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#please say i did good
sharkgirldick · 8 months
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I think they laced every weed gummy I've ever had with slutweed...
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vcrnons · 25 days
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WE ARE LIKE FLOWERS THAT BLOOM IN MAY. RAINDROP ON ME, ON ME.
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juha-art · 2 months
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"Bring them to me." (Or the four times Suvi helplessly watched her loved ones leave her behind and the one time she didn't)
@quiddie
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lamina-tsrif · 1 month
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the new one piece chapter goes so unbelieveibly fucking hard. however. i genuinely think that was the meanest thing sanji could have ever called zoro ever
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stevebabey · 3 months
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steve harrington but it's that jeff winger moment from community. if u have seen community, u will know... my first stobin-centric piece <3 tw for parental neglect and a prior act of self-harm. this is absolutely on the steve harrington has bad parents train <3
“Steven, this is ridiculous.”
Robin freezes in place. Her hand hovers over the remote she's just placed back down, her limbs locking up one by one at the sound of the voice at the door.
It is not a familiar voice. She knows who it is all the same.
She fights not to move, knowing the couch springs, old and rusted, threaten to reveal her hiding place, even if it is her house. Robin is very much allowed to be here. Expected, even.
But Steve? Steve is not.
It’s why there’s one Christine Harrington on the dingy porch steps.
It’s an unwelcome surprise — even after all the fuss of the 4th of July, a thousand police sirens, endless NDAs, and too much blood on his uniform, Steve’s parents hadn’t shown.
Out of town, Steve had said, his bashed in face making it impossible to read his expression. His eyes were haunted and misty but Robin couldn’t tell if it was from the horror of the night or… a loneliness far older.
So Robin had done the fussing. Had dragged him home with her, shooed away her rightfully nosy parents, and mended him up on her bathroom counter.
Steve had been silent, a little wide-eyed as she worked on each cut, each bruise — but with her gentle touch, he had been helpless to do anything but melt beneath it.
He’d called her Robbie for the first time that night. They’d fallen asleep with their hands intertwined, her arm hanging off the bed to reach out to him on her bedroom floor.
Robin still hasn’t met Steve’s parents, even though it’s been more than a couple months since that night.
She’s been to his house countless times too. She knows where the spare key is, if she ever loses her own copy, that is. Knows which stair squeaks on the way up to the second floor and how the lock on the downstairs bathroom gets jammed too easily.
She’s eaten the best grilled cheese of her life in their kitchen, sitting on the counter.
She’s laughed so hard she’s cried on their couch, getting the throw pillows wet with her happy tears.
She’s still never met Steve’s parents. Til right now.
Christine Harrington has her arms wrapped tight around her frame and Robin has no doubt that on her face is a frown that could make babies cry.
She can’t see her face though. Can only just see a glimpse of her tense body from where she sits. Steve blocks part of her view, his own tense frame in the doorway.
He’d answered the door instead of Robin only because he had the foresight to glance at the front window after the first rap at the door. It was late. Robin’s parents certainly wouldn’t knock at their own home and neither of them were expecting visitors.
The expensive car in the drive, a sore thumb along Robin’s street, had given away the identity of just who was knocking so late in the evening. So, Steve had opened it.
“Mom—”
“I mean utterly ridiculous.” Steve gets cut off without second thought, Christine continuing on as if she hasn’t heard him at all.
“Did you expect us to spend all evening chasing you around? Figuring out where you were tonight from the Carlton’s across the road?”
She’s got this snippy tone that Robin’s heard a thousand times from teachers. Patronising. Too cold for it to seem like a genuinely concerned parent.
“The Carlton’s?” Steve echoes, a bit meek. His shoulders have rolled forward, sinking down a bit and Robin can see his tight grip on the door. Still, she stays frozen, rooted to the couch.
“Yes, Steven.” Christine says his full name again, all bite. “Imagine the shame your father and I felt hearing that. Hearing who you had been associating with.”
“Don’t say that.” Steve grits out immediately, anger bleeding into his tone.
The muscles in his back ripple as he forces his shoulders back, as if he had remembered how to stand up straight at the mention of his friend.
Robin aches; at the reminder of the stark differences of their upbringings and at Steve’s unquestionable loyalty. She finally unfreezes, sitting up a little straighter and leaning forward more— ready to spring up from her seat.
She’s not sure what for exactly. She sorta really wants to go slam the door on Steve’s mom’s face and go back to being bundled up on the couch with him. The urge is strong enough to make her fingers twitch.
“Why are you here, Mom?”
There’s a strain to Steve’s question, even though he doesn’t falter in appearance. Robin can’t see his face either though. She hopes it’s got the bitchiest expression Steve can muster.
“Don’t be smart, Steven.” Christine reprimands coldly. “I know that we may have taken a larger absence than intended but that’s not any excuse to parade yourself around with the strays of this town.”
Strays. Robin feels the word pelt into her and burn into her skin, sinking all the way down. It feels like cold water has tipped down the back of her neck. An unwelcome pit forms in her stomach.
She had known, of course, the reputation of a family like the Harrington's. She hadn’t quite known the extent they would go to protect it. Policing your child's friends over a matter of image is absurd.
Somehow, Robin can see how Steve grows even tenser at his mom’s words— hackles raising like that on a dog. His knuckles turn white. But before he speaks, Christine is barreling on like she hasn’t just slandered every one of Steve’s new friends.
“And to leave the house in such a state?”
Robin hears her sigh heavily, as though this really is the biggest problem in her life — which she can’t fathom in the slightest.
There was nothing wrong with Steve’s house. No mess beyond the usual evidence that someone, you know, lived there.
“Mom, I—” Steve starts again.
“Well, I’m sure you have your reasons. You always do.” She says it so pointedly, like Steve was known for peddling lies to weasel his way out of trouble.
It’s so un-Steve it makes Robin blink hard, wondering if she had heard right.
Steve was honest. He owned his mistakes and he took things on the chin. It was something she had liked most about him in the beginning.
Back when it was all snark and Robin told herself she was never going to be his friend, in this universe or anything other. That even then, reluctant co-worker and nothing more, Steve was honest and decent to her always.
“Now, come on now.” Christine Harrington huffs out her demand. “Your father is waiting in the car and there no use winding him up more than you already have.”
Robin’s stomach turns at her words. It had been a topic of discussion between them, one night weeks ago, lips loosened by the dark. I feel like a dog to them, Steve had admitted quietly, his breath against her pillow and his warmth under her sheets. Like they just leave alone most of the time but expect me to perk up and come running the moment they call. I hate it.
“I’m not coming with you.”
The words stammer on their way out like he had forced them out— and Robin wants to sing she’s so proud of her best friend.
“Excuse me?”
“I’m not coming with you.” Steve repeats himself, the words a little firmer this time. “I’m… I’m spending the night here, with my friend Robin.”
He trails off, the words weaker, losing steam. Robin rises to her feet, the tell-tale squeak of the couch springs letting Steve know she was still here. Still right behind him.
It makes him stand a little straighter.
“I— I’ll come home in the morning.”
Christine Harrington makes a little scoffing noise, a high pitched faux laugh as if Steve’s said something amusing.
“Tell me when did I raise such an ungrateful brat?” She muses meanly and Robin doesn’t miss the way Steve flinches lightly. “We give you free rein of the house, apt time by yourself, and yet when we request you to spend a single evening with us—”
“You’re not asking, you’re demanding.” Steve cuts in, his voice more heated now.
“Oh hush, Steven. You act as if we’re so awful.”
It’s all dismissal. Everything, every word, a dismissal.
“I just can’t win with you, can I?” Christine sighs again, disappointment dripping from the sound. “Either we’re not here enough or we’re here but you can’t find time to have dinner with your family. Which is it, Steven?”
In the doorway, Steve begins to bristle. Robin really, really wants to slam the door now — if only to stop this conversation that seems to keep cutting deeper and deeper into her best friend.
She steps closer to him, moving as silently as she can, and makes sure to stay out of sight as she places a hand gently on the small of his back.
He’s shaking, she realises.
Her heart twists painfully in her chest.
Then, deathly calm, Steve says, “Did you know in 7th grade, I lied and I told everyone in my class that I got appendicitis?”
Robin blinks at the change in subject, the strangeness of Steve’s comment. She does remember that, vaguely. A boy in the year above— it had been a wildfire rumour that had turned out to be true.
Or so she thought. Staring hard at the planes of Steve’s back, the pit in her stomach yawns with an anticipation of devastation. Her hand on his back curls up a bit.
“You and Dad were gone for the whole month to Washington. It was the first time you had ever gone for that long and you didn’t even tell me until the day before you left.”
“Steven—”
“I just wanted someone to worry about me.” He steamrolls on, tone too casual for the story he was telling. “And it worked."
A beat.
"But then Cassie Lange asked about the scar.”
Robin’s hand on Steve's back twists up tighter. She feels like she knows what’s coming— but wishes it to be not true.
She doesn’t want to think of Steve, little twelve year old Steve, doing all that he can for a scrap of attention he was supposed to be getting from his parents.
“And rather than admit I’d lied…” The words come out too tight. “I went and found your sewing scissors and I made one.”
There’s this icy bite to Steve’s voice, his shoulders tensed back up. Christine still hasn’t said anything.
“I hurt like a bitch but it was worth it. I got a card from every single person in my class.”
“You wanna see the scar?” He asks— then he’s moving, his hand rucking up his sweater and shirt and exposing the skin of his stomach. Christine makes a noise like a muffled gasp. Robin feels a bit sick. Steve drops his shirt.
“And I kept all of those cards I got —all 17 of them stashed them under my bed in a box that I still have til this day.” He exhales through his nose. “Because it was proof that, at some point, somebody actually gave a shit about me. Because you didn’t. You didn’t then and you don’t get to now.”
His words hang in the air. There’s a long stretch of silence where Steve stares down the woman on the porch— someone closer to a stranger than a friend.
“So, I will see you at home, tomorrow.”
And then he slams the door to Robin’s house shut with a finality that shakes the air. Robin tenses up at the loud noise. Steve doesn't move, just stays staring at the closed door.
Behind them both, one of the noisy pipes in the house makes a loud noise. It sounds worse than usual as it breaks the silence.
Outside, Robin hears the click of heels on the pavement as they quieten, moving further away.
The pit in her stomach tightens immeasurably, a faint bile taste in her mouth. She finally remembers to smooth out her hand, pressing it flat against Steven’s back— another reminder that she was there.
If he wanted to talk or he didn’t, she was there.
Suddenly Steve sighs, an exhale so large that he shrinks down a couple inches, his shoulders dropping. It sounds exhausted.
He finally turns away from the door, to Robin, and she can only hope her face conveys every ounce of love, of support, she feels within her chest.
“Steve…” She breathes softly.
He wasn’t crying but just the sound of his name, spoken so delicately, seems to inspire tears. Robin catches the tremble of his lip and moves without thought— throwing both her arms around his neck and wrestling him into a hug.
Steve goes easy, his arms snaking around her middle and holding her back so tightly it nearly makes her squeak. She doesn’t though— just lets him bury his face in her neck, taking these big shuddering breaths, these half-formed sobs that break her heart clean in half.
She doesn’t know how long they stand there. Car engines drone as they pass by the street. The streetlights seem to get brighter. Steve presses himself so close to her, as close as he can, and Robin hugs back just as tight. She gives him all the time he needs.
She wonders if there’s an indent of him on her when he finally pulls back — a Steve Harrington shaped outline imprinted on her soul. It feels like there is.
If she could trace it, she thinks, it would be whatever shape love takes.
“Thanks Robbie.” He croaks out. He’s started scrubbing furiously at his face and she can see the wet sheen of tears as he wipes them away.
Robin doesn’t move far, just unwinds her arms a bit and lets them fall back to her sides. There’s an ache between her brows from how long she’s been frowning in concern. Steve looks more disheveled than usual, his usually perfect hair looking flatter — but he looks lighter too, somehow.
“No need to thank me, dingus.” She says, voice soft. She faux punches his chest and then regrets it when his lips don’t even twitch upward. It’s weird to see Steve all undone.
Robin thinks back to that conversation and the callousness of Steve’s mom. Her uncaring tone, the use of his full name like an insult.
She thinks of what Steve had said.
“I’m sorry you felt—” The words get stuck in her throat which grows thicker as she thinks about it. About a self-made scar on Steve’s abdomen, made by a twelve year old boy who just wanted someone to worry.
“—That you felt like you had to do something like that to yourself. I’m sorry no one noticed what you really needed.”
Steve nods slowly, his eyes glazed with a far away look as he stares somewhere over Robin’s shoulder. He gives this little shrug, a little huff through his nose.
“It’s okay.” He says, voice a bit distant. “I mean, it’s not but… even if I hadn’t meant to tell you, I’m glad someone knows now.”
It takes another second before he finally seems to shake himself from his thoughts, turning to properly look at Robin. His eyes are red-rimmed and the tip of his nose is pink. Tell tale signs of tears.
“I’ve never told anyone that before.”
Robin swallows thickly and it takes effort to choke down the urge to cry.
“Well,” She starts. It comes out too high pitched and tight and she clears her throat. “Thank you for telling me.
Some kind of smile plays on Steve’s lips, as if he can tell that she’s fighting off her sniffling and it’s sorta funny to him. It is, a little.
Because instead of being embarrassed or feeling pitied, he feels… delightfully surprised to have her care so much. To be so upset on his behalf.
“Oh, c’mon Robbie,” He gives her that same faux-punch in the shoulder she did earlier and it actually succeeds in making her lips pull up at the edges. “None of that.”
“You’re such a dingus.” Robin says. It comes out a bit wobbly still. Sue her— she doesn’t have Steve’s insane ability to bounce from one emotion to another in a single second.
Steve grins. He wanders back to the couch and flops down onto it. Robin follows and when she sits down, it’s a fraction closer to him this time. He gives one last scrub of his face, wiping the last of his tears away.
She nudges him with her thigh. She has to check just one more time.
“You alright?”
Steve smiles, crooked in that way that lets her know it’s completely sincere. He reaches forward and presses unmute on the remote, the film they’re watching starting up again with a buzz.
Steve presses his thigh back against Robin’s and in the dim lighting of her living room, his eyes glitter with an emotion that threatens to make her want to cry once more.
“Course.” He says. “I got someone checking up on me now,”
Another pointed nudge of his thigh against hers. “I’m better than ever.”
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danmeichael · 1 month
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sorrelpaws · 8 months
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no offense but i genuinely fear that their potential dynamic will go severely underutilized
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engagemythrusters · 10 months
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“Anakin Skywalker was the best Jedi” uh no that was Mace Windu. Mace was the best Jedi.
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evorcy · 9 months
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Fucking snowball
A furball
(I’m gonna eat ’em)
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bumblingbabooshka · 7 months
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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
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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.
#amok time#T'Pring i s....T'Pring she....-puts my head through a wall-#PLEASE read under the cut for my rambling about T'Pring in amok time pleasepleaseplease#tired of 'T'Pring is evil/a bitch' and VERY uninterested in 'T'Pring is a girlboss'#T'Pring is a person in a society which doesn't think she has the right to make her own choices who's in [love] with a man who [loves] her#back in what I'd like to think is implied to be a slightly subversive way in its mutual and fervent nature (whether the writers thought#this was a good or bad thing - who knows. We know better RIGHT??)#and yes I will stylize T'Pring's hair differently every single time I draw it HEHEHE#star trek tos#Spock#T'Pring#also of COURSE something something spock/kirk & stonn/t'pring parallels: To keep your beloved safe you have to force someone else to kill#theirs - not BC you hate him (you don't) but you don't love him either and why does HE get to have you even if you don't want him?? Why doe#he get to 'give' you to the person YOU chose?? It's not a hatred on a person level (which I wanted to portray with the 'brothers') portion#but a sort of societal embodying.#I will think about T'Pring not wanting to be 'the consort of a legend' every damn day !!!#They really could have laid it on thick in making her evil guys...T'Pau even makes a comment about Spock's 'vulcan blood is thin'#but all T'Pring says is that Spock is a legend and she doesn't want that for her life. She wants Stonn.#And you're gonna sit there and you're gonna tell her that she's wrong!??? Spock doesn't even want to be with her!! Why is she so hated!?#CAN WE FREE MY GIRL??? She did all that but it's being read in the worst faith possible!!#comix#bea art tag#star trek art#She literally says the word 'FREE'...she's TRAPPED!!!
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bleaksqueak · 17 days
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I'm sorry, Maia, but you willingly chased after him. You chose your fate. (babysmooth)
Read today's page.
Read from the start
Support artists and the production of this comic
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chaosxcrushed · 15 days
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There's a certain CCCC summary video that we really, really like. We think it is a great video for people if they want to grasp the story more clearly, if they're confused, or if they're listening to the album for the first time.
That video being Chonny Jash and the Weight of the Mind on Youtube by W3tBl@nk3t. We think they cover it really well.
However, I'm sharing this for a different reason; they say few certain things that really struck with us until now, that I'd like to share with the fandom. Sometimes, we see people really just.. Miss the point of CCCC entirely, and I'd like to shine a light on what was said here. If you'd like to hear this for yourself on video, the timestamp is 35:57-36:45.
“..I bet we all could relate to that, they are the prime example of the side of you that suffers and the side of you that hates yourself for suffering:
The side of you that just wants to slow down and feel everything even to the unhealthy extent of not being able to do anything else(1), but also the side of you that so desperately wants you to get over it(2).
Sure, laying in bed all day every day to rot isn't healthy, but neither is boiling things down and invalidating your own emotions. Both are paths to inevitable disaster, and that's what Chonny is doing here. Keep in mind that the idea behind this album is being whole, and that means neither of these sides are entirely in the right or the wrong; this album is about inner compromise and acceptance(3).”
1.) The side of you that suffers; Heart. He is representative of Whole's emotions, he holds them. Your emotions can go haywire, especially when one's mentally ill and has no way of their feelings being validated. An emotional person like Heart suffers under the weight of crushing, devastating feelings. He wants to feel things out, have time to just process everything, even if it takes them days or weeks to get over it. It's not healthy, but feeling is what he does, and he wants to help because he knows he has importance. Solely focusing on just your emotions isn't the best thing to do, however.
2.) The side of you that so desperately wants you to get over it; Mind. Many people have been there, have wanted themselves to stop wallowing in their own emotions and just do something else, even to the point where you think feeling things out is unnecessary. This is also unhealthy, but not intentionally. Like Heart, Mind just wants to help, everything he does is in best interest. This is what he thinks will get them to move on the quickest; to leave behind emotions and focus on anything BUT that. Also not the best thing to do.
3.) This album is about inner compromise and acceptance; About being whole. Neither of Heart and Mind are right nor wrong. They have their own ways of doing things, of what they think will help their whole self out the most, but both are unhealthy despite the good intentions. They fight over who's wrong or right, when they shouldn't even be doing so in the first place. It's your thoughts against your emotions, basically; your feelings contradict your thoughts, and it leads to an inner war of sorts. This won't make things better, which is why you can't have Mind over Heart or vice versa; you'll need both of them. In the album, they are only able to be whole when they get along. They harmonize, they 'combine', they see eye to eye with each other and work together instead of fighting over and over. Inner compromise is achieved with this, and acceptance can lead them away from any disaster that there's to come.
What we're trying to say is that mental health is a large thing tackled within CCCC, and yet we see a lot of people who overlook it; thus, end up missing the point of the whole album. We see a lot of people believe Mind's perspective a little too much and treat Heart quite harshly, or the other way where people demonize Mind and say that Heart is perfect, when it's not really that in the slightest.
This is not a hate post towards people's interpretations of CCCC or how they view characters, I'm just saying that people can tend to overlook what's in the very narrative, and we see a concerning amount of people do such.
Anyways. Stream CCCC and put your Hearts and Minds in the get along shirt. Have a nice day.
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kicktwine · 7 months
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little weirdo beast mode
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turtleblogatlast · 14 days
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Thinking about the Don Suave scene and what it means in terms of LGBTQ+ representation because my brain does nothing if not torment me with random topics to ramble about on the regular.
Anyway, I just wanted to ramble about why I like the scene but to get it out of the way - the scene can very easily be interpreted in so many different ways, and all of them are valid. I personally see it as Leo having at least some attraction to a man. And the following is an explanation of my own interpretation and thoughts on it and what it means especially for Leo’s portrayal in the grand scheme of things.
Long-winded interpretation under the cut!
Now, to start with, it’s important to me that in the scene Leo looks at Don Suave in the very beginning and then for the entirety of the rest of the time the man is on screen, Leo’s eyes are closed. Yet, in the end, he is still visibly enamored with Don Suave, happily cuddling up to him as he’s being carried away.
You can very easily interpret this as Leo being spellbound and that’s honestly super valid and I believe he likely was at least somewhat in the beginning, but considering how fast he looked away and how he never looked again, I personally think it makes more sense to read it as Leo just finding the man attractive, at least somewhat. (For the record, I personally headcanon Rise Leo as bisexual with a heavy preference for men, but I want to be blunt when I say that any interpretation is valid. Literally any. Ace, pan, gay, bi, none of the above or a mixture of something new literally all of it is more than okay and fair. Hell you could even interpret this entire scene as more romantic attraction than physical and it would still work. Anything goes!! Don’t bother people, guys, really.)
The main reason I take this scene to be at the very least LGBTQ+ adjacent isn’t just because of how it’s portrayed, but because of who Leonardo is. Not in terms of Rise of the TMNT, but in terms of the entire Teenage Mutant Ninja Turtles™️ franchise.
Leo’s a character who, while changing with each iteration, has still at his core been around for decades upon decades as “the blue one”. One fourth of the team. He’s the one most are going to look at as the Leader, and oftentimes he is the one closest to having the title of Main Character. Not to say the others aren’t just as important, but Leo’s presence in the A plots of basically all TMNT media is often something very main character-esque.
And that’s very, very important to note. Here we have a Main Character of a prolific and decades long-running franchise distributed by a children’s television network. You can play around with his and his brothers’ characters all you like, but there is always going to be challenges to dodge around, especially since this was still in 2018-2019.
For example, you can play around with their designs so long as they’re color coded turtles, but their sexualities? Now that’s tricky.
“But what about Hypno and Warren?” Not main characters and also they’re Rise originals. They have a lot more room to play around with than a character like Leo does. But even talking about main characters in the franchise, you could arguably have an easier time playing around with Donnie or Mikey’s sexualities than Leo or even Raph, as (unfortunately) the former two tend to get more B plots, so they’d likely have had a little more leeway (still not a lot though.)
So, where does this leave us?
It leaves us in a place where outright stating and/or showing undeniable proof of Leo’s attraction to men is very, very difficult. So, workarounds!
Workarounds like the entire Don Suave situation.
To be honest, as left up to interpretation and lowkey and deniable as it is, this whole scene means a lot to me because of who Leo is as a character. It’s just nice when we get so see even the bare bones of representation with characters that have been such a large part of pop culture for decades, y’know? Even if more would be so much nicer, this is better than I thought we’d ever get for these boys.
And, again, literally nothing I’ve said is the only way to interpret it, I’m more than happy when people interpret media on their own honestly, it’s just something I’ve been thinking of lately and I was wondering if others felt the same way.
Whatever you think when you interpret this scene or Rise Leo as a whole, I just thought this would be interesting to think about, even if it was ramble-y, haha.
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randomwriteronline · 3 months
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ALSO based on my previous post abt the mata going into elemental withdrawal. I think they wish each other to be caught in natural disasters as like a very genuine have-a-good-day-take-care alternative. Which on one hand yes it does come off as regular Sibling Behaviour but also it sometimes comes off as them fucking hating each others guts
"hope you get caught in a blizzard" "hope you walk into an open fire" "hope you fall into a cave" "hope you land in a stone pile" "hope a tornado catches you" "hope you get swept by a tsunami"
What they hear: i love youuu <3 <3 <3 :) :D
What everybody else hears: DIE DIE DIE DIE DIE DIE DIE DIE DIE DIE DIE DIE DIE DIE DIE DIE
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bethanydelleman · 3 months
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Me watching period dramas from multiple counties and thinking to myself... what really brings humans together across time, culture, and country is our desire to exhibit our wealth by having extraordinarily fancy sleeves.
"Do you doubt my great wealth and power? Have you seen my sleeves? The lace is VERY FINE! LOOK HOW MUCH UNNECESSARY FABRIC THERE IS! Did you notice that they have embroidery? BOW BEFORE MY MAGNIFICENT ARM COVERINGS!!!"
And yet today, where are our fancy sleeves?
WHERE ARE THEY?
This is clearly where modern society has gone wrong...
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