because i just rewatched it and i have feelings


Moonlight Audio Commentary by Barry Jenkins: “Chiron doesn’t make many choices or he doesn’t make obvious choices. […] I wanted there to be a moment where the door is there or if he wanted to he could choose to decide “this is enough, I don’t like it, it doesn’t feel right.” And I feel like in my mind Kevin has gone back into that kitchen and he’s standing there and he wants to give him again, that space to make a choice. Depending the surround sound you have, the world starts to swirl a little bit and his ear gets closer to that door because he could choose to go or he could choose to stay. I feel like he chooses to stay.”


This whole storyline that started this season about Cam and Arastoo adopting has seriously warmed my heart, but in all honesty, the one thing that gets me about the whole thing is that at the end of the day, Cam went to Brennan of all people to discuss about their adoption plans (you can tell from her ‘you ready to tell them?’ remark earlier that Brennan knew about Cam and Arastoo’s plans all along - and it brings back memories of all those years ago, when Cam first started working at the Jeffersonian and both Brennan and Cam clashed so much, and it was that one conversation in the diner about Brennan being a foster child which led them to working out a plan to function better as a team and colleagues, and all that has led up to this moment now. That she can now confide in Brennan, and Brennan in turn, was there to offer her the advice and support required, is what makes this entire scene even better for me. Because it shows just how far these two have come after all these years, from colleagues who couldn’t get along, to becoming dear friends. And in all honesty, that is all I could have ever asked for with these two. ❤️

scutellatebooted  asked:

Hi Wil. I've been rewatching TNG and I got to the episode with the infamous "Shut up Wesley" quote and I gotta say, Picard was out of line. Wesley is smart and observant, and was correct when he said that if an adult had been delivering the report, it would have been listened to. I wish people would look at the whole context of the scene because I feel that last part is important: kids know what's up and shouldn't just be brushed off like that.

I appreciate this very much. I agree with you, and I wrote in Memories of the Future that I believe this is the moment that seals Wesley’s fate with that part of the audience who wants to dislike him, and hamstrings the character for the rest of the series.

anonymous asked:

Did you start shipping sheith back in s1 and if so why? Not an anti! Just curious.

Oh, I have no problem believing you’re just curious. Back in s1 days I had not one but four of my friends ask me why I shipped it.

So yes, I did start shipping it back in season 1 but it’s not like they were an OTP or anything. In fact, I only started to actively ship it at the s1 finale. Here’s how it went for me. 

There I am, watching the pilot episode, having a grand time and feeling nostalgic and really enjoying myself. When this happens. 

This scene set off all kinds of alarms inside my head. Now, it’s not like I started shipping it here but this interaction caught my interest because it indicated that these two clearly knew each other. This was further confirmed after Shiro is awake and they have their little shoulder touch “Good to have you back”/”Good to be back”. So I was eagerly awaiting some backstory, that I have yet to get >_>

The series moved forward though and I was enjoying the ride. Shiro quickly became my favourite, so I always paid particular attention to him when he was on screen, even if he was in the background. So that meant I noticed that Keith was just there a lot too. That led me to realize that it wasn’t simply that Shiro and Keith knew each other, but that they were really close, and had been as such before the series started. Even just in the first episode I kept noticing things.

Also Keith is always looking out for Shiro and is very protective and worried for him.

Meanwhile Shiro really respects Keith’s abilities and trusts him 100%. 

There’s just a lot of subtle moments between them that build up to the finale. And oh boy, the finale!

That’s when it really hit me because Keith is desperate and brutal in his attempts to save Shiro and the Black Lion. Keith also has no personal reasons to be as invested in taking down Zarkon as he is in the finale, to the point of shutting off Coran, so I have to assume that it relates to what the Galra did to Shiro. I mean, rewatch that fight. It feels so personal and I was sitting there watching it thinking damn Keith, what did the Galra ever do to you? Well, they took Shiro away and tortured him for an entire year. 

And Shiro saves Keith back which was really great.

So yeah I already shipped it in season 1 because these two were clearly close, had a lot of mutual respect and trust in each other and were just very tender and intimate with each other. And that’s my shipping aesthetic. 

So i just rewatched the scene where Clarke and Bellamy are arguing and she says, “I’m sorry–but I knew I could leave because they had you.” and I realized when he looked away that he was probably thinking, And who did I have? 

And now I have a lot of feelings.

How was the Series of Unfortunate Events movie literally the best thing ever and the worst thing ever at the same time

Like how could they nail the casting, atmosphere, music, narration and basically everything aesthetic so perfectly while completely disregarding the actual story that they were adapting beyond the point where it can even be enjoyable


top 50 otps of all time ☆ #45. Peyton Sawyer & Jake Jagielski 

“Yes, losing your heart’s desire is tragic, but gaining your heart’s desire? That’s all you can hope for. This year I wished for love … to immerse myself in someone else and to wake a heart long afraid to feel. My wish was granted and if having that is tragic, then give me tragedy because I wouldn’t give it back for the world.”

I just rewatched Civil War again and I realized something as I watched it - seriously, people need to pay attention in this end fight because Tony, if he had wanted Bucky or Steve dead, he could have killed both of them by simply blasting his center repulsor unibeam at them and they’d have died.

Tony Stark was pulling his punches, I’m calling it. He was fucking pulling his punches.

Yes he was furious and betrayed and angry, he wanted to hit someone, he wanted to make them hurt as he does, he wanted someone to pay and feel the pain, he wanted all those things. But even in that furious blind anger, there’s that part of him that couldn’t do it - Tony came into Siberia to help them, he just spent an entire movie trying to shield them from a firing squad, hell he let Natasha walk away and didn’t even go after her, Tony didn’t want any of them to die. Yes there’s so much anger he’s feeling, so much pain, but buried beneath all of that is a man who still doesn’t want to kill someone, who doesn’t want to kill his friend.

If he was truly so furious, truly so full of rage that he just wanted Bucky or Steve to die, all he had to do was blast them all with that unibeam and they’d both be done for it.

I mean, seriously, look at that scene, when Bucky was tearing at his arc reactor, he only blasted the metal arm off, and once Bucky was down, he could have unibeam again and Bucky would be dead but instead he used that same hand repulsor blast that he used on Sam, a non lethal blow.

Tony Stark may have been furious as hell, may have been overwhelmed with pain, but there was still a part of him that could not take the lethal shot. He was still holding back, however unconsciously, but he was.

sooooo what I’m about to say next probably counts as SU Critical, but I’ve been thinking about it too much to not say these two things:

1. Y’all complaining about “fillers” need to take a seat and watch some earlier episodes again. This show is not nor has it ever been a plot-centric show: it is a character-centric show. Now you are aloud to dislike episodes - that’s okay! But some of y’all who don’t know much about stories or plots or writing need to shhhhhhhhh.

2. Though I have noticed a change in art. Now this is not anything negative to more recent episodes, because I know that art is hard! And I appreciate every person who has made an episode of Steven Universe.

I’ve just noticed when I rewatch old episodes, more time was put into having the art tell the story, too.

Just, for example, I watched Indirect Kiss last night. We got some detailed drawings that worked for comedy as well as story. For instance:


But It also used art to slow down the story and really connect with the characters:

Remember when Steven talked about his complicated feelings for his mother? Or when, after the water came, he imagined the stature reaching down to him?

Do you remember how quiet this scene was? How the wind blew their clothes? How Steven’s hand pulled at his jeans? 

That’s what I feel like the newer episodes are missing - the extra touch that uses art to further the emotions of a scene.

But I’ve gotten the impression that those who have noticed the same things I have are thinking the reason for this is laziness - which I believe to be greatly incorrect, and, honestly, a horrible assumption. I know I’m not an artist - but I am a writer - and I can assure you, those who create art take it seriously.

So then, what is it? My guess should be a little concerning. Remember how it takes almost a year to make one Steven Universe episode? You can see that in episodes like Indirect Kiss, can’t you?

I think, ahem, production is being forced to produce episodes quicker or funding is less or different than it once was.

I guess I have no proof other than deduction. And I don’t really know what to do this info. But I thought I’d say it, maybe get a conversation going.

I still love this show, and I will forever love this show and support it. But supporting it also means pointing out what has made the show great - its art. 

12x11 Episode Review - What a Ride That Was!

Having just completed my second watch of this episode I have to say I am slightly stunned. I guess the best way to put it is ‘not what I expected’. But then what did I really expect? I was expecting pain, heartbreak, drama, interspersed with some humour and a big “no homo” scene to counteract last episode. I was expecting some dudebro Dean to appease certain types of viewer, along with a nice helping of deep subtext into Dean analysis for us to eat up that would go straight over that type of viewers head. I was certainly not expecting… Larry.

I haven’t looked at tumblr yet, except to glance at my askbox. I assume that you are all suitably going mad over Larry. Over the implications of Larry. Over the sheer insanity of the episodes biggest innuendo fuelled moments and probably laughing about it. I expect a hundred gifsets. I want to reblog those gifsets. I am also sure that Larry has already been meta’d to death… But what’s the harm in a little more meta to add to the massive pile gonna do? Because I wanna meta the FUCK out of Larry.

But there is a lot more to this episode than just Larry. We did get heartbreak. We did get drama and we did get some really nice character moments. Rowena particularly was amazing this episode (who am I kidding though she is always amazing) and I loved learning more about her thoughts. Overall I think it was entertaining, though not one of the best episodes, but that could be because the writing was a bit sloppy and sometimes the story didn’t make sense. I’ll get to why in a bit. Let’s just say that Meredith Glynn isn’t my favourite of the new writers by any means. I didn’t even review The One You’ve Been Waiting For because I didn’t feel particularly inspired by it at all.

But having said that she gave us Larry, and for that I will forever be thankful… even if she didn’t intend for us to take it the way I have (and I am guessing most of you reading this have too).

Anyway, main points to take away under the cut:

Keep reading


I don’t know if this is common knowledge or not, but this scene here is the first, and only time Edward cries in the series. From the day he and Al burned down their home until now, this is the only time.

Ed didn’t cry when he and Al discovered what had become of Nina. He didn’t cry when she was killed. He didn’t cry when Scar destroyed most of Al’s body, or when Scar was moments away from killing him. He didn’t cry when Al accused him of creating a fake soul and binding it to armor, of inventing a brother as some kind of sick joke. He didn’t cry when he learned Hughes had died, or when he confronted Gracia and admitted the murder was likely his fault. He didn’t cry listening to Al admit that he was at his wit’s end, that he couldn’t stand all the nights alone anymore. 

He didn’t cry when he learned Scar had killed the Rockbells after saving his life, or when Hohenheim accused him of running away. He didn’t cry when he discovered the thing he’d transmuted wasn’t actually Trisha, or when Envy told him they were doomed to die inside Gluttony’s failed portal, or when Bradley took Winry hostage, or when the fight with Kimblee left him with a ten foot steel beam puncturing his side. He didn’t cry when Pride hijacked Al’s lifeless body, or when he let Al be locked up in total darkness with Pride, or when Father took them captive and used them to kill everyone in Amestris.

And he didn’t cry when Al sacrificed his own soul to save Ed’s life.

No. He’s gotten angry; he’s yelled; he’s exploded, but he’s never cried. This is the only time, and it’s when Hohenheim tells Ed to his face that he loves them, more than anything in the world, and only wants for them to be happy—that everything that happened had been his fault, as their father, as an adult, as the one who should have been protecting them, and not Ed’s.

And Ed bawls.

Here’s why: Ed hates Hohenheim, and will easily admit it, but he doesn’t hate Hohenheim in the way he hates other people. Ed enjoys talking smack about those he genuinely hates—he’ll talk about wanting to beat Scar bloody for everything he’s done, and wanting to kick the homunculi’s asses for trying to use him and Al as pawns. Hell, he even enjoys jabbing at Roy for the personality traits he dislikes. Hohenheim is different though. Hohenheim is the only person Ed hates that he also hates talking about. Every time Hohenheim is mentioned, Ed responds with a quick, scathing comment about the man and desperately changes the subject.

And this is all because Ed doesn’t feel right about his hatred toward Hohenheim. For all the others, Ed hates them from a blameless position. The homunculi hurt innocent people, as does Scar, as does Kimblee. Ed securely knows he’s the good guy who hates these bad guys. He’s the moral one, the blameless one, pushing back against a truly antagonistic force. And this is what Hohenheim is not. All of Ed’s hatred toward Hohenheim stems from a place of projected guilt and self-loathing. Ed decided to try to bring Trisha back to life. Ed performed the transmutation that got Al’s body taken away. Ed burned down their home and enlisted in the military, and Ed agreed to do awful things in order to try to fix what he’d done to Al. But, if Ed dials everything backwards, he can almost justify rooting this in the fact that Hohenheim left them first.

If Hohenheim had stuck around, maybe Trisha wouldn’t have died. And if she had, Hohenheim could have stopped Ed and Al from doing something so reckless as human transmutation. He’s their father after all. He’s supposed to be responsible for them. But he left, so Ed can almost rationalize the idea that it was Hohenheim’s leaving that led to everything bad in the brothers’ lives.

Ed knows this is grasping though, and he clings to it in part because he’s convinced Hohenheim hates him too. The clearest memory Ed has of his father is from the morning he left, standing stiff at the doorway, glaring down at Ed before heading out the door and never returning. (A glare which we later learn was the result of Hohenheim furiously holding back tears). Clearly, Hohenheim hated Ed and Al and Trisha enough to just walk out the door one day without saying goodbye. Ed’s probably spent a lot of sleepless nights wondering what they’d done wrong as a family—what he’d done wrong as a son—to make his own father not want him anymore.

So when Ed talks about how he hates Hohenheim, it’s 100% intertwined with a hatred he feels for himself. And it’s an insecurity Ed would never, ever admit to.

Meeting Hohenheim again in episode 20 only works to confirm Ed’s fears. Hohenheim is unbelievably cold to him—Hohenheim confirms that, yes, all of this was Ed’s fault. Ed committed the taboo; Ed burned down their home as a means of hiding the memory. He’s disappointed in Ed. He hates him as a son. And he leaves, again, without goodbye, because Hohenheim didn’t return home with any sort of change of heart.

Learning the truth about Hohenheim only serves to scramble Ed’s feelings. He’s confused; he’s uncertain. He can rationalize Hohenheim’s departure in the context of preparing the counter-transmutation circle, but what about his memories of the man who glared at him, filled with hatred, and left? What about the man who accused him of being a scared, stupid child who’s to blame for all his failures? What about the man who—if only he’d stuck around—could maybe have stopped Ed from doing all of this? The truth makes sense, but it does nothing to alleviate all the guilt and self-hatred Ed feels in relation to Hohenheim, so he doesn’t soften to his father like Al does.

Until this scene.

Until finally, Hohenheim says everything Ed’s desperately wanted to believe for the past ten years. Hohenheim loves him. Hohenheim cares about him. Hohenheim blames himself for what happened—he should have been around for Ed and Al, he should have been there to stop them from doing the impossible, he should have been their father. He wanted to. More than anything in the world, he wanted to just be there for them. Their family was everything Hohenheim had loved in life, and he’s sorry, from the bottom of his heart he is sorry, for how he left them behind. So sorry, that he wants to sacrifice his life in order to fix what little of it he can.

And that’s what breaks Ed. He was strong enough not to cry at any other time, for any other reason, but in these few panels Hohenheim destroys the mangled, tortured sense of fear and guilt and self-loathing that Ed had been harboring for a decade. Hohenheim loves him. Hohenheim is happy to be Ed’s father, proud, and so so sorry.

For the first time, Ed cries. Because for the first time, he feels like he can call Hohenheim “Dad”.


Beast King GoLion 12 - Evildoing of the Emperor

Even after hearing the warning about the dangers of traveling to Planet Jarre, Fala, along with Kurogane, Suzuishi and Seidou are determined to help liberate the planet from Galra reign. Though Kogane was against it at first, he realizes he cannot change the minds of his teammates and joins them on their mission.

I’m rewatching all of the bughead scenes because well of course I am and when Jughead calls Betty “perfect” and she says that she hates that word. Idk I just have a lot of feelings about it. Archie called her that in episode 1 and it was a reason not to be with her. She was crushed but she didn’t say anything back to him about it. BUT here she does. She tells Jughead she HATES that word. I just think that’s a huge step for her.
Then later she let’s him in even though her mom advised her not to (which I get because of her past but COME ON Mama Cooper). She shows him what the pressure of being “perfect” does to her. She shows him that she’s not perfect. That she has flaws. Jughead takes this in. Doesn’t say “it’s okay” because he knows it’s not. Instead he KISSES HER HANDS. He accepts her flaws and still cares for (loves) her.
Even when they are fighting these two show healthy growth. Idk it’s just beautiful to me.

caerulaen  asked:

i love your s12 spn meta post, i love how you've analysed things and looked through different angles, but i have to admit. sometimes i feel that us fans of the show think more complexly about the characters and scenes than the writers themselves. they've shown continuity errors and character development mistakes time and time again, and the queerbaiting is frustrating as fuck. it doesn't make sense to me that these people are the same ones orchestrating such fantastic plotlines.

(i ran out of space for that previous ask) but again, i sincerely mean no disrespect to you or to the creators of the show. it was just my two cents. i’m sorry if you find it offensive in any way, i definitely did not mean for it to come off as rude! :(

Hi… I didn’t take it as rude, so you’re fine. :P

(I probably wouldn’t have posted it on anon, though, just because I don’t see the show as being fully of continuity errors and character development mistakes, and “queerbaiting” is in the eye of the beholder and seems a harsh statement to level against a writing staff that is comprised of several LGBT writers. Especially when they have been addressing queer characters and issues in serious ways, and absolutely not making them the punchline of a joke or dismissing them. It’s a word I would not throw around so casually.)

***On second thought, after typing ALL of this out, I feel like having spent the whole morning on it, it should be on my blog… I hope that’s okay.

Half the point of my rewatch (which, oops, I’m behind on because TNT showed a ten episode marathon the morning after a new episode aired, and the new episode had to take priority over the old) is to point out how consistent ALL of these things are.

There’s a post I like very much that I just saw again yesterday:

People should probably learn the difference between “plot holes” and “things I didn’t like” or “things the franchise plans to explain in the future” or “things film makers didn’t think they needed to explicitly explain because they thought you had critical thinking skills”

I didn’t reblog it because it’s already somewhere on my blog from ages ago, but especially relevant to s12, because of the way they’re telling the story.

99% of the time what looks on the surface like a “plot hole” is actually an expansion of canon, and yelling PLOT HOLE! or RETCON! just because something seems different means there’s a reason for the difference now.

Like the fact we’ve seen several shapshifters who don’t shed their skin like puddles of goo and can just *poof* into a new form. We’ve had shifters like this since s6 when we learned about the alphas. Truly powerful shifters don’t need to shed to change form.

(on a practical level, it makes the prop department’s job easier because they don’t have to create goo puddles, but also they’re able to use a shifter’s ability to change instantly as a plot point, and have done so several times very effectively. Like in 12.20 when Ketch was torturing “Mary” and punched her, so the shifter took on HIS form. They couldn’t have done that if they hadn’t introduced this more powerful strain of shifter before.)

Technically, everything that’s happened since 4.01 would fit the strictest definition of plot hole, because it had already been established that angels did not exist. And yet… here were angels.

Cas said in the past that angels were now walking the earth for the first time in two thousand years, so the fact he’d been down here in a vessel in 1901 must be a plot hole too… unless you assume that Cas’s previous statement was both specific and hyperbolic (which really isn’t a stretch, angels have always avoided certain truths in order to manipulate us). Angels as a whole hadn’t embarked on a unified mission to earth in the last 2000 years, but we know that Lily’s first encounter with Ishim in 1901 was because SHE SUMMONED HIM. She performed a magical spell that BROUGHT AN ANGEL TO EARTH. And the events of their relationship unfolded to the point she felt compelled to summon yet another angel (Akobel) to protect her from Ishim. Well, suddenly there’s a whole flight of angels coming to kill her, you know? It’s not the sort of story that any of the angels involved would be cheerfully chirping on about.

Point being, if Lily Sunder was capable of summoning an angel, there’s probably been OTHER people over the course of human history who’d tried it too. All of heaven may not have descended like they did in s4, but here and there, angels very well may have been watching over us.

It’s not a plot hole, it’s an expansion of canon. It refines our understanding and reminds us that we don’t know everything about the entire history of that universe.

I think there’s two kinds of people: Those who see something they think is a “mistake” in canon and scream PLOT HOLE! and get upset about it and think the writers are idiots, and then there are those who see that same thing and wonder how does that fit with the information I already have and then try to understand.

Sometimes a plot hole is just a plot hole (like the time travel nonsense in 12.13 that turns into a strange loop of infinitely decreasing returns), but most of the time it’s really really not.

As for characterization “errors”, most of the time they are incredibly purposeful. Like the whole scene at the beginning of 12.15. People are STILL shouting, “Out of character! Dean hates germs! He would NEVER do that!” and therefore MISSED THE ENTIRE POINT OF THAT SCENE.

Which was SAM standing there staring at Dean THINKING THE EXACT SAME THING.

Dean was putting on the performance FOR SAM. He KNEW Sam was lying to him about where the cases were coming from, and Dean’s not a moron. They visit the MoL, and suddenly a few days later Sam’s got a “magic phone app” that finds cases for him? Yeah, Dean wasn’t about to let Sam keep lying to him, and yet Sam was STILL lying to him even after two weeks of hunting, so he kept upping the Disgusting Quota trying to get Sam to break and confess. Because if he just comes out and asks Sam directly, he continues to lie and give him weak excuses. There’s more to it than that, but that’s the basics right there…

The one characterization thing that actually bugs me was the scene in 9.04 where Sam and Dean are watching Game of Thrones with Charlie, and Jensen and Jared DECIDED TO SWAP LINES because they felt that Sam was the one who would read the books, and not Dean… (Robbie Thompson, who wrote the scene, is still grumpy about it, too). Because DEAN DOES READ. And in this scene HE was the one who was supposed to be mirrored to Charlie through their mutual love of this particular brand of nerdery. It sort of wrecks the entire characterization of the episode, in which Dean’s usual “performing Dean” persona was SUPPOSED to fall down in Charlie’s company, and he would casually and comfortably admit he enjoyed reading the epic fantasy series (which, really, we know Dean reads fantasy novels… he’s a huge effing nerd).

Why do you think in 11.04 (also by Robbie Thompson) he wrote the line about Dean knowing that the phrase “god helps those who helps themselves” was from Aesop and not the bible? Because Jensen COULDN’T JUST HAND THAT LINE TO JARED. He HAD to admit he read. Because Performing Dean is one thing, but when he’s not trying to project that facade, he’s brilliant.

So yeah, 99% of it is 100% intentional. It’s our job as viewers to think about why. You can absolutely watch the show as a passive casual viewer (and the most casual viewer wouldn’t even NOTICE the things that get called plot holes or characterization mistakes), or you can see those things that seem not to make sense on the surface and look for the reason they struck you as being slightly wrong. Because if you dig just a little bit deeper, it opens up an entire new level of understanding about the show.

The writing is NEVER going to hand you all of that deeper characterization on a plate. That would make for TERRIBLE writing. All they want is for the characters and the plots to stick with us, so that we DO turn these issues over in our heads, so we DO think critically about them, and hopefully come to some compelling and fascinating conclusions. Or at the very least we’re eager to tune in again the following week to see if our suspicions are confirmed.

This is a hook that writers have been using since writing was a thing. This is how stories are told. Not just in the words, but in the negative spaces. We’re not just supposed to consume stories, but in the very best way, the best stories also consume US. They make us into an active participant in the narrative, and force us to consider the world and characters on our screens as real people.

That’s how all of this works.

Just... Ianto

So I was rewatching To the Last Man (as one does), and it came to The Kiss, and I just…..

I’m really sad we didn’t get more scenes like this because: 

It’s so sweet??? Because Jack’s kinda mopey, but he’s also flirting, and Ianto’s not having any of that, so he just goes straight in for the kiss, and that’s arguably my favorite scene in the entire show.

Ianto’s so assertive here, which is great because I feel like fandom sometimes makes him really passive in the relationship, but he’s also trying to help Jack, because Jack’s obviously struggling with something. And it’s also one of the best Janto moments there is — other than Jack asking him out or the pterodactyl scene (and a few others) — and Ianto’s the one initiating it!

Just… Ianto. 

Gon x Killua: Friendship Beyond Friendship (Appreciation Post)

So, I just finished rewatching Hunter x Hunter (for the third time) and the feels have come back! Why do I do this to myself  So, because I have a lot of bottled up feels, I just wanted to write a post of appreciation for my two favorite characters and the friendship that they have built, which I can’t believe I have not written about earlier. (This is mostly going to be centered on Killua though) but it really does take the two of them for this friendship to be as beautiful as it is.


Keep reading


Ok so I was rewatching Dia no Ace because I have no life, and I just had to share. Now do you see the way his hat is twisted? Does it remind you of someone? Anyone? Cause I just had the headcannon that Eijun and Kazuya were messing around on the bus when Sawamura did something embarrassing so Miyuki just twisted his cap to cover his exasperation. Or Kazuya praised Eijun or something and in his embarrassment he twisted his own cap like Kazuya’s because he knows Miyuki really means it and he just sorta unconsciously mimics the older boy. I just….the feels are unbearable.

I am in miyusawa hell and I love it. That says something about me and I’m not sure it’s favorable, but who cares.

anonymous asked:

We don't know each other, but I feel you'd understand. I'm a queer p.o.c. in the U.S., and I've been afraid with anxiety since Trump took office. People are openly xenophobic, sexist, and homophobic since inauguration day and it's scary. Rewatching Sailor Moon has eased my burden by giving me an escape, a sense of hope and confidence to continue to push on. Also, I come to your site sometimes to just be a part of a community that you helped make. I just wanted to say thanks.

Sis don’t feel anxious.

People like that have always existed unfortunately, it’s just with Trump’s win that they’re voices are getting louder.

Fortunately, people in America (and all over the world) are marching and protesting because we won’t allow hate to win over love.

Don’t let negative (and temporary) things in life get to you and just focus on the good things:

  • Family
  • Friends
  • Music that you love
  • Shows that you love
  • Books that you love
  • Basically anything that you love that makes you happy

There will always be bad not as good times in our lives so we have to focus on the best aspects of our lives, learn from the bad times, grow up and get back on our feet again.

Life’s a bittersweet symphony so we have to live the happiest times to the fullest and endure and pull through during the bad times, that’s what life is all about: growing up, getting stronger, getting to know/loving yourself and appreciating life.

I hope my good sis Amuro-chan can explain this better than I have.

This song is for you my beautiful moon rabbit 💖.

Lyrics here (the song is in English but still…).

Just drop me a line if you ever need anything sis, we’re a family here.

Rebecca’s line “it’s just self preservation for you” shows she understands exactly nothing about Robert 🤷🏼‍♀️

Robert didn’t want Aaron to find out, not because he’s being selfish and keeping his ‘options open’, but because he’s finally happy, he’s finally able to be himself with the person that loves him for being exactly that.. himself, and the thought of losing that now he’s finally happy is terrifying. On top of that, he doesn’t want to hurt Aaron because he’s being working so hard on being better and protecting Aaron from anymore hurt and he can’t bare the thought of himself being the one who will have hurt him so badly.

Rebecca will never, ever understand the level of emotional intimacy Robert and Aaron share. Aaron is the only one who truly knows Robert and idk it just makes their relationship all the more special to me and I adore them and I’m having a lot of feelings.

okay now that i kinda calmed down a bit..a few things..

Actually theres a million thoughts running inside my head right now but ill try to narrow it down and be as coherent as possible..


2. WHY IN THE WORLD WAS THIS SHOW CANCELLED???? Is it because Hannibal is a man who is in love with Will who is a man????

3. I AM GOING TO REWATCH. I feel like there’s quite a bunch of things that went by me and i didnt really get the chance to absorb it well because i am so engaged with “what will happen next??”…in other words, i want to analyze it more. What a nerd huh

4. I cant believe this show is for real. “Frankenstein’s bride!” “We’ve both been his brides” “Bluebeard’s wife? I would have preferred to be the last” “Is Hannibal…in love with me?” “You see, this is all i ever wanted for you” “yeah its beautiful” AND this is just at the top of my head from the last episode ive watched, from the mouths of the characters. That ain’t everything from the very first episode. I CANT BELIEVE THIS SHOW IS FOR REAL.

5. MURDER HUSBANDS. Gosh. I know it felt like something from the fandom when i heard it from Will’s own mouth. But hearing it on the show? Yeah i am kinda still reeling. MURDER HUSBANDS. And Will’s face that time in front of Freddie Lounds compared to when Alana or Bedalia insinuated or said something to that effect. MURDER HUSBANDS. 


7. WHERE IS SEASON 4.?????

8. Why the hell was this show cancelled???? Whyyyyyy?????

9. Hannigram is canon and acknowledged. Daaaaaàmmmmmiiiiitttt