in a place so well loved. No doubt there were going to be all sorts of interesting people stopping by. But it had been four days, and he had kept the shop open but no one had stopped in yet. There was now a little doubt in his mind, maybe he picked a bad time, or a bad location. Either way he would try to make the best of it.
After standing a minute to watch the folks on the street walk by, Aziraphale moved over to his desk, picking up his mug to have a sip of his freshly made cocoa.
@plightfated
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campastoria-story · 9 months
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camp astoria, poppy cabin (girls, 15 years old)
your JUNIOR COUNSELORS
Sophie Wilson, 20 Quinn Adams, 18
your SENIOR COUNSELOR
Alexis Colbert, 23
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tmrrwppl · 2 years
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Tomorrow People & Soulmates.
After that post, I need something more lighthearted, so here we go.
While we do see that Cara has an immediate connection with her sister when she starts to break out, she states it feels the same as her connection to Stephen which caused her to feel everything he went through while he broke out for a year until they located him.
So, from that, we can either go ahead and put this whole post in the garbage by saying the writers really wanted us all to cringe at the potential Luke/Leia situation... 
Or we can save our brains from the grossness and believe that TPs feel powerful connections with their (powered) siblings and their soulmates. I choose to believe this because I refuse to allow any sort of Lan/nister bullshit in my life anymore. And I believe Darcy knew Piper was breaking out as well, hence why she put herself in the forefront of tracking her down and trying to help her (if you can call depowering your sister ‘helpful’... another time perhaps I’ll tackle Darcy’s character)
A Tomorrow Person, communicating telepathically with their soulmate creates a connection in their minds that is constant and easy to access despite questionable distances. Stephen, being innately talented enough to bypass even Ultra’s suppressor walls is able to reach Cara in the Lair immediately, despite not having much practice in telepathy. He also picks up on Cassandra Smythe upon her grand entrance to the city, feeling the EXACT same connection to her that he has to Cara. He even manages to get to John in the Lair from Ultra while under the influence of morphine... (which I would absolutely consider solid evidence for ahem, a proper love dodecahedron of poly-flavored-happiness, CW, and you can all fight me on it)
So, Stephen and Cara, Stephen and Cassandra, and Stephen and John, 100% soulmates and with the amount of threesome jokes that were laced through out the series, I would have absolutely put that down to endgame as a bet.
TL;DR: Pretty much, if two TPs are soulmates, their minds have no real trouble connecting and keeping that intimate level of closeness despite mild distances between themselves.
Thank you, that is all, and screw this basic concept of love triangles when they are really just the angles in a math problem with no closure to them.
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diver5ion · 4 months
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squipedmew · 11 months
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do you see the vision 
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Gisela: You should’ve called for backup.
Sophie: I should’ve called child protection services.
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derangedrhythms · 9 months
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I am a woman talking to you all of the time, wanting to feed words back to you, because you gave me so many, pushed them down my throat until I choked and enjoyed the choking, until the words spread through my blood, until I lit up.
Sophie Mackintosh, from 'Cursed Bread'
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charlotte-of-wales · 9 months
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Members of the British Royal Family depart after the Order Of The Garter Service at Windsor Castle | June 19th, 2023
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vaguely-concerned · 2 months
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Random Assortment of Ghibli’s Howl’s Moving Castle Thoughts
Because I rewatched it today for the first time in many years and it’s one of those miraculous works that not only remaine as magical as I remembered it through childhood eyes, but if anything was even more magical as an adult and in more complex ways. I’ve finally got words for at least some of the things I was processing only subconsciously as a kid, so here we go. 
- The sneaky underlying theme of deeply flawed mother figures in this movie. Drives me nuts. The narrative doesn’t go out of its way to condemn these characters, it takes a characteristically phlegmatic nonjudgemental view of them, but it feels like this is low-key a stealth Mommy Issues story. (Making it go 🤝 with Dragon Age 2 in my head lol) Sophie’s mother does not seem to be consciously malicious but is intensely smotheringly self-absorbed and immature to the point where it has clearly been neglectful, and on the other side of the ‘Overly Permissive/Neglectful to Overly Authoritarian/Controlling’ scale of shitty parenting Suliman is controlling and invasive and heedless of boundaries. (Notice that her real complaint about Howl entering the contract with Calcifer and thus losing his heart seems to be that it means she can no longer control him and his grasp on magic, more than actual worry for him as a person. Her presence in his life is largely, ironically, paternalistic. She even frames it as something he blundered into incompetently — phrasing as him having had his heart stolen, rather than the mutual agreement we see Howl and Calcifer make even if they couldn’t know all the consequences it would have.) In the end Sophie breaks the circle by managing to be an engaged and responsive mother figure to Markl and making an actual home with the people closest to her. 
Interestingly Howl at his worst seems to be much more like Sophie’s mother than like Suliman — he leaves Markl to handle things he really shouldn’t have to alone all the time and is noted to barely be home anyway, in the beginning especially he’s flighty and vivacious and evasive (not to mention aggressively blond haha) in some of the same patterns we see her mom exhibit. Since Lettie is quite like their mother in terms of looks and sociability, we might infer that Sophie takes more after their father (including in choice of spouse lol). But crucially when the chips are down Howl is ready to protect Sophie and their home with his life rather than abandon her, in sharp contrast with her mother. I like that the movie doesn’t vilify Sophie’s mom for what she does, as such, it’s a pretty impossible position to be in for anyone… but it is just an extension of what she’s apparently been doing for a long time anyway, privileging other parts of her life and her own comfort over her daughter’s wellbeing and happiness. (Adds a certain spice and heartache to how scared Sophie is that Howl is going to leave them, too. And her fear that it would be because she’s fundamentally not good enough, beautiful enough, clever enough for anyone to choose her and stay with her. Ooof. Girl he’s been looking for you everywhere girl he thinks you’re the most beautiful thing in the world girl it’ll be okay)
- Relatedly: the unspeakably sinister vibes and implications of Suliman’s fucking… army of little Ersatz Howl page boys. When I was younger I sort of bought that he was just being a coward in refusing to go back, but honestly looking at all those kids with smiling empty eyes like painted marbles — you know what maybe it was good he got out of there when he did and in whatever way he could, huh. I don’t feel like there were wonderful things ahead here. Between that and the Witch of the Waste — who must have been much, much older than him when they seem to have sort of had a thing, since he seems to be like… mid-twenties-ish? at the time of the movie — there’s some really uncomfortable subtext going on if you want to read into it that way. I don’t think it’s the only way to read it by any means, but there’s something icky and clandestine sticking to Suliman’s whole deal that makes some form of grooming feel potentially relevant, especially taken along with the shame and fear that seems to cling to Howl around it and the recurring symbolism of him being stuck at a child state beneath it all — he slipped away from Suliman one day but never really grew up. (I’ll readily admit this is some fully Vibes based ramblings on my part, so YMMV on how convincingly you find this present in the text vs. how much is conjecture in my overthinking overheating noggin lmao)
- The fact that the first thing that allows Sophie to heal is to get to be angry — to finally get to say ‘this is all such absolute fucking bullshit *aggressively scrubs all the shit away about it*’. So much of her arc is about reclaiming the full spectrum of her emotions instead of having to make herself small, to prioritize her own inner experience and expressiveness above the need to be acceptable or pleasing to someone else's gaze. It’s not doing quite the same thing as the book in this regard (which if memory serves does more complex work around societal dynamics around gender and sexuality and aging vs. the more internal personal approach the film takes), but what it is doing is very interesting in its own right. The castle being a space (a home!!!) where all the inhabitants can eventually express themselves freely, including Howl dropping the uncannily imperturbable smiling facade to show the sad wet pathetic drama queen beneath (deeply affectionate) and Markl just getting to be a kid running around having fun. And Sophie makes that home for everyone possible by being herself unfiltered for the first time in her life. What the fuck I’m not crying don’t look at me — 
- The little one-room cottage in the fields being the forerunner to the castle… 
- Something so pleasing about the irony that Howl is said to eat hearts when really he seems to have basically had to tear his own heart out and set it on fire to keep it safe. And then after people have tried to get their hands on it to possess it (the Witch) or dictate how he uses it and who he gives it to (Suliman) for the whole movie, Sophie gives it back to him without a thought at the end; it’s more important to her for him to be whole than to own his heart. Hmnngh. (also so funny that the first thing he does upon waking up is plaintively whining about it fhdasj. Yeah having feelings again can take a person like that) 
- Howl’s bad dye job freakout is still very funny and silly, of course, never change you giant drama queen slime the place down, but there’s something about the fact that he’s apparently been dyeing his hair the colour Suliman seems to favor/uses to mark ‘her people’ all this time even when he hasn’t been able to face her, especially since the flashback shows black is his natural hair colour, and how badly it freaks him out to not meet that standard anymore… Huh. Hm.Hah.
(This time I actually wondered to myself if part of the reason he made the deal with Calcifer was to be able to get away from her and the plans she had for his life (and that he clearly would have hated, if their fundamental philosophical disagreement about warfare is any indication!). I think it says some very sad things that his happiest childhood memory is of a secret place where he got to be entirely alone because it was the only place he felt safe. Howl’s Moving Giant Coping Mechanism Metaphor. You see the castle is the Flight response made. Well not flesh. Timber, I guess. The Flight response made timber. In this essay I will etc.)   
- It hurts me that Howl brings Sophie’s old bedroom into the castle. He wanted so badly to make her happy and he seems to assume that because his memory of childhood solitude is a… if not happy then comforting thing to him, it would be for her too. But to her that’s just a reminder of the stagnancy and loneliness and… indignity? of her life before, and makes her feel like he’s treating her like a housekeeper, relegating her to that tiny room all over again, unwanted and ignored. Augh. At least she seems to understand what he meant to do for her when he shows her the meadow, though, and he doesn’t stop trying to communicate it to her even though his gesture didn’t land the way he’d hoped at first. This movie is so quietly kind about people trying to learn how to understand and love each other. Everyone is allowed to stay at the castle in all their imperfections, even the Witch. 
- Something something the Witch curses Sophie with not being able to tell anyone what’s happened to her… and in the end that doesn’t even really matter because the people around her either grow to understand without having to be told by actually paying attention to her (like Howl) or just accept her exactly as she is anyway, age yo-yoing and all, no questions asked (like Markl). And in the same way Sophie immediately recognizes Howl in his monster form and isn’t afraid of him even when he tells her it’s too late. Suliman warning her about ‘what he really is’ and Sophie immediately hugging him in his full monster form because he came home and that’s all that matters to her. Howl thinks her white hair is the most beautiful thing in the world and worth coming back to the world fully for. Sobbing. 
- The implication that part of the reason Calcifer wants out of the contract (other than just being stuck in the hearth of a place slowly falling into depressing disrepair and neglect around him) is that he’s genuinely terrified of what Howl is doing to himself. There’s something kind of sad and very funny about that. What if you went into a deal with a demon and the demon had to keep telling you ‘uh. Uh bro that’s kind of fucked up you know that right. Hey are you listening to me you’re molting monster feathers onto the carpet Sophie is gonna LOSE IT and don’t come crying to me when she does’. I wonder what would have happened to Howl’s heart if he turned completely — it seems that their contract has kept it safe and unchanged in every other way, if frozen in time, so presumably it would just… keep going the same way? (Calcifer telling Sophie that ‘it’s still the heart of a child’ got me so bad this time around. Bawling all over the place haha.) The idea of being stuck burning around a homeless heart forever is — well Calcifer I guess I get where you’re coming from here
- Of interest only to a very few people, I suppose, but the Norwegian dub of this movie fucking rules, I’m glad to find my childhood self was right about that. Calcifer is so cute in it it almost makes me dizzy sometimes, Aksel Hennie went ham on this one. Also an incredibly calming and charming performance for Howl — whenever I hear the English dub I just start laughing b/c like uh okay that’s Batman, takes me right out every time, that is not my lil guy fhsakjd. (I suspect his characterization is a bit different and softer in Norwegian too, just from the differences in translation I’ve seen?) 
- The first time Howl takes Sophie flying he holds her hand through it the entire time and guides her, the second time he takes her flying he lets her steer the flying machine for a while under his supervision before he goes off to make the distraction (there’s something so sweet about it as much as he’s being a little shit about it, honestly, he believes in her in such a quiet undramatic way even as she’s freaking out), and then after walking away from Howl’s childhood memory she walk-flies confidently on her own exactly like he showed her at the beginning. At the end the whole castle flies, with all of them safe and comfortable within it. Thoughts. Feels. Agony.
- There’s something so… weirdly achingly beautiful about the non-linearity of love in this movie. To properly meet each other as themselves here and now, Sophie and Howl have to flicker through polar opposite ends of life where they’re both stuck: old age and calcified (ahaha) childhood, resigned depression and overwhelmed fear. The promise Sophie makes at the end that is the beginning for Howl and probably kept him going in the meantime — love and a feeling of home that echoes even through the part of your life when it wasn’t there yet, love as hope. He finds her in the future, she finds him in the past, their hearts call to each other across time and space and they both work so hard to be able to actually meet in the now. The castle is kind of a wheezing overwrought monstrosity, the result of having to keep your heart outside of yourself and be constantly running from everything… but how can you begrudge it for it, when it works so doggedly to keep you and all you love safe while you look for that home? (To me Calcifer is basically a metaphor for dissociation, for what it’s worth, and he always has been)
TL;DR One of my fave movies of all times and touches me to the soul, I can't help but be distressingly earnest about it
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notquiteahitman · 1 year
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@blccdharmonyx​ liked this for a starter from Sophie
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“Please, don’t lie to me. Just tell me... how bad is it?”
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belialdior · 1 year
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vampire masquerade.
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