aksjgjajfjfjskaka radio silence is just.... The best book ever.... I love it so much aaaaa
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i’m right where you left me (thinking about how they shot eddie in front of buck and literally sprayed buck with his best friends blood and then had him desperately try and save his best friends life and how in that moment buck probably thought he had lost eddie and how in that moment when he thought he was dying eddie must have been glad at least that the last thing he ever saw was buck)
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law and luffy are so fun bc the fundamental basis of their relationship is that they were both there for each other in one of their most isolated, life changing moments of grief, and they’re the only reason the other survived it. they may not necessarily know all that much about each other, but they do know parts of each other that not even the closest members of their crew (their family) know now. like obviously by the end of dressrosa law sees and understands the reason luffy’s crew follows him, but I think a less obvious truth is that when law saves him luffy sees and understands the reason law’s crew follows him. I just think about luffy’s instinctive faith and trust in law on punk hazard; he looks at law and understands that as much as he pretends not to be law is fundamentally the person who saved him before he is anything else. and I think they both kinda struggle to categorize the specific and unique way in which they are important to each other (although admittedly luffy stops caring to much much sooner LOL), bc it IS different than their relationships with their crew or their family. not necessarily any more or less meaningful, just different. and idk i guess i just think it’s all very sweet, in the end, that they managed to find each other like this.
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wilson saying “I need to do this. for you.” is fucking insane actually. in the same episode where house is deciding whether or not he should commit suicide as a result of wilson’s dying. They are each other’s lines between life and death. humans have a biological instinct to preserve their survival at all costs; house has an addiction that governs his life. but they were willing to forgo all of it for one another, because they couldn’t fathom it being any other way. IM SICK
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I know & remember very little about RTD as a person but I do remember he left DW to care for his dying partner and that his partner has since died. And the way that this is so evident in his approach to 14 and 15, it’s phenomenal.
2005 Davies was interested in high drama, big stakes, the roughest heartbreak that could exist. And now he’s lived it, and it feels like his approach to the show has shifted as he has shifted!
14 getting to rest, Wilf alive off-screen, Donna’s memories returned - 15 leaving his trauma and his heartbreak and his pain with 14 in order to begin again fresh and new and ALIVE…it is all so meaningful to me!!!
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Everyone remembers where they were when reading 'the snow in the mountains was melting and Bunny had been dead for several weeks before we came to understand the gravity of our situation' for the first time.
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the boy and the heron has really hit a lot of people in a lot of different, beautiful ways
and as a creative i feel seen, too
it's "your escapism will not work forever, regardless whether you're watcher or creator, learn to live with the grief or drown instead"
but it's also "to create is to acknowledge the pain of existence, and how you embrace it depends on you"
i feel as if we're seeing the discussion of personal anguish embedded in creation from both the creator's perspective as well as the audience's
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the mortal wounding of the princess of scots, god be with ye
artist's statement: siobhan roy, in antiquated but historically-indistinct and provocative dress, is shown being fatally impaled through the skull by her whimsical, treacherous steed and beast of burden, tom wambsgans. her attire, as with her relationship, is both affixed in and apart from time: it alludes to an era which it does not belong to. tom and shiv are a contemporary couple, but figuratively engage in an antiquated, eternal dynamic wherein the male asserts dominance over the female through violence, delivered in the show in the form of betrayal. however, references to active movement in the falling of dripping blood indicate to the viewer the dynamism of this relationship, which could seemingly change in the following moment, were time allowed to resume. the absurd and comical image of tom as a unicorn, with equine lashes and sparkling eyes, is contrasted with the brutality of his actions against shiv, making evident the fact that he is not to be underestimated. the disarming sexual innuendo - the act of penetration, as tom "fucks" shiv, and the froth pouring from his mouth, an allusion to tom swallowing his own ejaculate at his bachelor party and an additional symbol of both his rabid defiance and affection for himself and his own ambitions - adds to the potent discomfort of the moment. tom's ears are flattened back in aggression and shiv bleeds profusely, yet both wear serene smiles, not allowing the other to win in spite of the pain of being respectively owned by his wife and murdered by her husband. tom, despite it all, looks to shiv, his master whom he has defied, and shiv looks outwards, forcing herself into a position of unwavering invulnerability in the face of her ending. "god be with ye" is a helpless prayer for the doomed spouses, and a parting message: "god be with ye" is shortened in modern english to "goodbye". goodbye soon, shiv and tom, i will always love you. ❤️
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Been a Star Wars fan since I was but a wee sperm swimmin about my Father’s loins and I’m just now learning that it’s called the 212th Attack Battalion because 212 Jedi went to Geonosis to rescue Kenobi (and Skywalker + Padme) which kicked off the war
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