this scene was ridiculous to color

A tiny little baby ficlet.


Post 3x08

Summary: “So you and Daisy then, you’re gonna stay? Properly now? You don’t hate it that much?”

My thoughts on what Hardy was thinking during the final scene.


“So you and Daisy then, you’re gonna stay? Properly now? You don’t hate it that much?”

He can’t help but feel irritated. Looking down at her squinting up at him. Her happy little grin just as blinding as the setting sun casting this ridiculous orange glow over everything. Honestly, does it have to be this intense? It’s making everything the same color as Miller’s stupid jacket.

There’s just so much to hate and yet…

“I’ll see you tomorrow Miller.”

Her grin has the nerve to grow into a full smile now, her small laugh reaching her eyes. It only serves to irritate him more.

“Fine. I’ll see you tomorrow.”

He watches her walk away and he can’t help but to think of how important she’s become to him. He didn’t answer her question, because he knows she knows the answer. She’s become a great detective, and if he’s being honest, he’s proud of her. It’s irritating.

Simple Cosplay Challenge

So this is kind of a personal challenge.
I will be doing 10 simple cosplays before I start armors again.
This resolution might seem ridiculous (and it really is), but lately I’ve been trapped in this vicious cycle of “I’m not active enough in the cosplay scene, oh you know what I can do to be active again? An armor set that will take six months to complete”. So now I really want to push myself and get more costumes done.
So far, on my list are…

1. Black Widow
City setting

2. Dva Palanquin
Photo idea: gold/color confetti

3. Nurse Morrigan
Photo idea: pink/purple backdrop with cardboard purple bats

3. Psylocke
Industrial setting

4. Morrigan
Purple/pink lighting
Candles and a skull maybe?

5. Harley Quinn Club Version
Spray paint a gold chain and fix it to the floor, idk pose around it?
Place fairy lights in the background
Holding an arrested sign

6. Lucoa
IDK just a simple pink backdrop

I’ll be deciding on the rest of my future cosplays after summer.

tigreclaire  asked:

“No more killing. It has to stop!”

          ❝   eh   ?   what   was   that——   weretiger   ?   ❞

Crimson   drips   from   their   fingers ,   the   air   thick   with   the   smell   of   iron   &&   of   death.   Multiple   bodies   in   all   manner   of   disarray   lay   scattered   around   the   scene ,   Atsushi’s   white - && - silver   color   scheme   standing   out   amongst   the   dark   alley   &&   the   deep   burgundy   of   lifeblood   staining   both   the   corpses   &&   the   ground   upon   which   they   lay.

How   dare   Atsushi   command   them   ?   How   dare   he   even   presume   he   is   anything   more   than   scum   beneath   their   nails   ?   Not   even   their   nails ;   the   soles   of   their   feet ,   for   sure.   Nothing   but   a   ridiculous   optimistic   child   who   knows   nothing   of   this   world ,   nor   of   the   struggles   of   people   besides   himself.

It’s   people   like   him   that   Rashōmon   despises   the   most.   People   who   think   they   understand   everyone’s   struggles   just   because   they’ve   had   their   own.   People   who   force   their   own   morals   onto   others   &&   act   as   if   that   is   the   only   way   to   live.

So   why   did   Dazai - san   take   this   ridiculous   fool   under   their   wing   again   ?

          ❝   let’s   get   one   thing   STRAIGHT ,   you   stupid   bitch.   ❞   Their   heels   clicked   against   cement   as   they   made   their   way   to   the   creature   Dazai   prided   so   much   on   his   goodness ,   his   purity ,   his   kindness.   Was   that   the   only   kind   of   creature   prized   by   Dazai   ?   How   ugly ,   when   they   had   had   such   a   bloody   past.   How   dare   they   sit   upon   their   throne   with   their   tiger   at   their   heels ,   pretending   to   be   so   much   better   than   Akutagawa   &&   Rashōmon   ?   They   weren’t   convinced   of   Dazai’s   goodness   in   the   very   least.

They   slid   one   claw   up   along   the   other’s   jaw ,   their   ofuda   seeming   to   turn   black   &&   burnt   at   the   edges ,   as   if   they   were   considering   changing   form   right   then   &&   there   just   to   scare   him.

          ❝   you   do   not   command   me.   &&   for   that   matter ,   you   do   not   command   akutagawa - sama.   your   orders   are   for   yourself   &&   whatever   haphazard   self - righteous   misfits   you   take   in   at   that   orphanage   you   call   the   armed   detective   agency.   this   is   how   things   work   here   in   the   port   mafia ,   darling.   terribly   sorry   if   our   way   of   life   &&   what   we   do   to   survive   offends   you.   ❞

They   turned   away   then ,   shoulders   high ,   confidence   in   their   step ,   sparing   not   even   a   modicum   of   thought   to   Atsushi.   For   all   they   cared ,   he   could   be   set   upon   by   ravenous   wild   animals   &&   Rashōmon   wouldn’t   even   blink.

studio ghibli sentence meme.

Okay so I know there has been a lot of buzz around the internet about the subject of LaFou, sexuality, and queer representation lately and now that I’ve seen the movie, I want to put in my two cents. 

If you’ve been living under a rock for the last few weeks, many people have been talking about LeFou being gay and getting a “gay moment” at the end of the film. Vanity Fair put out an article calling the character “ a touching tribute” to Howard Ashman” Many of us LGBT+ folks are obviously not happy with this character, who is literally “the fool” being a bone that’s thrown to us. Many, including myself, where infuriated by the article because not only was Ashman the man who saved Disney from bankruptcy with hits like The Little Mermaid and Beauty and the beast and the formula he created is still successfully used by Disney today, he was a gay man who died of AIDS. So you can see why many of us think calling a villainous side character a “touching tribute” is a gross cop out on Disney’s part.  On the flip side, some christian parenting groups are made because our existence is acknowledged in anyway, even if the representation is bad. A theater in Alabama even refused to carry the film. Needless to say, many people had lots of opinions. 

All that being said, I’m not here to preach to the choir, nor am I here to argue with anyone about whether of not LGBT+ people are are “appropriate” for a disney movie( hint hint we are) I really want to talk straight people who don’t get why LGBT+ people are upset. I need to share my personal experience with the movie to maybe help some people understand. I know I can only speak for myself, but here it is.

I’ll start off by saying, overall, I enjoyed the shit out of this movie. Beauty and the Beast was one of my favorite films as a child. I knew all the songs, I was Belle for multiple halloweens. I loved the over the top, Rogers -and -Hammerstien esque feel of the remake, i liked the bright colors, the songs and grumpy clock Ian McKellan. I want to get lost in how much I loved it. But every time LaFou came on screen, he was like a fly in the ointment, the irritating itch that kept me from enjoying this ridiculous spectacle for exactly what it was, because every LaFou scene was a gay joke.His mannerisms were carefully an explicitly coded to be recognized as those of a gay man, which are not a bad thing on their own but they were played for laughs and combined with a comic, pining-induced subservience to Gaston. He’s hangs on Gaston’s every word, he tells the girls no to waste their breath, he soothes Gaston’s temper. He’s a joke, one we have seen many times before, a weasely ,queer-coded villain. It’s supposed to be funny to us because we know this silly gay man is NEVER going to have his affections returned and all his work if for not.( ie he’s making a fool of himself, so he’s aptly named)  It’s something you get used to when you’re queer and grow up watching Disney films though, so for the most part, I rolled my eyes and tried to enjoy the scenery. 

Until Gaston’s song started.

Now let me start by saying, that has ALWAYS been my favorite song in the film. I have a very naturally loud voice that carries and as a kid I loved to belt the shit out of it when it came on our Disney’s greatest hits CD. It drove my sister crazy on car trips. It’s so silly and it’s poking fun at this hyper masculine douche bag you’re not supposed to like. Luke Evans had been killing it up to that point and I was so jazzed about it. 

And then, we get LaFou, lounging on Gaston’s chair, gazing at him longingly. Gaston looks at him and asks why the girls to love him and LaFou sighs dramatically, like the comedic stereotype they have set him up to be, and says he hears he’s been clingy.

And everyone in the theater laughs. 

Everyone but me. 

Because in that moment, everything snaps into alarming clarity. I am no longer immersed in the nostalgic euphoria of an actor I love about to preform a cherished piece of my childhood. 

I am a joke and everyone it laughing at me. 

Because that’s what it feels like, when you see someone like you splashed on the screen and their feelings being the thing that makes them laughable. When there mannerism that are directly coded to read GAY PEOPLE are the joke. You see the thing about sterotypes is, some of use have those traits. I am clingy as hell, a joke often made about wlw, which I am. I know effeminate gay men. I know people who have fallen in love with straight people. None of those things are inherently bad or make you a bad or shallow person  but somewhere along the way, straight people decided they made us wrong and decided to use those things against us and turn it into a joke. People in the theater were laughing about LaFou’s pining for Gaston, while I had lost friends because I was queer and some women don’t want to be friends with you if they think you’re going to fall in love with them. The rub of knowing this was a conscious choice on the part of the filmmakers. Why not have Cogsworth rush into the arms of a long lost husband, instead of Mrs. Potts? You can’t tell me Sir Ian wouldn’t have been all for that. You had two promient gay actors in this film, which was scored by a gay man and the best you could come up with the villain’s side kick who’s name means fool? Really?

And adding insult to injury, it wasn’t LaFou as a person that was the fool, his gayness MADE him the fool in the context of the film. It was his pining for Gaston, to try and impress him, that was played to make him look foolish. Do you know what that says to people? That being gay makes you a fool, it makes you a joke. I’m 27, I’ve learned how to pack that shit up and process later, but what if I had been 16? 10? What does that say to gay parents, sitting in the audience watching their child laugh because social cues tell them this thing is funny and you should laugh? What LaFou really says to LGBT+ people, to gay men especially, is that you are good enough to put in the labor, to make this beautiful thing(Ian McKellan and Luke Evans did great work as Cogsworth and Gaston and without Howard Ashman, there would be no beauty and the Beast.), but you are not good enough to be well represented in it. 

So straight Disney fans, before you feel the need to tell us why we are “making something out of nothing” or that we should be “glad” for what we get, or that his half assed “redemption” arc or a single moment of him touching another man made it all better,  I need you to imagine sitting in a theater, and knowing everyone is laughing at you. Laughing at who you are, at the struggles you deal with. Imagine the things that have shaped you being watered down and played for comedy before you tell me what is or isn’t good queer representation. 

Post Iron Fist Thoughts

So I just finished Marvel’s Iron Fist and honestly I really enjoyed it?

Iron Fist and Power Man were my favorite superheroes when I was a little kiddo. I used to love to read Heroes for Hire, because Iron Fist and Luke Cage were unlike other heroes. They didn’t really age super well on account of Iron Fist being BRIGHT green and a little hokey, while Luke Cage was almost comically outlandish with his ‘Sweet Christmas!’ catchphrase and his billowy yellow shirt but I still really liked them.

Now I’ve done a lot of experiencing since then, and I know that the both of those characters didn’t age well not just because of their designs, but because they were relics of a bygone era in American media, where those types of characters were exploited by white writers, white actors and white content creators. Knowing that, it was really difficult for me going into Iron Fist because I often struggle with the concept of the Problematic Fave.

Now, I do want to preface with the fact that I disagree with a number of reviews that I’ve seen saying that the Iron Fist cast is white washed, because I think there is a very strict difference between casting a white actor in a role that should go to an actor of color, and what Iron Fist’s actual general issue is - which is the series’ problematic origins as an exploitation of America’s kung fu craze.

The writers handling the show are very, very aware of the issues the source material has, and it shows. Very rarely does Danny actually do anything alone. Claire Temple, Colleen Wing, Jeri Hogarth, and Davos (the soon-to-be Steel Serpent) are all prominent characters in the first season and I remember thinking how notable it was in one particular scene to see four of those characters having a discussion about how to move forward, and realizing that three of them were women, two of them were people of color, and one of them was a lesbian.

Like I said. It’s hokey as fuck but it’s that way as a concept, and unfortunately that weird, campy, wholly ridiculous bullshit is nearly impossible to separate from Iron Fist while still maintaining the integrity of the characters and situations. That said, I thought they made the best of what could have been a very tone deaf, and problematic situation.

I know that on this blog, I often encourage readers to eschew media like this, and instead pursue media by East Asian artists, writers, and directors, but I really feel pretty strongly about recommending that you give Iron Fist a solid shot.

Soufli spirits

❥ “The tree which moves some to tears of joy is in the eyes of others only a green thing that stands in the way. Some see nature all ridicule and deformity… and some scarce see nature at all. But to the eyes of the man of imagination, nature is imagination itself.”
William Blake, 1799, The Letters 

“I brushed it away and leaned back on one elbow, watching him. His lashes were long, seen thus with his eyes closed, and thick. Oddly colored, though; dark auburn at the tips, they were very light, almost blond at the roots.
The firm line of his mouth had relaxed in sleep. While it kept a faintly humorous curl at the corner, his lower lip now eased into a fuller curve that seemed both sensual and innocent.
“Damn,” I said softly to myself.
I had been fighting it for some time. Even before this ridiculous marriage, I had been more than conscious of his attraction. ”

- Outlander

(Who wouldn’t)

anonymous asked:

this is sort of hard to explain but i noticed that it's hard for me to come up with interesting descriptions around dialogue? if that makes sense? like i can write descriptions when they're in their own chunks but I have trouble interweaving it with dialogue. such as coming up with what the characters are thinking/doing while they talk or just throwing in descriptions in the middle. my mind goes blank and it ends up just being dialogue and dialogue tags.

Thanks for your question, anon!  This is an important skill to hone, so I’ll try to help you to the best of my abilities.  I’m actually pretty excited to talk about this… :)

Originally posted by allreactions

Action Accompanying Dialogue

The subject of describing action around dialogue is one I find interesting, because there are multiple schools of thought – one going so far to say that dialogue is best left alone, with no descriptors beyond dialogue tags and name drops.  This is something I’ve seen in a lot of classic American literature, and I don’t favor it, personally.  Description is a valuable part of dialogue-heavy scenes, as long as it’s used intelligently.  How do we do that?

1. Use common actions sparingly.

Common actions – such as biting of the lip, shifting weight, narrowing eyes, furrowing brow, etc. – are the basest physical “tells” that are used in prose by default.  They’re likely the descriptors you’ve read most in fiction, which is why you need to avoid them.  Only if it’s a particularly telling action (e.g. if your character is talking about how happy they are, while they bite on the inside of their cheek) should you use common visuals like these.

2. Do not verbally express what can be physically expressed.

If Hannah is made uncomfortable by Kirk’s sexual advances, don’t have her think to herself, “Why is he so close to me?  Can he just back off?  I’m obviously not interested in him!”  Instead, use your show powers by having her neck muscles twinge from how far back she’s leaning.  Have her subtly tug the edge of her shirt down.  Observe the way his shoes inch slowly towards hers.  Make Hannah (and the reader) over-conscious of every visible freckle on his nose, and the jolting sensation of his jacket brushing against her arm.  Sprinkle these details between pieces of dialogue, slowly, one at a time as Hannah is noticing them.  Don’t give it all away too quickly, but keep a steady stream of increasing discomfort throughout the scene.  Which leads me to my next point…

3. Describe only the actions that the POV character notices.

Forget everything that happens in the room, and focus on how the situation looks from your character’s perspective.  So if Lauren is focused on her needlework as she’s speaking, interweave brief, distracted dialogue with long, winding descriptions of her work.  If James is watching the news while Ethan talks about his day, James will not notice the frustrated way Ethan pulls a chair out – he’ll be thinking about the news story he’s witnessing.  So James’s thoughts and body language will be in reaction to the news, not to Ethan’s angry spiel.

4. Describe thoughts and actions as close as possible to real time.

If Robin and Howard are carrying a couch up the stairs of their apartment complex, this will go on for a while – but when Howard kicks their door open, it should be described quickly: “Howard kicked the door open.”  If you go too long on the details (e.g. “Howard kicked the door open, revealing their living room in all its glory, dim from the sunset glowing through the glass door and warm in contrast to the winter air against their backs.”) then you take the reader out of the current action, making the rest of the scene, essentially, buffer.

5. Place description strategically around dialogue.

The best place for description is at natural breaks in dialogue, else you break up the continuity of your scene.  If there is a long pause between two topics, use this time to describe body language and possible thoughts.  If a conversation is fast-paced, be very brief and sparse with any description so as not to interrupt the action.  If a character says one sentence, then pauses for a moment to think before speaking again, use description to fill the silence.  Be thoughtful of your timing as well as your content.

6. Sometimes, description is better than dialogue.

Now this one’s a bit controversial, but I stand firm in my opinion of it.  Some writers will tell you that if a thought can be communicated in dialogue rather than description, that’s what you should do – but I disagree.  Many thoughts and actions occur in real life that aren’t explicitly spoken.  Sometimes it is better to have Sarah hold her breath and roll her eyes, rather than say, “Oh, would you get a load of this bullsh*t.  No one’s buying this, Barbara!  And that hair color is ridiculous!”  Not all characters are brazen and outspoken.  People do a lot of just thinking, and their bodies do more subconscious thinking than that!  Gauge your POV’s personality and follow their lead.  Use external dialogue, internal dialogue, and description as three equally powerful but unique tools.

Remember these six points as you’re roughing your way through dialogue-heavy scenes, and remember that if it feels unnatural at first, practice makes perfect.  Just think about all the senses, and how to describe them in the quickest, most immersive way possible.  Visualize the scene in your head as you’re writing it, and others will see it, too.

If you need advice on general writing or fanfiction, you should maybe ask me!

The Reversal of Blue -TST meta

Blue is seen as a color of knowledge, wisdom, intelligence, trust, truth, loyalty, and intuition among its many other meanings, but for the purpose of this meta, I’m going to stick with these.

Throughout the episode, the frequency at which the characters wear the color blue is actually quite ridiculous. Within the first 21:38 of the episode, I counted 29 times that a character is wearing blue––for God’s sake, even Margaret Thatcher, in the photo on the Wellsbury’s shrine to her, was wearing blue!

Then, you look at how many times the scene is colored blue. How many times the lighting on Sherlock’s face turns blue and shimmery, as if underwater. His head is underwater, yet blue is meant to be the color of, well, being in the know. Each time he’s “underwater,” however, he’s missing something, he’s missing a key element, or there’s something missing, and he cannot figure it out, thus contradicting the traditional meaning of blue.

Blue is, as aforementioned, the color of loyalty. Yet, John, wearing a blue-grey shirt beneath his black jacket in the bus scene with the lady (sorry I couldn’t phrase this more eloquently), is acting disloyal to Mary with her, by taking her number, not refusing it.

And why is Mary wearing blue in a number of the scenes, namely the ones where they are following Toby? Mary isn’t a loyal character, she’s a psychopath who is self-centered with only her best interests in mind.

Her wearing blue deeply contrasts the black-clad John and Sherlock.

Now, going back earlier in the episode, we see that the baby’s nursery is painted an aquamarine, with coral motif in the background, symbolizing “underwaterness.”

This then, lends the question: is the baby even real?

Now, in the scene where Mary is shot, unrealistically and most likely a result of an unreliable narrator/ties into alibi theory (for more reading on the scene, here’s my meta on gun recoil, and the Surprise! meta), it takes place in an aquarium, thus all the lighting is blue. But why did the writers have to make it so that Vivian Norbury had all of her meetings in the London Aquarium? They could’ve easily just chosen a different location and tied different meanings to it. But with this choice, they have discarded the traditional meanings of blue. No more loyalty. No more knowledge. Sherlock is going in partially blind.

Then, Mary gets shot. I’m reiterating what is said in the aforementioned Surprise! meta, but Vivian is not the one who shoots Mary. The blood splatter comes outwards from her abdomen, seeming like an exit wound rather than an entrance wound. The show has put so much emphasis on realistic shooting that the audience now knows that how Mary is shot is unrealistic. 

Throughout this analysis of the color blue in the episode, and in comparing it to the traditional meanings of blue, I’ve come to realize this:

Blue is the color of deceit. Thus, the events of this episode are most likely unreal, tying into alibi theory.

Big thank you to @shrlk, @proton-packs, @emilociraptor, and @trmojas for letting flail about this to you.


What I love about this scene is that it means Natsume is, like, ridiculously OP. Because Matoba’s eyes are really, really good. In special chapter 15,* Matoba tests Natori’s vision by asking him about the color of a kimono that acts as a sort of litmus test for spiritual sensitivity. Natori sees it as red, which is “very powerful.” But it’s still less than what Matoba can see:

Part of me wants to laugh at the fact that this makes Natsume more or less a ludicrously overpowered shonen protagonist with the wrong temperament and stuck in the wrong genre, and part of me wants to wax philosophical about how much this says about his character and the series in general — he has no interest in joining a world where the amount of power he has is worthwhile, only in using that power to help others. 

*and I flip the sign back to “0 days since akitania last ranted about special chapter 15″

@blade-rootes I am so sorry I still haven’t finished that one shot for you, I’ve literally rewritten it like 3 times and I still don’t like it but I’m slowly but surely making progress. As a bit of compensation for this ridiculous wait here’s a quick drawing of a scene from it that I’ve actually been wanting to draw for a while. Again I’m soooooo so sorry this is taking so long\(_ _ ;)

modern monster crew au. tiny swole werewolf jeremy whose wolf form has a fluff of colorful fur. vampire geoff who mixes blood and booze in ridiculous cocktails. faerie gavin who is more in the crime scene for the lulz and the shiny things he can collect than any other reason and loves leaving weird faerie circles all over the city for random people to stumble into. shapeshifting dragon ryan who hoards weapons and books, breathes smoke when he’s flustered, likes it when he gets scratches between his wings because he can’t reach very well himself. forest nymph jack who wears floral patterns as a silly reference and has a tiny houseplant version of their huge old tree hidden somewhere. witch michael who harnesses fire in his very soul and can manipulate the minds of mortal men to his will. phoenix lindsay who keeps a humanoid form through a magic charm but burns forever, a dangerous duo with michael. 

The jelly bean scene was pure gold

Here’s why. First off, jelly beans. They are using jelly beans to determine who Lucas likes more. Ridiculous right? Not so much. If you pay attention, you’ll notice the color scheme, which boy has each jelly bean and the way Lucas answers every question.
So, blue beans represent Riley, and yellow for Maya. If you remember, in the pilot Farkle said Riley was the sun, and Maya was the night. These colors have switched. Now Maya has become the sun, and Riley the night. (Remember what Farkle said about Jexica? She was mysterious- like what he said about Maya in the pilot.)
Maya and Riley have switched roles here.
Now, each boy is wearing the colors that represent Riley and Maya.
Lucas is all blue. Zay is both blue and yellow. Farkle is wearing a blue and yellow swirled pattern on a purple shirt.
If we go by the jelly beans, Lucas is blue for Riley. Zay is blue and yellow for both, and Farkle is wearing purple, blue and yellow.
If we go for the pilot, Lucas is blue for Maya. Zay is blue and yellow for both and Farkle is wearing both, but his color is also purple.
Just colors of a shirt for each guy right? This is far too detailed and overboard for an analysis right? Wrong.
It’s all on purpose, symbolic.
Before I explain why, let’s go over the dialogue.
The boys each ask Lucas a question. He starts with Riley, then mentions Maya. Why is this important? Farkle.
Watch his reactions. Not to mention who Farkle represents on the jelly bean scale- Maya. He reacts to Lucas’s mentions of Riley with a bit of a sharper tone, but when Lucas mentions Maya, he’s a lot happier. Why? Look at the color he’s wearing. Purple. Who does purple represent? Riley.
Remember the Pilot. It was Farkle who couldn’t decide between them, but now it’s pretty obvious who he chose, even if he’s not aware of it, or in denial about it.
Whenever Farkle mentions the girls, he uses Riley’s name first. We also know he pays more attention to Riley because of episodes like yearbook, rileytown and Texas.
What about Lucas? Listen to the way he ends each of his answers with Maya. Not to mention he actually acknowledged the fact that Maya pushed Riley toward him. He’s basically chosen Maya - here’s why. He says that is who she is.
He never says this about Riley, but who has? Farkle.
Now, what about Zay? He represents Riley, wearing both colors, and he has flirted with both girls. Lately we’ve seen him flirt a little more with Maya. It’s possible that he likes Maya more than he lets on, but for the sake of the mise en scene, he appears neutral.
Why is this scene so important? Because it represents the way each one of them interprets the girls’ identities.
For Zay, he sees qualities of the dark and the light in both girls. Lucas likes the darker side. But Farkle? Well he was the original guy in the triangle. He has seen both qualities in the girls, and according to the color scheme, he sees qualities of both dark and light in them, but it is obvious that Riley is more important to him.
So why can’t Lucas choose? Why is he so indecisive? He doesn’t see both light and dark in either Riley or Maya. The same dilemma Farkle had in the pilot episode.
Lucas likes the dark side of Maya. We’ve seen this in episodes like squirrels, 1961, creativity, and of course, Texas.
The point?
Remember Farkle’s choice? Remember he promised to love both of them the same? He couldn’t, just as Lucas can’t. While Farkle pays more attention to Riley, Lucas pays more attention to Maya.
But why show this with blue and yellow? Why the purple?
The color scheme matters, because it reveals who the other character is thinking about.
Real quick, what color represents Farkle? Orange. Who’s been wearing orange lately? Riley.
Don’t forget that amazing bay window scene.
The writers have told you never assume. They mean it. If you look deeper, you can see the game they’ve set up for these characters. It’s quite brilliant.
Just like Riley, we have to pay attention. The answer to the triangle has been there all along, just in disguise.
Bonus: I love this show!