Girl scout cookie season has to be fucking hell in Gotham
Like, okay so I don't actually know anything about girl scouts, but it has to be intense right? Every girl scout in the city has to know that Bruce Wayne is a soft touch and will buy out your entire stock if you just look at him with even a hint of a sad frown. Which means outside of Wayne Enterprises and Wayne Manor is prime real estate, the kind of hot spots that scouts and their parents are willing to go to war for. Like, full on street brawls breaking out between these little girls and their rival troops over common Bruce Wayne locations.
And it's *Gotham* so you know there are like, Gotham Specific badges for things like "Improvised Weaponry" and "Urban War Tactics" I bet there are badges for helping people during Rogue attacks, with like a badge for each specific Rogue and a badge you get if you've earned all the others.
Just. Gotham Girl Scouts have to be scarier than any Marine, and are probably on so many watch lists, both ad potential heroes and villains.
2K notes
·
View notes
a while ago i saw a post by @sideblogdotjpeg about how the cycles in c3 seem a lot more personal/familial. and i kind of went insane in the tags at the time and i’ve been thinking about it a lot since because like…
you have the heroic cycles that the band of boobs parallel/break on this large scale. the idea of these broken trios of adventurers is there throughout the campaign, but they really start to engage with it towards the end— with the divine hearts, and thiala, and the wheel of suffering/wheel of joy idea. the thing hardwon says as he takes the divine heart, that no matter what anybody chooses from then on it’s with love in their hearts, i feel is very relevant to how they break the cycle. they love each other, and they choose over and over to hold each other tighter rather than be driven apart.
and on the other hand, you have duck team’s refusal of fate vs their family’s resignation to it. look at swag working with mothership, oliana’s contrition, and the stuff that is currently ongoing with gowan. you know— sol is a version of swag who fully rejected mothership and found his friends instead. callie refused to be a part of her family’s business, and her love for the wild and the serpents is giving the world a chance. calder, when he makes the deal with ultrus, telling callie and sol that he trusts them to save him. and now calder is refusing to sit back and let gowan handle things in the ice knife.
it's not that duck team aren't trying to save the world. they are. and it's not that the boobs didn't have a personal connection to the cycles they were breaking. they did. but it's like... well... how do i put this into words. right--
the song melora's boon plays when the boobs arrive at the heart of the world and speak to melora. when she talks to beverly about duty, shows him the places he faltered and how at the last second, he gets back up. (later, when they face thiala, bev doesn't go unconscious once. at one point, he's the only one standing.)
for sol, this is the song that plays when he expresses his fear of going down again. when he admits to callie that he's scared of the day that she and calder are down and he's the one that needs to stand up alone. when callie says she's not afraid of that day, and sol finds himself empowered by the mushroom in his chest. the moment that sets up sol's long death monk ability, where he's able to refuse to go down and keep on fighting.
melora’s boon is also the song that plays for moonshine’s boon at the heart of the world. there are actually two songs in this scene, hardwon’s is different, and the transition back happens when melora says there’s a part of herself that moonshine hasn’t embraced. when she speaks to moonshine leading her people to a better future like an alpha wolf leading her pack.
for callie, it plays when she tells hardwon and sol that she’s a liability and she needs to change— to embrace winter— in order to get calder back, even as they reassure her that she doesn’t. it also plays when callie asks the others to help her protect honeysuckle while he’s weakened. when they promise to lead honeysuckle home and free him from his connections to gromdal.
the writing on the wall plays when the boobs reach the court of gods. there's the wall of prayers there, and they hear the prayers of the people of bahumia, reaching out to them. prayers of protection-- for and by them. prayers that put the future of bahumia in their hands.
for callie, this is the song that plays when she sees aryox's carving of her reaching the cave. when she realizes her mother acted the way she did because she could see what was coming in the future. when she realizes her mother was leaving the world in her hands.
the songs that the boobs first encounter at the end— when they’re basically demigods stepping up to face thiala— return for duck team in these personal moments. when sol finds the strength to refuse death. when callie talks about embracing winter, her mother’s season, something she eventually finds strength in, to save her friend. when callie asks the others to help honeysuckle, one of the serpents that she’s promised to protect partially due to the harm her family caused to the wild. and when callie realizes her mother saw the future and acted as she did because of it, pushing callie to walk the path she’s walking now.
anyway. this was a post about naddpod music.
71 notes
·
View notes
If fans start hating on Charlie if the new Daredevil show doesn't turn out the way they want it to be I will personally fight each and every one of them, IDC. I will be deep in the trenches defending this man. Cause let's be honest, it's inevitable that some fans would start hating him even when he's an actor who doesn't have any say or leverage (especially under someone like Marvel Studios) to dictate how the show is going to be.
Anyways I'm prepared to fight. Fickle fans be damned.
313 notes
·
View notes
I am just somehow OBSESSED with Takeru DRIVING. Like is he a bad driver? He speeds past the gang waiting outside of Daisuke's restaurant (or the restaurant where Daisuke works, whatever), so maybe? Is that his mom's car? Or is it his car? Why does he NEED a car? What is he doing that requires him to drive? Is it going to be a plot point in the movie? Is Takeru being a BAD DRIVER going to be a plot point? I need to know.
Ken and Miyako are also visibly startled when Takeru speeds past (Miyako JUMPS!!!!), while Iori and Hikari don't even flinch. What does that say about DYNAMIC?! Are Iori and Hikari more used to Takeru's (presumably bad) driving? That would make sense, no, cause they are (canonically???) closer with him? Just such a small interaction and I can interpret so much and draw so many conclusions!!! How fun!!!
There's just something really so fun about watching characters you've loved your whole life continue to grow - to see new details about them spring up, new traits, new things to add to canon.
It's the most delightful thing about the Digimon Adventure franchise to me. Sure, the stories they have told over the last decade have mostly been all various shades of mediocre, but the character moments - goodness, the character moments just don't hit the same in any other media for me. It's so special to me.
ETA: WAIT, looking at the screencap, Iori looks slightly concerned. Only Hikari looks calm (though she does turn her whole body to look at the car once it stops). Does this mean HIKARI is the only one comfortable with his driving? Cause Hikari is closest to him? (I don't even think their closeness is something that is debatable - I feel like it is PRETTY CANON that they are closest with each other???????????)
HERE'S HOW TAKARI CAN STILL WIN.
38 notes
·
View notes
Thoughts on toxic yuri?
One of my very favorite storytelling concepts, I love it when women make each other worse. <3
I do think it's important, for me anyway, to note the difference between a dynamic that's toxic in one direction versus something that is mutually toxic. The first one doesn't really interest me a whole lot, usually because it means one character suffers constantly without being allowed to do anything else--at the very least, it will come across as the more ""normal"" character not really being that into the relationship in question. I need BOTH parties to be unhinged.
The important thing for any fictional relationship (though we're specifying toxic yuri here, obviously) is that it's interesting. If there is no limit to what the women can do within a dynamic, then there are an infinite number of ways for that dynamic to go. And while you can learn a lot about a character through examining their values and positive qualities, you can learn just as much (if not more) by considering their flaws. And those flaws really come out in the case of toxic yuri; characters get to show the uglier parts of themselves in this context, which I am always a fan of. A fraught, complex relationship, when written well, can be a really great way to psychologically explore the characters: what inspires them to act this way? why do they think this behavior is acceptable? if they don't think it's acceptable, why do they keep doing it? what do they think about the concept of love as a whole? how far would they go for intimacy or to be understood? how do they view other people in general? and probably most importantly, what led to them developing the beliefs underlying their actions in the first place?
From a more "psychologically, why do people enjoy this" standpoint, mutual toxicity often goes hand in hand with extreme obsession, extreme jealousy, and a willingness to forgive a whole lot of horrible shit. Which, yeah, in real life you don't want to be in a relationship like that. But I think there's a lot of emotional resonance in exploring those feelings. The idea that someone will never leave you. That they think so intensely about you specifically that they'll break anything and anyone to stay with you. That even if you're the worst version of yourself, someone will still want you because that's still you. Someone knows exactly how to fuck you up because they genuinely understand you. Things in fiction that we would never want in real life can be incredibly interesting or even cathartic to witness from a distance. I think we all feel things that scare us sometimes (or even simply feel an innocuous emotion so intensely that it scares us), and looking at unpleasant feelings within fiction can help identify, parse out, process, and successfully cope with those feelings. And I think, at the end of it all, a lot of people want to matter to someone, in some way. It makes sense that some creators would take that concept-of meaning a great deal to another person, of affecting them deeply-to its absolute extreme through writing.
(And also, consider. That I am very gay. And that horrible women are very attractive.)
9 notes
·
View notes
I told myself it was ok to get excited that you were getting into Inception and I liked the thoughts you were having, while I cautioned myself that you didn't appear to be leaning towards my ship or my fave and the majority of the fandom doesn't, and now I feel like I'm being too parasocial wondering if your reblog about "hated female characters you don't care for" is about Inception.
It wasn't-- or at least I wasn't thinking about it when I reblogged it, I don't know what OP's intent was. Tbh my main beef with the female characters in inception is how hilariously unsubtle their names are.
20 notes
·
View notes