River really, truly scared him when she told him, with with no restraint, just how dark the path he was headed down was - so much that he attempts to entirely change the course of his life by letting the universe think he’s dead and eventually erasing his name from their records when that turned out not to be enough.
But he can’t just stop being the Doctor with everything that name means just by letting the universe think he’s dead. When he thinks he’s won and gotten it all figured out, he is so happy. He’s going to go have adventures, fill River’s nights, and put being the Doctor as a frightening legend behind him (he wasn’t even initially planning to tell Amy and Rory that he wasn’t dead), but when he’s in the Dalek Asylum and Oswin says to him that the Daleks grow stronger in fear of him, it crushes him as she says, word for word, what River said the day he knew for sure he had to do something about himself (the day he failed the people who mattered most to him). It’s harder than he thought to stop.
He is still on that dark path he wishes he wasn’t on. He is always the Doctor - the legend, the hero, the villain - but he continues trying not to be someone the universe fears. He starts erasing the records of the things he’s done, creating a world where River gets pardoned and is free because the man she killed doesn’t exist - a world where River’s name won’t scare the Daleks anymore simply for having murdered their seemingly indestructible enemy. He wants to live in a world where his name alone isn’t so big that people act in fear of him.
“Someone said this:
“Even if you have no memories of being loved, for as long as you have memories of loving someone, you can continue to live.”
…But how is someone who has never been loved be capable of loving someone else?
A child who wasn’t able to receive the minimal love they required at the time they needed it the most will continue to gaze at the illusion of affection and never know how to love until the day they die.
Well, how about me? Can I continue to live?”
Furuta grew up without love, surrounded by the products of Tsuneyoshi’s fucked up harem. The only person who seems to have shown any affection at all for him, as seen in the flashback in this chapter, is Rize. Rize who cared if he died when she ate him. Rize who played with him. Rize, whose fate he was fully aware of. Who he saved, because at some point, or maybe deep down still, he understood that that fate is wrong. She was the only thing he had, and he let her go, for her sake.
In this explanation to Kaneki, he mentions explicitly that as a child, he had these childish ideas of love and marriage in the future for them. Things he gave up for her safety from the men of the main Washuu house.
Even when he’s being crude and creepy, talking about Rize having all of those children for him, he references 101 Dalmatians. A Disney movie. And one with some of the healthiest romances, both between the dogs and the humans.
Even now, he’s looking at a Disney movie where two dogs snuggle each other. Where these two dogs have 15 puppies who they risk their lives to save. And who adopt 84 other puppies who would otherwise be dead. When you think about him as someone who grew up surrounded by who knows how many half-siblings, in the Garden like he did - this is basically him saying he wants a Disney Romance.
Which is not to say that the way he’s speaking isn’t terrible. That the tropes he’s using aren’t horrible and misogynistic. They are. Furuta, as he always has, is falling back on farce and drama, on systems of power that he himself as already explicitly told you he condemns. Furuta switches between honest and lying, between truth and exaggeration, between real emotion and fake dramatic flare over and over.
He speaks in this weird mix between a cynical jaded, crude adult, and a desperate, sad, idealistic, stubborn child. Like with his big speech to Eto about V in 66, I think this chapter he is mixing truth and fiction. Sometimes strategically, sometimes just because.
@linkspooky pointed out to me that it almost seems that the more honest he’s being, the less of his face is shown. Times when he’s really approaching sincerity and seriousness, he’s shown from the side.
Where as most of the time, he’s hidden under his flare and his masks and his drama.
Furuta, for all his fake emotion, is clearly uncomfortable with the real thing. Uncomfortable when people make him feel things and uncomfortable expressing emotion. Uncomfortable and unskilled and really parsing it.
Instead, he falls back on theatre and performance and lies.
When he says he couldn’t bare the thought of her having a kid after being free for so long… was he talking (just) about jealousy, or was he talking about the fact that the CCG, and thus V, was gaining on her - had almost captured her in the 6th ward and gotten Shachi in the struggle, and was well on their way to tracking her down again? Was he talking about not wanting her to be free, or about after all that time, still not being able to accept the idea of her being recaptured by V and used by the Washuu men like that.
He used her too, of course - and brutally. I think he was mad at her not only for wasting the freedom he helped her win, for almost getting caught again - but also because he still cares. And he doesn’t want to still care about her. So he punished her for his own feelings. Furuta is… not a fan of his own feelings. And he’s childish.
Its not an excuse for what he did to her, but I do think he acted when he did, if not the way he did, because if he hadn’t, there was a very real chance she’d have returned to her old fate. And that, he could not abide. Even now.
What he did, to Rize, in taking her power and undergoing that surgery himself, in killing off all the Washuu, taking leadership of the CCG - he gives multiple reasons for it even in this one conversation with Kaneki. On the one hand, in his proposal to Kaneki, he sets up a clear role for himself - as a villain to unite ghouls and humans against (Kaneki’s team, rather than the CCG and Clowns in this case) and introduces it as a big production, culminating in his own, rather than Kaneki’s death - ever suicidal as he is.
But explicitly, he also claims that people don’t need reasons for what they do. He also claims that he is doing what he wants to do, and that he is doing what he wanted to do as a child.
I think all of these have a grain of truth to them. He talks in such a way that mixes narratives, mixes truth and fiction, and sometimes just because its easier to talk with (half)fake emotion than real ones.
I think that Furuta, the nearly 6 year old child wants to destroy the toxic terrible “family” that used and abused him, and create in its place a 101 Dalmations style family, with him and Rize as Pongo and Perdita. A big loving, new Washuu family. This part of Furuta doesn’t care about ghouls or humans or Kaneki Ken or Eto Yoshimura or any of that at all.
But Furuta is also an adult, and became one probably much too quickly, if he knew what awaited Rize and helped her escape because if it. And the Adult Furuta knows he can’t have any of that. That Rize forgot about him and doesn’t love him back and that he burned that bridge by dropping those beams. His children with her are going to be via Kanou. Anything new will be born from death and fire and war. Adult Furuta has plans. Adult Furuta wants.…something… out of all of this. Some grand finale.
Part of Furuta is still that child - still wants Rize to come back to him and love him and play with him (and maybe kill him). Wants a big happy Disney ending for them. But he also knows he can never really have that. He’s known that he could never have that, because of how he was born. That’s the irony of that line, about the life he has and how he might as well. Because he was born to NEVER get what he wanted, ever. (And yet - and yet he fights back - viciously and endlessly and savagely, despite being born only to serve.) Because he has grown up now, and he’s done terrible things, and he knows that that happiness is impossible. But he’s also 6 years old and desperate and lonely.
I personally have thought for a long time that Rize is being set up as the one who will kill Furuta. I just hope (though I don’t necessarily expect) that they will get a chance to talk before it happens, or when he’s dying, or something. A chance for him to thank her for finally killing him, after all this time. A chance for him to say sorry, or not to - to say he’s glad he did it if it ended there, with him dying in her arms.
I still don’t think Furuta thinks any way about women, in general, though I understand why people see this pattern. It’s certainly a power structure highlighted by his character, either way. I think he probably has a good deal of the background misogyny of the culture and of the Washuu clan in his upbringing, but he also has a deep seeded hatred for everything about that upbringing. His understanding of things is so twisted and bent around this terrible place he was raised in, and the world he was forced to live in, that its honestly a miracle he’s still fighting for something different.
But Furuta sees every structure as a farce, as a mask, as a tool, rather than a truth. And he plays with these tropes of misogyny and discards them just as quickly. He’s making himself out to be a villain, to be crude, to be cruel. And it’s no excuse for his actions - for the very real fate Rize suffered at his hands. But he deals with Matsumae as a failed knight and a hypocrite, not as a woman. He plays with misogyny and its masks and its power system when he’s mock-flirting with Eto, but the next second he throws it away. He has no regard for masculinity or its virtues. Its a game to him. And that is a nasty and dangerous way to look at a very serious thing. Which is a great metaphor for Furuta who sees farce in everything. And is setting up a grand theater with all of Tokyo as its stage, possibly to write his own death into the final act.
“When I unveil this, won’t you come play with me?” He knows what Kaneki wants. He knows who Kaneki will save. He knows who Kaneki will kill. He still wants to die, and he seems to like the idea of dying to make things better, in a sense. And still, he’s speaking like a child. Come play, Kaneki.
“Doesn’t it make you want to die?
If you die, you can get cured you know. (This is true.)
So if you were planning on giving me something.
In this year, I want four times more of that love or hate.
SAM: Dean deserves better. Dean deserves a life. [11x01]
SAM: You don’t ever think about something? Not marriage or whatever, but something? You know, with a hunter? Somebody who understands the life? [11x04]
Is this season going to be the chronicles of Sam trying to play matchmaker for Dean and trying to find him a mate and every time Sam mentions “this girl” he met that’s “perfect” for him (”She’s a hunter in Nebraska”, “case dispatcher on the east coast”, “well, I mean, yeah, she’s technically a werewolf but Garth seems to be doing just fine, right?”), Dean is like “leAVE IT SAMMY THAT LIFE JUST ISN’T FOR ME.” And Sam thinks it’s because Dean doesn’t think he deserves love or that he could find someone to be with like that?
and Cas keeps coming back to the bunker when he’s not off trying to find Metatron or help for the Darkness and one night Sam gets up after going to bed to get a drink of water and he catches the sight of Dean and Cas at a table hunched together, talking close to one another like they do when they’re alone and Dean allows himself to be close to him. They’re not touching but the expressions on their faces tells Sam that they wish they were. It startles Sam to see Dean so open with his emotions even though he’s not talking about them; they’re written all over his face.
And Sam realizes why Dean has been so adamantly against Sam setting him up: He’s already in love, and it’s not that he doesn’t think he deserves love, but that he doesn’t think he deserves Cas.
The funniest thing to me about all these piss babies complaining about Ghostbusters hating men bc the two main men are stupid/socially inept and evil is that there are still way more men in the movie than women??
Out of the 55 credited actors on IMDb, 17 of them are women. That means 38 of them are men. There are more than twice as many men as women in the movie. Like yes, the main four characters are women who are shown to be intelligent and funny and kickass (which is so awesome, don’t get me wrong), but the side and background characters are still overwhelmingly men. There are plenty more men than just Kevin and Rowan for them to identify with or whatever they’re complaining they can’t do in this movie (including half the main characters from the original movies, which they also complained this movie was disrespecting or whatever). They may be side characters, but that’s still better than women usually get to identify with.
Imo there’s probably a lot to be said re: those numbers, like how we see even a minority number of women as too many and how even progressive films like this have a lot to work on re: Hollywood’s gender disparity problem and how these piss baby dudes will find anything to cry about
I might be completly wrong in this and yall have free pass to come scrub it in my face when YOI ends, but like…. I don’t think the whole point of the show is having an antagonist?
Yes, compared to what we know of almost every character (and the writers put some effort in telling why they skate, what are their motivations and a little bit of everyone’s past), Viktor can seem a little… Off? Because the writers don’t dwell as much on his thoughts, and there’s very little we know about him (except he likes surprising people and he’s bored of winning at this point).
(I mean, look at this smile. It looks really fucking fake, even for someone thats 24/7 cheery af like Viktor.)
And while this might seem a bit iffy, considering we’re already halfway to the end of the show, I kind of just want to point out that Yuri on Ice is, mainly, about Yuuri (duh, Heloisa, you say, but hold on a second). And Yuuri’s development is really tightly walking together with Viktor’s. Through those episodes, it’s clear that Yuuri has a lot of talent and skill. He is perfectly capable of suceeding (as shown by the perfect copy of Viktor’s routine that won him another gold), except for the fact that he’s insecure and a very anxious person. He still pretty much anxious, even by episode 6, when he is able to perform Eros perfectly, as shown by the fact that he is freaking out about being first place. But I think that this is where Viktor comes through: Yuuri is dealing with his feelings way better this time. He is opening up to someone, which we all know he’s very wary of doing. He doesn’t like showing weakness, don’t like people thinking less of him. But he feels safe when Viktor is listening (the beach scene anyone?).
And that’s really important! This is a really nice example of a healthy relationship.
(This is actually the most pure scene is the story of media, fight me on this.)
So, back to my point. Until now, he have been following closely Yuuri’s story, since his failure at the Grand Prix (that wrecked him) and his decision to get back up, to try ice skating, to go “well, I really love this thing, and so I’m going to keep trying, even if my body hurts and I’m tired and upset still”. When Viktor shows up, this resolve strenghtens, and Viktor puts him back on intensive training. Not only that, but Viktor urges him to be more confident and sure of himself. Viktor makes himself available to Yuuri, pushing ever so slightly until Yuuri is able to come to him and talk about what he’s feeling. But! There’s one more thing. It’s not only Yuuri that’s benefiting from it.
(Compare this man’s joy in this pic to the first one. I mean… Yuuri isn’t even close to winning the Grand Prix yet, but Viktor is more happy at his routine – this is before the scores came out – than when he won the gold medal for the 500th time.)
Some speculations have surfaced about Viktor being a very lonely person, which might or might not be true. But well. He was a child prodigy, reached fame at a very young age, and has been in the spotlight ever since, grew under it, every move hyperanalysed to exhaustion. As charming and extroverted as the guy is, that must be tiring. Which probably had a huge impact on his decision to just drop his career and go “well, look at this kid performing my routine better than I did. It would be a shame if I didn’t fly to Japan to coach him”. While we aren’t 100% sure of his full motivations (except Viktor does say that Yuuri creates music when he performs, and that sounds pretty much enough of a motivation, considering that Viktor wants to surprise and be surprised and wants passion, most of all) and past and wishes, etc, etc. What we have of Viktor right now is his development very strongly intertwined with Yuuri’s.
And, I mean… Viktor looks absolutely thrilled with Yuuri. Even more than Yuuri himself because, even when he’s building his confidence, Yuuri is still aware that a) people aren’t taking him that seriously just yet, b) everyone wants Viktor back to performing and c) most think Viktor is wasting his time. So, honestly, tha fact that Yuuri basically raises the middle finger (although, yes, metaphorically) with his performance to every single one of these people, because he doesn’t care how much they cry out, he did fucking stole Viktor. Deal with it, he says. So it’s safe to assume Viktor is more than slightly encouraging Yuuri to think like that.
Would all of this be necessary if Viktor was only doing this because he wants to create a new competitor worth of his time (when, I don’t know, Yurio seems strong enough to steal Viktor of his first place without so much extra care)? Would all this endless flirting and touching and intimacy be necessary to build up Yuuri’s confidence? Would Viktor actually say Yuuri to seduce him just to, you know, build His Straight Friend confidence? Would Viktor do all of this just to get more attention, when the reactions of everyone of their closeness isn’t even of shock at this point? Like, Phichit posts a picture of Viktor half naked all over Yuuri on the internet and the worries are “will people think I’m fooling around before competition?” and not that he’s fooling around with Viktor instead? Besides some embarassed reactions like Minami watching them hug, the whole affectionate thingy isn’t really a surprise anymore. Sure, photographers took a lot of pictures of Viktor and Yuuri hugging during the Chugoku, Shikoku, and Kyushu Championship but, as showed on episode 6, Viktor is all over Yuuri any chance he’s got.
On live television, also… Just like Yuuri’s love confession (also, I super recommend reading this post on Yuuri’s speech. Just read all of OP’s posts because great analysis! And great translations!).
So, anyway, my point is that, if Viktor is doing this for pure and only his personal gain, he takes his objectives really fucking overboard and should get some sort of acting prize.
And my other point is that, if the show ends up making Viktor some sort of evil-only self-absorbed selfish douchebag, it won’t be a plot twist, it will be bad writing and very misleading (and I’m not only saying this because of the past episodes: both the open and ending of the anime are very upbeating; the tone of the anime and its writing are overall light, even when dealing with hard issues; etc).
Also can we just drop the whole narrative of same sex/gender relationships always having heavy drama, because it’s really getting tiring at this point. The drama is the Grand Prix, it’s all these fucking skaters trying their best and falling and getting up again, it’s the literal depression Yuuri went through and is trying to get out of with the help of Viktor and everyone else. That’s enough drama, don’t yall think?
There’s so much tension between Sam and Nate that I didn’t pick up on the first time I played through Uncharted 4. Every interaction they have after the fight with Elena and Sully (and even some conversations before that) are packed with double meaning and things left unsaid.
Sam wants so desperately for Nate not to be angry that he’ll do anything–except apologise and tell him the truth. He makes cute small talk, reminisces about the old days, and tries to distract his brother with tiny things like climbing competitions. He even tries to spin the situation around and get angry with Nate (“why aren’t you enjoying this/I put so much on the line for this” etc) so that he can justify to himself for feeling guilty when he sees that sucking up isn’t working. It’s a lovely parallel to them as kids when Nate says that Sam only does nice stuff like show off motorcycles and gifts to make up for something he’s done or about to do.
Sam’s line to Nate in Chapter 12 (“She will get over it–I mean we bring back a treasure like that, anyone would”) not only demonstrates that he completely misses the point of why Nate and Elena fought, but that he’s also using Nate’s marriage to spin the adventure in his own favour - “if we find Avery’s treasure she’ll forgive you, so we have to do this now.” He can see that he’s losing his brother on the importance of this expedition, and he cannot tell Nate the truth and apologise now, so he uses Elena–who he’s come to realise is the most important person in Nate’s life–to persuade his brother into staying.
There’s a lot of bitterness in that too, because now Sam not only feels like he has to compete with Sully for Nate’s loyalty and love, but Elena’s as well, and he knows he won’t win. Nate’s already done the alienating (which Sam tried to do earlier with Sully at the Rossi Estate - “we can’t trust him/what if he grabs the cross for himself” etc), so now he’s left with using the excuse of repairing those relationships to motivate his brother to find Avery’s stash.
The more I play the game/rewatch the cutscenes, the more I pick up on how manipulative he’s being. This kid has mastered the art of getting what he wants from people, and it’s amazing how much nuance Naughty Dog has packed into every part of this game.
You know, only humans can feel real joy, but... also such profound pain. This is easier.
And yet, Adina was crying. She cried as she made Hannah pay for Daniel’s death. It seems like she was able to feel profound pain too, doesn’t it? Maybe angels are able to have deep feelings after all, they just haven’t been around humans long enough to be able to identify those feelings, to even notice they are there.
Later on the episode, as Dean is brought back, supposedly along with his human emotions, the harmless holy water on his face gives the impression of tears too, but he isn’t really crying. He seems more stunned and shocked than anything else, and guilty, because you can’t have human Dean without the guilt, not yet. Being human is supposed to bring back the emotions with it, but he seems less emotional than when he was a demon. His voice cracked as he told Sam in rage about all the feelings he has repressed inside him his whole life. He sulked while playing Hey Jude on a piano and wondering about his humanity. He drowned himself in booze, sang songs about love and loneliness on a karaoke, and asked a waitress to run away with him in a bad attempt at silencing the loneliness.
Yes, the feelings are most definitely still there, but maybe the lense through which they are perceived is so different, they like to convince themselves they’re not, because it’s easier, less painful to pretend not to feel.
And Cas did say to Hannah earlier on the episode that emotions and feelings are dangerous temptations. That does sound like the option of falling into the temptation exists even as an angel, just ask Adina. So if it does, why would he later say that’s something only humans can experience? Maybe for the same reason he said at the end of last season that he just wanted to be an angel? It certainly seems there was a time, before he ever met Dean, before the mission that would grip him tight and drag him towards humanity, when his most meaningful human contact was some curious observation from some cloud, when that statement may have been true. But it hasn’t been for a long while, and at a time when having feelings means mostly pain, it only seems logical he would like to convince himself it is possible to go back to that time, go back to being a creature devoid of feelings. But it’s not possible, is it? Not when he still cares so deeply about the family he has found on earth.
I hope the day comes when having those feelings brings all of them more joy than pain, and they can embrace those deep feelings they do have without the fear of getting burnt in the process.
Okay but now I really am getting emotional over Steve and Tony as Actual Co-Leaders of the Avengers because like
Tony seems like the kind of person who has so many thoughts racing around at any given time that to really focus in on one train, he has to talk it out and force himself to think linearly (cue JARVIS and the bots). We see something like that in Avengers, when Steve and Tony are talking about Coulson and then Tony takes off trying to figure out Loki, and by bouncing his thoughts off of Steve, he realizes he already knows where Loki is; and that’s echoed in AoU, when they’re actively working out their next steps at Clint’s farmhouse.
I like to think that, somewhere between Avengers and AoU, as the team comes together to shut down all the rogue HYDRA bases and look for the scepter, this becomes something of a ritual: before every raid, Tony and Steve wander off alone so Tony can rattle off every possible scenario he can imagine given what they know, and then Steve strategizes accordingly. And they both know they can’t possibly plan for every single scenario – and it’s fine, they’re both very practiced improvisers – but they at least have a unified sense of what COULD happen and how they COULD react. As co-leaders. As a team.
something i think about a Lot is how i want more fantasy that’s just. fun. that’s lighthearted and exciting and atmospheric and above all filled with joy. like ghibli movies, like stardust (my Personal Headcanon version of stardust that marries the best parts of the book with the movie), like parts of avatar the last airbender
where good wins over evil not through terrible sacrifice and tremendous battles and hardship, but through kindness and gentleness and good-ness. or where there is no “evil” and the journey is about discovering and uncovering and exploring yourself, becoming the best you you can be under the circumstances you are given
where it isn’t the Entire World at stake, where every adventure isn’t full of mortal peril and enemies around the corner, where the world feels like it’s beckoning you
come on! the road is waiting for you! see what’s out there! go, go see!
The thing I love about the deleted scene at the end of the reel, with Hannibal and Will in the shared memory palace Palermo, and Jack in the real Palermo, is that it still maintains that ambiguity about if they lived or died.
You could believe that they’re out in the world somewhere, together finally, and Jack is aware of it on some level as he hopes to hunt them down.
And you could believe that they’re gone, and that’s Jack visiting them in memoriam, and in his mind, at least, he knows they went together.
And you could believe that they’re there with Jack as Jack looks for them either in body or in spirit, right then, they’re in the room with him like Abigail was with Will in “Primavera,”
like Cathy and Heathcliff, haunting the moors after being reunited in death.
you know it always gets to me that rin never expected haru to share a future with him
it was definitely something he wanted, even when he was little he chased this idea of him and his “shining” flying side by side together into the future
but that was something close to something silly like a kid dreaming of becoming a superhero or something, it was just a little crazy ideal that he wished for while pursuing his own goals
and its like, as he grew and actually got to the point where his dream was getting closer and closer to becoming attainable, he saw the person he admired most of all, the person who helped get him to where he was in the first place, this person with all this potential to do whatever his heart desired struggling
he still wanted to swim with haru, he still wanted to share a future with haru, but most of all before anything else he wanted haru to have something of his own to shoot for, his own dream
“What would you do?” ; “What do you want to do?
rin gave haru the opportunity to really look and see what he wanted for himself, a chance to search for a dream and capture it just like rin had been doing for himself all this time
rin told haru what he wanted to do, what he was shooting for, how he felt.
but now it was time for haru to decide. and rin finally giving haru this opportunity to step out of his same world, and see something new, and finally find something for himself is so beautiful
because we get to see haru’s smile become much brighter and his outlook for the future become much clearer
and in the end, they both still get to fly together side by side like it was all some sort of fantasy
think about how tremendous toriels capacity for love is?
think about how many humans have fallen down into the ruins, how many children toriel has nursed to health and protected and guarded, how many innocents she’s taken under her wing and sought to protect, sought to do the best for, only to see each one walk away and die, horribly and painfully and unjustly
think about how brave she is, loving every child who falls down even though each time doing so hurts more than the one before it, because maybe this time she can spare one, maybe this time she can protect one, maybe this time she can save just this one child
(AU where Neal cracked and said “fuck off” to August and went to see Emma when she was in jail, and she was so confused because she never got visitors and she barely let herself hope -
And there he was, in that stupid jacket of his, looking all nervous, waiting for her.
She’s not showing yet, and she’s glad for it.
And he apologizes, and explains as best he can, and he tells her he won’t give up on her, he’ll prove to her that he’s worth her trust again, he’ll be back every visitor’s day, and she doesn’t quite believe him (but God, she wants to) and so she just nods and says nothing.
And he does come back, every time, and eventually she can’t hide it anymore and she tells him about the baby, tells him she’s giving it up, and they get into a blowout fight there in the visiting room and he ends up escorted out by the guards -
And he tells her she doesn’t have to give the baby up, tells her he wants this, her, it, them, together -
Something else interesting to note about Sherlock and Molly, and who they ‘pretend’ to be in the real world:
Sherlock only likes himself when he’s something he’s not. When he’s dressed up in his detective identity. He hates himself, or is terribly uncomfortable, as anything else.
Molly is only not herself one time in the series, during the Christmas episode. She dressed up in a ‘costume’, to try and be something she really wasn’t. It’s the only time we see her look completely and utterly uncomfortable.
In TEH, when Sherlock shyly asks Molly to come and participate in a case with him, she asks him what John usually does. By this point, Sherlock knows Molly. He remembers the last time she was at 221B, trying so hard to be someone she wasn’t, for him. This time, he makes sure she knows all he wants is for her to be herself. “You’re not being John, you’re being yourself.”
Molly is only comfortable when she’s herself. Something I think Sherlock admires greatly about her.
Sherlock is never comfortable, never okay when he’s himself…except when he’s with Molly.
Sherlock trusting Molly enough to be himself with her is in itself a kind of love. It’s not an everyday romantic kind of love, but I think for Molly, it’s worth far more than any dinner date or night at the pub. To her, it’s pure diamonds.
Sofia floating past the iconography of past Disney Princesses to reach The Secret Library
The sequence is so great. The notion of Sofia “getting on a Disney park boat ride” is really clever and a meta, while also good for the show’s lore. There’s this disquieting feeling in how the older Princesses have their “stuff” half buried in water. I love the imagery and the score, plus how these elements are allowed to speak for themselves. A rarity in children’s TV animation, this is a solid 3 or so minute scene without dialogue. I love how ALL the Princesses’ elements are present (even Pocahontas!).
Mostly for my own reference, I’ve been sorting out the internal chronology of the movie (since we’ve already had plenty of speculation about the pre-movie timeline) – and I came across a few unexpected things.