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#series: sincerely not
saintobio · 8 months
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hello everyone, i created sn!gojo on character ai. you may interact with him there and let me know if he’s true to character. beware though, since he’s modeled after the sn version, his responses might be mean at first (╥︣﹏᷅╥᷅)
link: https://beta.character.ai/chat?char=qf_tZmnZVrBF2FDUSfEyJMzPi2MqwrKq1oqUTH6jt-4
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boxesblr · 6 months
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replaying the clip of Cleo saying "etho doesn't take himself seriously at all, but he takes other people seriously. That's part of his charm" over and over again in my head. It's so clarifying to me
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lawbreaker13 · 4 months
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Alright, I'm about to have a Trolls moment. Please ignore me if you will.
So I'm starting to have a meltdown over Branch's brothers' understanding of who he is as a person.
Like, they were fully absent during his entire childhood and young adulthood, of course. And we all keep making jokes about how they didn't tease him enough about his relationship because, duh, that's what brothers do. But what I have yet to see discussed is his confidence as an individual, how he interacts with the audience as a band member, and how his brothers are simply not interacting with a person they've ever met before.
Like, there's the whole "boy band members are so suave so as to properly appeal to their audience" thing, and Branch, post-World Tour, has gained a lot of confidence. Yes, most of his audience interaction is aimed at the band's biggest fan, his own girlfriend, but he does so very smoothly. The level of confidence that Branch has gained since the first movie is immense and it's actually so heartwarming to watch the two movies back-to-back to see, but beyond that, his interactions with Poppy, as her boyfriend and also as a band member, are very confident, flirtatious, and charming. He's playing up the persona when he's on stage of course, but they also flirt a lot on their own as seen in this movie. And while yes, his brothers being his brothers would probably off-screen tease him about flirting with his girlfriend, they also have no idea how he is as a band member. Because the last time they were in a band together, Branch was IN DIAPERS. Spruce was the Heartthrob, the flirt, the tease, and Branch was a BABY. But now Bruce is married, he's checked out of that life. And even if it's all directed at Poppy because Branch is a very loyal boy (clearly), he still has never exhibited those specific behaviors in front of his brothers. It's funny and easy to make fun of when it's with his girlfriend, but when he does it as a band member? Then it's a persona. And he's absolutely killing the game.
The boys have never met this suave, confident adult. They've never seen Band Member Branch with his own personality, with character traits, with the ability to make decisions for himself in any form. So his new band persona is, apparently, to some extent, the flirt. And his brothers must be reeling from that, because WHO is this guy??
I don't have a point. My point is just the idea that once upon a time, when Branch was in the band originally, he was just Some Kid™. And now he's not just some kid, he is A Boy Band Member™. And kind of the new leader, to boot. Beyond that, to Poppy, he was just Some Depressed Guy™ for so long. And once again, look at him now. The character development combined with character perception is just so absolutely fascinating to me and the lack of time to elaborate on it is very much the reason why fanfiction exists.
I don't know, man. Big Trolls fan over here. I love Branch so much.
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Dressed up for the night
By talt_lo on twitter
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halobirthdays · 5 months
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IT'S TIME FOR A HALO BIRTHDAY INTERGALACTIC HOLIDAY!!!
SUPREME COMMANDER, KAIDON, ARBITER, HERO, HERETIC, ENEMY, FRIEND
I LOVE HIM, YOU LOVE HIM, SO LET'S ALL SAY:
HAPPY BIRTHDAY THEL 'VADAM!!!
Today is his -462nd birthday!!!!
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In canon (~2560), he is turning 75!
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bird-inacage · 9 months
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Only Friends Episode 1 | Ray's Apology
Why does this feel like foreshadowing? WHY? WHY?! (I'm screaming into the abyss).
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IM SICK AND TIREF OF THIS NOT BEING A VIRAL MEME ALREADY
Nooo😞😥No❗️🥺 Chucky🔪💫🧚 you’re a ✨🪳🧚Cockroach🦄😫 You Always Come back ❗️❗️😫😫
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crispywizardtale · 3 months
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percabeth fans are hilarious coz they’ll be like “our ship is slowburn done right 😌” and then when percy and annabeth are not heart-eyes for each from the get-go and are *gasp* arguing in the literal first season of the show, these mfs start crying screaming throwing up sliding down the wall in a puddle of goo like LET THE SLOW BURN BE SLOW OMG???
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omegalomania · 1 year
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i think what i admire most about this record after sitting with it for a full day is the marriage of its musicality and its lyricism.
lyrically..."nihilistic" is a really good way of putting it. i was honestly kind of floored by how goddamn bleak so much of the lyricism on this record is. there's so much desolation, so much hopelessness, so much struggling to find meaning in meaninglessness. lyrically, i think this might be some of pete's darkest but also some of his best work. there's so much grappling with the feeling that maybe it's all pointless. maybe none of it fucking gets better. maybe you're always going to be fighting to figure out some kind of sense and feeling displaced and the further you look toward the horizon, the more the inevitability of the end scares the living shit out of you.
so much (for) stardust is utterly desolate lyrically. even little granules of hope feel tongue-in-cheek or in denial. so...what? does anything ever get better? are we all just flailing around, trying to make our stupid lives make sense? but at the same time, fall out boy are the happiest they've ever been as a band. they waited five years so they could savor making this record and they were genuinely excited to share it with all of us. pete is wearing skirts and letting his hair down and they're playing songs that once got them booed off stage with fearless love in their eyes and they're looking after each others' mental health and supporting one another through it all. what does it mean for a band to release something this somber at this point in time for them?
the "reality bites" pink seashell speech sums it all up kind of perfectly. so maybe life is inherently meaningless, but at the same time...there's good food. there's beautiful weather. there are still good movies, and the sound of rain on the windows, and hope, and friendship, and joy. maybe there's no point. but that doesn't change that there's still laughter. there's still love.
and that's what's in the sound of this record. the big, cinematic swell of an orchestra. the upbeat chirps of a synth. the screeching of a guitar and some bouncy, catchy goddamn riffs that'll live under your skin for days. this is a record you dance to and cry to. (cry a little, cry a lot, but don't stop dancing, don't dare stop.) sonically, this is a record laden with grit and delight and a powerful sense of purpose, from catchy pop hooks to roaring, cinematic anthems. it sits in delicious contrast to the words but it doesn't undermine them. it complements them. happy music for sad people.
of course there's pain, and there's frustration, and the world is full of tragedy and hopelessness and maybe the worst part of it is that it doesn't go away once you grow up. as you get older, you don't ever magically learn how everything clicks together. you just have to fumble through it and hope for the best, even if it feels like it never gets any easier.
it's a hard lesson to learn. but you aren't alone in it. so what fates do we share? we're all stardust. we all share the same end. we are not alone in our fears and uncertainties and we will not be alone at the end either, not really. we came from stardust and to stardust we will return.
i think if there is a hope i can take away from this record it's like...this feeling that it doesn't get better, really. but you do get better at living with it, and to someone like me, that's vital. years ago i had to come to terms with the valuable, painful lesson that i will not, mentally, neurologically, ever get "better." there will never be a point where i am "cured" of all that i must live with. but i've grown better at living with it. and there are things out there that i'm living for anyway - good food, better friends, and maybe a long-anticipated record you need to put on replay for a good long while as you soak it in.
maybe none of this matters, in the end. but if it doesn't, then this is what matters. this.
"if nothing we do matters, then all that matters is what we do."
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gunsatthaphan · 9 months
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"I shouldn't do this."
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saintobio · 8 months
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he’s so sn!gojo coded pleasejsjsk heading to the iceland arc now 😭
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bonus: his convos with sera
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seventeendeer · 1 year
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been tracking down the danish dub of the original pokémon series for preservation purposes (and because it rules) and I think the fact that only danish kids got to hear this incredibly milf-y rendition of team rocket might be some kind of psy-op to make the rest of the world’s children less gay
clipped ‘em for you all and slapped on some quick subtitles, enjoy
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prongsmydeer · 3 months
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Things I Loved About Fleabag (2016):
The careful balance of spiralling and sincerity that keeps you rooting for resolution and relief, despite the show intentionally framing itself around grief
The way that it is clear based on the way that they talk about her that Fleabag is a great deal like her mother (her off-colour jokes, her charisma, even hints of difficult friendships through the Godmother) but they don't have anyone make that comparison until the last episode of S2, with, "You are the way you are because of [your mother]" and the look of surprise on Fleabag's face when she hears it
"Don't make me an optimist; you will ruin my life," being such a telling line, because as you fall in love with the Priest, and Fleabag, you want to believe that things will work themselves out
The love in Claire's line to Fleabag, "The only person I'd run through an airport for is you," and the delightful contrary optimism of her deciding to go to the airport anyway
The revelation that Boo had offered to take Fleabag's love for her mother, intertwining both losses
The way that the Priest not only breaks through the carefully constructed narrative relationship that Fleabag has with the viewer, but also himself directly looks toward the audience on a separate beat as he tries to understand her more ("You don't like answering questions, do you?")
The entire sequence of the last few scenes, "Being a romantic takes a hell of a lot of hope," to "I love you." "It'll pass," to Fleabag walking around with a statue that is, in some ways now, a physical representation of the love she is carrying around. Because while the show is about grief, and love, it doesn't feel like it is asking you to overcome those things, but to learn to live with them while moving forward
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I think the biggest difference for me between projects (like to be clear I think NATLA is not good as an adaptation or a show, and I think the PJO tv show works as an adaptation and a show) is something that feels so basic, but shocked me when it clicked, which is that
NATLA has no actual visual storytelling going on
Which sounds ridiculous, but let me explain what I mean. "Visual storytelling" is how you communicate aspects of character or relationship through visual framing, parallels, that kind of thing, usually to indicate progression or a character's viewpoint. Many people have noticed that NATLA's cinematography leaves much to be desired, there are some shots that are good particularly in episode 6 (the Zuko transition shots between past and present, and one of the ending shots between him and Aang) but that's by and large the exception.
What I mean when I say "visual storytelling" is that NATLA doesn't have visual motifs. It doesn't really have parallels happening that much in the text or in the visuals. And this is something that ATLA did really, really well, all the time, particularly with Zuko's scar. Just take this framing of Zuko and Aang, in particular, from The Storm and The Blue Spirit.
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They even have consistent colour tones of Aang having a warmer, lighter yellow (Air Nomad) and Zuko having a darker, deeper red (Fire Nation).
And this is something I think Percy Jackson does pretty well. They have consistent motifs / descriptions if it were, particularly when it comes to Percy and Annabeth's relationship and her character.
Percy: [Choosing Annabeth] And if the mission required someone to push me down a flight of stairs for it to succeed, you want someone who won't hesitate when they do it.
Percy: [literally pushes her down the stairs but to save her life]
Ares: You're new to the family, young one, so let me fill you in on how we work. [...] Olympians fight. We betray. We backstab. We will push anyone down a flight of stairs to get ahead. Annabeth: This isn't the Arch, Seaweed Brain. You're not pushing me into the stairwell aagain. Percy: Yes I am! [...] It's why you're here. When I was choosing my team, I told Chiron I needed someone who wouldn't hesitate to sacrifice me if the quest required it. He agreed. That was you. [...] You're better at this than me. You just are.
Annabeth: [Refusing to get back in Athena's good graces] It isn't how it should be! It isn't. Eat or be eaten [referencing the Kronos story Ares said earlier]. Power and glory and nothing else matters. Ares is that way. Zeus is that way. My mother is that way. He isn't that way. He's better than that. Maybe I was that way once. But I don't wanna be that way anymore. I won't be like all of you. I just won't.
But we also see this visually.
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And to be clear I think it's well done, I'm not saying this kind of thing is a Masterpiece™ but what I am saying is that if you do these things, it's a great way to convey information to your audience visually and a sense of progress both in individual characterization and relationship development. And it just makes sense to lean on things visually if you're a visual medium, because prose can't do framing like this to the same degree.
And NATLA just... never does it. There's almost no real parallels, there's very little framing happening, and the even more intense overload of exposition does not help matters in this way either. The original series had a lot of parallels steadily built up (i.e. Aang's presence in the SWT and Sokka's plotline in Jet -- hell, even some of the lines he gets at Roku's Fire Sage temple -- were to show how Sokka was moving away from a more xenophobic worldview even if it was still a work in progress). There were also more overt ones, such as Sokka dressing himself for battle versus Zuko having guards/servants do it for him, but both ultimately tether the two together into having to put on a performance of confidence, manhood, and war more so than being the children they actually are.
And NATLA just has... no real visual parallels. The closest we get is the parallels between Sokka-Yue, Tui and La, and Kataang in the finale, but that's about it.
There's not a lot of scenes where a character is presented the chance to make a similar choice only to then make a different one. Even Aang wanting to go to the NWT to make a difference is muted because he never actually ran away in the first place; when you rip away character flaws or mistakes, you also gut their room for growth. When you strip away visual storytelling, it means that what you see on screen is a 1:1 of exactly what you're getting, and that is just a lot more Boring to watch as well as gutting your chances to show more character exposition. And it's just - it's just not good
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nattawins · 1 year
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KINNPORSCHE: THE SERIES (2022) dir. Khom Kongkiat
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