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#this is basically s3
cliopadra · 3 months
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Aw man…
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barrowsteeth · 1 month
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WILLE + SIMON YOUNG ROYALS | 3.06 AND BEYOND
@lgbtqcreators - creator bingo: favorite ship | first love | locations | free choice
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troynabed · 3 months
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easily on the list of top 10 things they didn't need to know
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booasaur · 1 year
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Harley Quinn -  A Very Problematic Valentine’s Day Special - Coming February 9th
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very-normal-abt-this · 2 months
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We don't talk enough about the fact that, in the Resurrectionists episode, Aziraphale *nonverbally* asks Crowley to stop time and convince Mr. Surgeon to invite them over (and Crowley *immediately* understands what Aziraphale is asking), all because they want to enhance their "date" by having drinks, and by obtaining interesting information for their philosophical discussions (which they frequently enjoy on their dates).
I mean, COME ON. I rewatched the episode last night and im dyin over here
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folie-a-deux · 7 days
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never thought i'd be giggling over a dark, bloody, murderous show. what the fuck has nbc's hannibal done to me.
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pensbridgrton · 3 months
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colin being jealous of penelope’s legacy is so much more interesting to me than colin being jealous of any suitors so im glad they’ve at least kept my lovely fail girl absolutely besotted with colin’s eyes and kindness and losing the idgaf war bc colin begging and suffering bc of jealousy of other men hits WAAAAAY less harder than colin yearning for his best friend who’s trying to marry other people, being absolutely betrayed by her while also confused why she won’t marry HIM, then realizing he’s jealous of her legacy but that’s stupid and letting go of that to focus on his own legacy.
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lucassinclaer · 8 months
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STRANGER THINGS LADIES APPRECIATION WEEK: DAY 2 FAVORITE DYNAMIC
You're a very brave girl. You know that, don't you?
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whatabarb · 6 months
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Colin: Penelope? I was looking for you everywhere. Why are you hiding in the closet?
Penelope: I will never go out.
Colin: Why?
Penelope: They are everywhere.
Colin: Who?
Penelope: These men.
Colin: ...You mean your suitors?
Penelope: *nods*
Colin: But you wanted to find a husband.
Penelope: Yes, a husband, one husband. And there are fifteen men following me everywhere.
Colin: *grumpy* Yes, I noticed. S-so you do not want husband anymore?
Penelope: What? Of course I want a husband. I just need a moment for myself.
Colin: Of course.
Penelope: ... Can you go away? I have just said that I need a moment to myself.
Colin: I am good at being quiet. You will not even remember that I am here.
Penelope: Sure...
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yokohamabeans · 7 months
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TOKREV CHARABOOK 3 & 4: RAN’S PROFILE
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TRANSLATION NOTES:
ABOUT HIS LIKES—'Mont Blanc' in this case should most likely be referring to the dessert. It could also be the luxury brand, but assuming from the way 'Mont Blanc' is used in Rindou's profile about his story with Ran, the dessert feels more appropriate in context.
ABOUT HIS DREAM—Apparently, the original text, "外タレ" can mean either 'foreign talent' (がいタレ), which means a Japanese who is a celebrity overseas (or vice versa), or 'outside celebrity' (そとタレ), which means a celebrity (or influential person) who is famous due to their connections and relations to celebrities, like a socialite. Both work in Ran's context, though I personally feel that the second one (outside talent) is more appropriate for him. Nonetheless, 'foreign talent' is the more commonly-used meaning in the Japanese language.
Tokkō-Fuku (特攻服) = Gang uniforms worn by Japanese biker gangs (Bōsōzoku).
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TR CHARABOOK 3 TRANSLATION MASTERLIST
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lapelduide · 6 days
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SO MUCH IS HAPPENING
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mywingsareonwheels · 9 months
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Incorrect Good Omens...
Aziraphale & Crowley: We’re having a baby!
Muriel: Congratulation— 
Aziraphale & Crowley: [Slamming adoption papers on the table] It’s you, sign here.
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The Hargreeves, after being assaulted in their own home and kicked out: This timeline is shit.
Five, just happy to have a bed: What do you mean.
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mirabel-on-a-bicycle · 9 months
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Here's the thing about the royal family not fully understanding that Wilhelm and Simon were *truly* in love though.
And subsequently, why Wille's coming out to the entirety of Sweden was so so powerful: them not knowing, or simply refusing to acknowledge this, no matter how many times he tried to tell them, actually gave Wille a much higher edge over everyone trying to cover up the scandal, even if he didn't realise this at first.
Every single person had a misunderstanding that this was something he wanted. That they were doing him an obvious favor by helping him cover it up, preparing a speech for him, threatening him whenever he got sidetracked. Or at least something he'd see sense in once he got past that "hormonal driven teenage tantrum" and understand that covering it up was the best course of action. Of course he wouldn't bring the other boy and his feelings into all of this. Simon was just an experiment right? Who'd go so far as to sabotage themselves to bring justice to someone they didn't even love and care about?
And this. this exact misassumption was what eventually brought them all down in the end.
Take August for example. If he had secrets and lies as his weapons and to keep his crimes in the dark, Wille had the truth. A whole truth bomb in the palm of his hand, all this time. And no matter how ballsy Wille was trying to be in that "I'm gonna slowly ruin August's life" mission of his, he was still fighting fire with fire. He only won when he clashed against August as an exact antithesis of him in that coming out speech. August's whole plan was doused only when Wille spoke the truth and refused to play along with his games.
I mean really, had he not done this, what would've happened at worst? August would've.. gotten voted out of being rowing captain?? Maybe he would suffer a bit then, but would it really matter in the long run? August knew that, and so did Wille, deep down, but he ignored that part and instead convinced himself that he was at least doing something to make himself feel better.
Because honestly?!
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August never understood, or even cared to! He'd pretend to be sorry whenever needed and go right back to being where he was if needed, as long as he was gonna be king. The moment August actually. genuinely lost to him was when Wille did something not out of hatred for August, but out of love for Simon. And when he did, without having August in his mind, but the person he loved and cared about, he made it impossible for August to go anywhere from there on. It wasn't revenge, it was reconciliation that finally got him. (And simultaneously saved Wilmon's relationship too, for that matter 👀)
This has such poetry in it btw?? I can't properly explain it, but it does remind me of atla and Zuko's arc in a way. How there's a whole world of difference between his firebending when it's fueled by rage, and when it's fueled by wisdom, focus and harmony within the elements. The difference in outcome is so visibly there when the motivation is switched, and when Wille has love and understanding and bravery in his heart instead.
The whole time, the entire Hillerska staff, student body, royal court and royal family and tHEIR ROYAL FAMILIES- *deep breath* WERE AFTER MY BACHCHA had anticipated Wille to lash out for having his royal image tainted and getting at odds with his family but the fact that he'd do it on Simon's behalf never even crossed their brilliant little minds. They had equiped themselves, sure, but never for this >:) Because for all their brains and strategising, no one had actually sat down and thought for once that Wilmon were actually in love. There was a power in it that no one had anticipated.
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duelbraids · 7 months
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Death Rattle Dazzle Plot EXPLAINED (not clickbait)
Other title ideas: So None of the Picwick Triplets Did It?, Theatre Professional Unravels the Plot of In-Universe Musical for No Reason.
This is a list of my thoughts about the plot of the in universe musical Death Rattle Dazzle from Hulu's Only Murders in the Building. This will contain no spoilers for the plot of the show proper, or the mystery, but will spoil all the songs written and theorize about their placement in an actual, two act musical. It'll also reference a few of the gags from the final episode, and this metafiction article by Playbill, which was done in collaboration with OMITB. Maxine's in universe review is bloody funny, and it contains a Playbill, which reveals some plot details about the original play. This practically is fan fiction, I will admit, but its fun, damn it, and I did my research!
Death Rattle Dazzle has the distinction of being the adaption of what is called a "classic play" by Oliver (who, despite his kookiness, is clearly well versed in theatre.) Maxine's review says that "Anyone with more culture than a vanilla yogurt has probably encountered the play in some form—if not by starring in it at the local elementary school, then in the form of a spoof on television, in film, or by Cate Blanchett opening the Tonys in 2012." This is hilarious, basically making the play a straight play version of Little Shop of Horrors. Everyone's done it, especially regional or amateur companies.*
*By amateur, I do not mean bad or unpolished. Many local, amateur companies put on fantastic plays. I simply mean the definition of amateur used in theatre: unpaid.
To me, that means Death Rattle must be old enough to be in the public domain, or was willed to be public domain after the playwright's death, et cetera. We also meet the original director of the play in 3.10, though all we know is that his version was "Weirder." This adaptation element mostly comes up in the aesthetic changes from straight play to musical, because we do not see much of the original play. However it's clear to me that Oliver knows his chops, and knows how to reference original material (keeping 'Creature of the Night' as Act One's opener to replace the opening monologue, for instance.)
Now, I want to write a mock up of the plot, and then justify my decisions. I also had the idea to name random songs to fill out a 12 song tracklist - pretty short for a 2 Act Play, but I'm just doing this part for fun. Maybe they're the songs on the cast album. Made up songs are going to marked in Red.
Players The Detective The Nanny The Constable The Godmother The Father The Boatman The Pickwick Triplets Chorus
Act One
The Detective introduces the audience to the situation at hand - a murder that is driving him to madness. (Creature of the Night) The plot follows the Detective as he and the Constable begin to try and unravel the crime. The Constable admits he has had trouble keeping law and order, thus calling in the Detective. (Private Dick) The Chorus has a song about their own suspicions, including wondering about the parentage of the children (Is It You?) The investigative duo, along with the Chorus, lay out the details of the crime, woman murdered, only her triplets in the room, found tossed from the cliff with a rattle down her throat. (Death Rattle, DAZZLE!) We see more into the mental state of the Detective, who clearly is manic about this case. They go to interview The Godmother, who tells them about her final day with her best friend, casting blame on the "Children's Father," then the Nanny (Last Light / Only Duty) This leads into the Nanny at the top of the lighthouse, closing out the act as she expresses her devotion to the triplets. (Look for the Light)
Act Two
The Chorus brings us back in, summarizing the events of Act One using crab mating as a metaphor (Entr'acte / Nova Scotia Nightfall) The Father is questioned by the Detective, who reveals he knows the children are not his own, because he had been sleeping with the Godmother, not his own wife. However, he could not have killed her, as he was at his post all night, and his wife was inside. (Private Dick Reprise) The Boatman, who had been lurking since the beginning, is finally cornered by the Constable, and reveals that he not only ferried someone over the night of the murder, but couldn't see their face. (Deadest Night) Then, the Boatman tells the Constable that he saw no one enter or leave the lighthouse, which is where the Mother was killed. This leads to the Constable realizing he may have to charge one of the Pickwick Triplets to restore order to his island. He locks himself in the lighthouse, and tries to solve the crime. (Which of the Pickwick Triplets Did It?) As the Detective enters with a copied key, the Constable realizes it must be he who murdered the Mother. The Detective admits this, though doesn't reveal why. (Confrontation, Dear Constable) The Nanny finds the Constable dead against the rocks, and challenges the Detective. He reveals that he is the father of the children, as well as confessing his guilt. The Nanny pushes him to his death, in order to protect herself. (For The Sake of a Child)
Okay, Justification Time.
The original play is described as "Agatha Christie" like, so casting suspicion on every character is basically a must. The actual placement of songs is based on how they were shown in the show, along with my own knowledge of theatre. Creature of the Night is a quintessential opening number: we start with our main character, before introducing every major character as they enter the stage. Look for the Light is a clear reference to Memory. A lullaby-like song to end the first act, the emotional core of the musical. Thus, similar to Cats, I structured the show to be mostly ensemble, framed by the two investigators. Which of the Pickwick Triplets Did It? made me immediately think of plot twist patter songs ( ala Your Fault ) that come in at the 11th hour. And, of course, ending on that spoken For the Sake of a Child is the right level of dramatic.
While some of the plot in between the lines is inferred from the show, a lot of it comes from that metafiction article I mentioned - there's a Playbill with descriptions of the characters, and dear god, did it give me a goldmine of ideas. Seriously, I highly recommend that article. Marketing that's actually fun and engages the viewer in the show? Wow, who could've thunk it.
My original mock up included more people dying, but decided to cut that, since we have no evidence for that aside from the Nanny referring to the Detective "Serial Killing" which could have been about him killing the Constable, since we know he dies. If you want to know, they would've been: The Godmother murdered at the end of Act One, then the Father murdered in Private Dick Reprise, though not revealed until Confrontation, Dear Constable. BTW, that song is basically the only one with any basis in the show's script, as we hear a confrontation between the Detective and the Constable as cross talk near the end of 3.10.
Some scattered thoughts:
Both Private Dick and Only Duty are songs that I expect would have Ironic Echoes later in the show. Private Dick originally introducing the charming Detective in a mostly positive light, and then in the second act, used to insinuate that the Father knows the Detective used his, uh, private dick elsewhere. Only Duty, meanwhile, would be used by the Godmother to say that a Nanny's love is only because it's her paid duty, as opposed to the Mother or Godmother, and of course, later we have A nanny's only duty is to the children.
Finally, I had to include a reference that crab people breeding bit they couldn't drop in the show, lol. In my head it's a dream ballet during the entr'acte, each of the crabs wearing the character's they represent headpiece, and of course, three eggs.
EDIT: I can't believe I didn't mention this, but I believe the motive of the Detective to be a simple matter of custody; he wants the triplets, and got into a fight with the Mother when he tried to take them, leading to him murdering her. Then, he returns to the island when called by the Constable, and plans to either kill everyone in his way of getting the triplets, or to accuse someone other than him, to get out of trouble.
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merlin-reboot-when · 6 months
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Been thinking about Merlin and Merlin ships a lot again lately and I stumbled upon the same hurdle with Merthur as I always do. Arthur obviously cares about Merlin, but he treats him like shit anyway. Tells him he's stupid and incompetent and a coward. He has admitted before that Merlin is his closest friend, that he values his advice, that he trust him. Then he turns around and dismisses whatever Merlin has to say, reminds him he's merely a servant and doesn't take him serious at all.
And yes, Arthur's under a lot of pressure and was raised a certain way, but that's not really an excuse for his behaviour. He allegedly has learned that servants are worth just as much as nobles (he starts courting Gwen) and that commoners can be just as honorable as nobles (he knights Percival, Gwaine, Elyan and Lancelot), yet somehow he still treats Merlin disrespectfully. The fact that Arthur actually cares about Merlin so much only makes it worse. Why would you treat a friend or any loved one like that?
Arthur has a lot of very good qualities and a lot of the mistakes he makes aren't actually his fault (he just doesn't have all the information), but this? This he should know. Here he should do better.
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