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#i have so many feelings about this scene
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thinks very hard about that indigo disk cutscene at crystal pool. how the player character is the catalyst for EVERYTHING in scarlet/violet... both good and bad.
from the discovery of paradox pokemon, the professor's eventual death BC of that discovery, arven losing the only family he has, the ai and paradise protocol continuing to bring in paradox pokemon despite the dangers they present, paldea almost being destroyed by paradox pokemon, everything that happens in kitakami and blueberry academy, finding terapagos and meeting the prof...
like I know it's a kids game and the game is About paradoxes and that professor is theoretically from a different reality, but i feel GUILTY for that alternate reality and all that will come bc I gave the professor the book. so many lives will be shifted and changed bc of that decision. juliana/florian are just KIDS, but god they (and briar, since it her book) just affected the lives of so many people and I just! that's so crazy to me!
I already loved what pokemon has done with multiverses and alternate realities, but scarlet/violet kind of takes it to the next level (at least in terms of fic and art potential - I'm v curious how they incorporate this into the anime and manga)
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lukesreggie · 4 months
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Reading TCS and not even a warning of lockwood's "what the hell's this?"😭 squeezing her shoulder. Kneeling at her side. Carefully and skillfully pulling her sleeve up. and lucy shaking. Lucy shaking at his doorstep. Her being on the verge of tears upon entering. Lockwood and George being so compassionate and understanding and Lockwood making sure Lucy knows what happened was not her fault and gah this scene is poetic cinema in my mind and poetry on paper
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Brennan: the fox looks over at you, Ame. “You’re feeling something, aren’t you?”
Ame: I feel a lot of things all the time
The Fox (fondly resigned): yeah, I can tell. We can speak to each other—like this (Brennan: he says in your mind.)
Ame (laughing) oh! Spooky head voice
Brennan: you see he stops speaking with his mouth and just starts speaking telepathically.
The fox: you’re scared of something and it’s making me scared
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The Snowball Dance
Unfortunately, it took me a while before Nancy became my favorite character, but one of the most important scenes towards that jump in ranking was the Snowball Dance, when she asked Dustin to dance with her. First off, it's already kind of sweet that she was willing to be a chaperone at the dance in the first place. However, it’s that simple act of kindness that really lets her character shine.
Nancy was friends with the party, sometime before season one. She has genuine relationships with all the boys, even though insecurity and other teenager-doms have distanced them. Even though she no longer talks to them much, she still cares a lot. She notices them, and pays attention to their feelings. When Nancy caught sight of Dustin’s dejection, she didn’t just smile encouragingly, or go over to give him some sort of pep talk. She had far too much empathy for the reality of his situation for that. Nancy was a social outcast without many friends herself. She genuinely felt for him in that moment, and understood. It wasn’t pity that moved her, but compassion. 
Still, sitting and comforting him would have been an act of compassion in and of itself. Nancy asked him to dance instead. She kept in mind how it might have looked to his peers, and decided to attempt to use that in his favor instead of invoking pity; a pretty older girl wanted to dance with him. 
It's such a simple scene with no real hidden layers, which makes it hard to really dissect. But that same concept could have been handled in a hundred different ways without it being so pure and good as it was. Nancy could have come across as kind of uncomfortable with it, instead of being so focused on him. She didn’t have to be so sweet as she gently taught him on how to dance with a girl more naturally and less awkwardly. She wasn’t exactly sure what to say to make him feel better, but everything she did say was genuine. She kept it lighthearted, but I think she really believed everything she said; he was her favorite of Mike's friends, and he really would capture some girls hearts when he grew up.
She then proceeded to make sure he had a genuinely good time, laughing and joking with him.
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The Heart of Nancy Wheeler Masterpost
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james-p-sullivan · 5 months
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Sulley, what about everything we ever worked for? Does that matter? Huh? What about Celia? I am never... never gonna see her again. Doesn't that matter? And what about me? I'm your pal, I'm-I'm-I'm your best friend. Don't I matter?
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astearisms · 7 months
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catalysts, protectors
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petricorah · 1 month
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scenes i loved from Real Enough to Get Me Through by @marriedzukka <333 [ids in alt]
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ruporas · 5 months
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hugs hugs hugs (ID in alt)
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bardandbear · 7 months
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But whose heart would not take flight? Betray the moon as acolyte On first and fierce affirming sight Of sunlight, sunlight, sunlight
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cornettotism · 3 months
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Honestly, there's something about the sheer horror on Spock's face when he thinks he's killed Kirk in amok time that always hits me like a fucking truck.
Now, I know this discussion probably isn't anything new to the spirk community, but jesus christ. Every time I watch that scene, I go from "Oh my god this is so gay. How the hell did the writers and production team not look at shatner and nimoy rolling around in the sand together and go 'yeah seems totally heterosexual' " to "Oh my god. This is so fucking sad."
The pure horror and shock on Spock's face when he snaps out of the fever and realises what he's done (or what he thinks he's done) is so....AAAA
I can't even put into words how it makes me feel, it just makes me so not normal about the show and those two as a whole all over again.
He thought he'd KILLED HIM. BY HIS OWN HAND. DURING A PROCESS HE SEEMED TO BE VERY ASHAMED TO TALK ABOUT AND HE SMILED WHEN HE SAW KIRK ALIVE AND AJAJSJ-
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aowyn · 1 year
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not even us.
GONCHAROV (1973)
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hel1anthus-annuus · 6 months
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Love this bitch for having multiple gender filters on. He’s transmasc, he’s a woman who’s a man, she’s nothing at all
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Listen I’m sure someone has already talked about this scene, and way better than I ever could, but it makes me so feral and I need to talk about it too
This is hands down the most depressing scene in the entirety of NtN in my opinion.
Surface level it’s Gideon yelling at Crux, but the significance here comes from the exact word choice. “You could have lived for her. But you didn’t know how.”
She uses past tense.
It’s not about Crux (who arguably did live for Harrow, considering his purpose was raising and protecting her, and could by all means still do this if he changed his mind about dying for Harrow.) It’s not about the congregation who worshipped her.
It’s about Gideon, who can’t live for Harrow anymore, because she’s dead. It’s about the promise she broke at the end of the first book. She’s talking about herself.
Harrow made her promise that when it comes down to it, Gideon needs to save herself. If only one of them can survive, it has to be Gideon.
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At the end of the first book, Harrow is actively planning to sacrifice herself so Gideon can live, bringing up the promise and then diving into what this is actually about. Namely, how she owes Gideon her life back.
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And Gideon breaks that promise, instead deciding to sacrifice herself for Harrow.
“I can’t keep my promise because the entire point of me is you. There is no me without you.”
Gideon doesn’t know how to live for Harrow, how to exist without her, even though it’s the most important thing Harrow ever asked of her—and so she dies for her instead.
“You could have lived for her. But you didn’t know how.”
And the sacrifice ended up being rejected by Harrow, because it’s not what Harrow wanted. It never was. So Gideon ended up feeling rejected and like her life and giving it up wasn’t worth anything. And she still immediately offers herself up again without hesitation. She’s ready to die for Harrow all over again, even now that she’s already dead.
“Die. Die for her. It’s the only goddamn good you’ll ever do her.”
Gideon is fucking furious—so much that Nona can’t even place her voice anymore—but not at any of the people who would rightfully deserve her fury. Not at Crux. She’s furious at herself. This whole scene is so damn heartbreaking to me.
And out of all the cruel things Crux has done to Gideon throughout her life, this might be the worst one: telling the girl who died for the Reverend Daughter once and was ready to die for her a second time that she couldn’t even get that right. That she managed to screw up the one purpose she was actually supposed to serve, the only good she’s ever done for Harrow.
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Gideon is dead. She can’t do what Harrow asked and live for her anymore. What the hell is she supposed to do if she can’t die for her, either?
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lara60 · 3 months
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God's favourite punching bag
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glassiskies · 4 months
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I think this is the most angelic shot of aziraphale ever. and I mean ever. and it’s him lying to gabriel to thwart the will of god. isn’t that beautiful
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sewermageboy · 7 months
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"Anyone who makes Astarion do the foursome/fivesome is a monster -" shut the fuck up.
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He is the one who initiates it. At no point in the conversation did my Tav say that they wanted to do this, until Astarion was the one to suggest going for it.
Now, I as the player know that Astarion isn't going to have a great time here, that he will dissociate, and it'll probably end up as a shit experience in the end. But my character doesn't know that. All they know is that their partner is enthusiastically suggesting that he wants to do this, to reclaim a part of himself, that he wants to try and figure out his own desires after having them be cast aside for so long.
He assures you that he is up for this, that he'll leave if he grows truly uncomfortable. I (as the player) know that he won't, that he'll still go along with it even if he starts to grow uncomfortable, but my character? They're choosing to trust their partner in asserting his own boundaries and telling them if he's uncomfortable, if he needs to leave. To my character, telling him not to do this when he so clearly wants to try feels almost a little condescending.
You can even check in with him during the scene, asking him if he's alright.
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To me, this isn't a scene in which one partner pressured the other to do this at all. It's a scene in which Astarion tried something, eager to experience all the pleasures that come with freedom and healing, and it didn't work out because 200 years of trauma and baggage don't just miraculously go away.
But he tried, and he chose to try, and supporting him in those choices matters, too.
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