Gotta love how everyone begs for "diversity" and representation but once we get it,, you turn the other cheek and start talking about the white guy. . .

thinking about the fact that compared to literally any other single iteration of tmnt, the 2012 boys seems to be the ones who truly never left the sewers not even once ever since they got mutated

meaning that they truly spent the first 15 years of their life underground

When they first get out of the manhole in the first episode None of the brothers show any sign of recognition of their surroundings meaning that none of them, not even once, actually got to go that far

this is cemented by the way they all are actually very excited of what they are seeing for the first time ever at every single step they make (except for raph maybe lmao but i think thats because he didn't want to look silly like his bros)

AND ALSO HOW THEY DON'T RECOGNIZE OTHER FOOD THAT ISNT ALGAE AND WORMS 😭(because of what raph said of not knowing anything better than that) THEY FR SURVIVED WITH WHAT LITTLE SCRAPS SPLINTER COULD FIND AND LITERAL ALGAE AND WORMS. LEO IS SO WORRIED ABOUT MIKEY EATING THE PIZZA

they were so excited about being topside....it was a whole new world for them......

going off topic a bit but this all is definitely another reason on why mikey's relationship with food is the way it is

He literally has so many new possibilities to cook with other ingredients that aren't algae and worms and in this process he ends up making combinations that would make rise mikey cry blood

*Kris, er, does this sometimes.

being an adult means we can buy or make as much self-indulgent shit (as we can afford) and unironically have trinkets of our fave things cause our teen years was bullied for liking things and hiding/denying we were ever neurodivergent to the point of suicide. sucks for anyone that thinks its weird cringe but I'm going to try and allow myself to love myself in little ways now

injury recovery…

*break an arm or two out there kids!*

I imagine barnaby trying to be all cool and flirting with howyd subtly but his smoke gives him away fjsns

he thinks he's smooth smh...

fionna's world being represented by a dandelion makes so much sense ... they're weeds. yet people make wishes through them, changing their whole meaning from something meant to be destroyed to something hopeful.

dandelions are also resilient and it makes sense that something associated with them would. you know. perservere despite the destruction caused by the scarab.

but ultimately i think what REALLY made me tear up over this is that dandelions are really boring plants. when you're a kid you blow on them and make your wish but they're not eyecatching or anything but still, fionna's final wish was for her old world to still exist as it was when she left it (> plain and simple. boring even).

like the moment she realized she would lose her friends, and that her friends might forget each other if the world got its magic back, she immediately decided she didn't want it and I think that ties back to the dandelion metaphor so well... like, do you really need magic to be real to find it everywhere? or can you turn something boring into something magical?

it's weird that you don't call out to jun when he comes into your apartment. jun knows that you know he was coming over at some point to spend time with you, and usually you greet him in some way when you hear the apartment door unlock. he's a little earlier than he planned, but you told him to 'come over whenever' and now he's a little worried that you didn't mean it. he quietly slips into the pair of slippers that stays here at your place, and makes his way further into your apartment to set down the bag of groceries he brought on your kitchen counter. your bedroom door is open, but the tiny room you use as a home office is open just a sliver.

he makes his way over, leaning in to listen for a moment... only to hear your voice. there's a little strain to it as you struggle through a sentence, and it clicks all at once: you're speaking chinese. albeit not very well (it's clear to jun that this is one-hundred percent new to you), but you're still trying. your pronunciation is a bit clumsy, but he can hear the way you try to use the right tone with what you're saying...

when did you start learning this much? jun had taught you little things in the past--the absolute basics, really, plus a few other little phrases that veer into his own cheesy need to hear you say sweet things--but this...? he steps back from the door. why hadn't you told him? you could have told him and he'd happily help you learn. but he trusts you: you must have your reasons to keep this a secret, so he won't push. he steps away, deciding to busy himself with getting ingredients put away--or set up for the two of you to cook together, in case you're hungry now.

then he knocks a cup into the sink, and immediately he hears you coming out of your office. relief crosses your face when you see it's just jun, and you lean against the open doorway.

"i didn't know you were here." you pause, and then he sees you get hit with realization. "... how long were you here?"

"i just got here," he says. it's technically the truth, isn't it? he's only been here for a few minutes. "were you working?"

you nod. "yeah. just had to answer a phone call," you lie to him, but he just nods and acts like he doesn't know that. you come up to his side, wrapping an arm around him. "is this for lunch?"

he leans over to you and presses a kiss against your cheek. "are you hungry?"

"mhm," you just snuggle in for a moment, enjoying his presence. "you should teach me more recipes you learned from your mom sometime."

jun finds himself smiling already. was that what this all was...? an attempt for you to understand him better? to show that you care for him so much that you want to know his culture, too? "i'd love to," he says softly, and wraps an arm around you to tug you closer to his side. "only if you teach me things you learned from your family, too."

then he'll make more efforts to understand you and your background, too. just to show you that he loves you as much as you love him.

OK so heres some of my favorite things that were talked about during the enter the florpus commentary thing yesterday:

one of jhonen's favorite things in the whole movie is the writing in zim's kitchen that says "do anything is real?"

they clarified specifically that gir was not lying and he did in fact eat a baby at the crazy taco

gir smells REALLY bad. theres like rotting organic matter in his body at all times. he stinks

zim's human suit is made out of actual human skin

zim is acting drunk on nacho cheese during that scene in his house because richard horvitz recorded it while drunk

they planned to have this whole thing with tak's ship only agreeing to go to moo-ping 10 because it knows tak is there. they wouldve shown her in silhouette during that brief explosion and she wouldve stowed away on the ship without anyone knowing and then wouldve shown up towards the end of the movie, but they decided to cut it out

zim did not need to frame membrane for a crime in order to get him into space prison and likely just tossed the guards like 5 bucks for it. its a shady place. they did specify though that if he did frame him for something, it would have been jaywalking

they pointed out during that scene where zim is celebrating peace day on dib's lawn that zim's reaction to seeing dib was very much genuine and that's just how his brain works. he is genuinely surprised to see him pop out of his own house. (they also described his reaction as like "being surprised to see your best friend")

the ham joke was ABSOLUTELY CRITICAL to the film and at some point jhonen remembered it and was like GUYS. WE ALMOST FORGOT THE HAM

there was supposed to be this joke where it cuts to and from gaz and dib in tak's ship and they would've had to stop at like a warp station or something and theyd be waiting in a long queue of spaceships and the radio is broken in the ship so theyre stuck listening to that one song. then itd cut to them like totally braindead drooling from listening to it for so long. and then a little later itd cut back a FINAL time and theyd know all of the words and both be singing along to it. but this was also cut out so only the last bit remained

when asked "who would win: minimoose or mrs. bitters?" the answer was along the lines of "neither, i think all of us lose in that scenario"

the tallest are just two dudes who happen to be the same height and therefore have to share the same job. they are not brothers and they are also not gay lovers ("as much as you want them to be, they are not. there is no love in this universe")

skooge is in fact alive and lives in zim's basement. they wanted to keep the number of "hey remember this thing from the tv show!" moments to a minimum so he was not mentioned in the movie. but he is there

in the club crying sobbing wailing screaming

I fully believe we haven't seen mk truly lose it on anyone yet--no not even when he fought azure or the curse--mk has always had control over what he's doing outside of accidental fumbles when hes first learning how to use his powers and I'd say he's almost more deadly when he's angry because so far being mad hasn't made him crazy or wild or out of control so far as I've observed being mad has only made him more focused

seeing kenji muto, the director of trigun stampede, reading an article about the portrayal of women in media made me want to take a little bit of a closer look at the women in trigun and as i was rambling about this earlier to my partner, they told me to write it down LMAO

as most of us know, in a lot of fiction, women are mostly characterised through common tropes, leading to a lack of complexity and a one-dimensional portrayal: as the doting wife, the femme fatale, the mistress, or the virgin. Their role only amounts to an Other, an extension of the male hero. they’re either the whore or the madonna.

for female characters in anime that usually means they’re either the sexy femme fatale, big badonkers and all to be gazed at, the mother, the helpless damsel in distress, or the child (yet, still sexualised despite the fact that it is a literal child); they’re portrayed through the way they are being perceived by men and mostly sexualised beyond belief. 

tristamp doesn’t do any of that.

in fact, the female characters in stampede achieve something that you don’t often see in anime: they are people. and stampede makes that clear in its very first episode by decidedly not going the route that you would usually take with the female characters they introduce:

of course, the biggest example here would be meryl, who i’d argue is the biggest driver of the plot, despite the fact that the plot of stampede is technically determined by vash - vash is an entirely passive character, he doesn’t make things happen, things happen to him and they mostly happen to him because of meryl. she’s the one who unties him, she drags them to the city, she makes them stay with him after ep3, she drives over wolfwood (rip my man), she stops for them to find rollo, she makes them follow the steamer.. you get it. she does all of this, despite being introduced as the newbie, the innocent person who would usually be the damsel in distress, who is helpless and shy and easily manipulated and who will probs be sexualised in her role as the “virgin” (sexually naive young girl who just doesn’t get all this adult sexuality yet hehe) 

but she’s not – she wears a non-sexualised outfit, she only gets called out for being a newbie, or for being small height-wise by wolfwood, but not for being a “girl”, she determines the action despite the fact that she does have a mentor figure and is therefore still in a position of a student – she still isnt an extension of roberto, vash, or anyone

in fact, the other characters – Rosa, Elendira, Luida, Rem – all take up roles that would in other media be portrayed in very specific ways: Rosa could just be a pregnant mother, who is also a divorcee, Elendira could be an innocent child beholden to her caretaker, Luida could be the loving motherlike figure and rem the Madonna figure, symbolising all the virtues a woman should aspire to have. – Rosa is a leader, her pregnancy is mentioned one single time and never made a bigger part of her character, Elendira is young but powerful, making choices by herself that are not inherently based on any kind of innocence, Luida doesn’t coddle Vash or prioritise him over her own work and mission (which also serves to inspire another woman, meryl!!), and rem is also just a non-perfect person, with secrets and questionable morality

none of these women are judged on the basis of their gender, none of them experience gender-based violence, none of them are made into a joke, none of them are sexualised (or desexualised – if you compare them to the male characters, who also do not ever make jokes about sexual promiscuity or similar stuff), they have different body types (rem has a very pronounced chest, and yet stampede doesn’t ever focus on it or give her cleavage) – note also that when presented with the perfect opportunity to call a female character a “bitch”, they chose to go with a “witch” instead, in both original japanese and english dub

their femininity is not used as a weapon against them, nor are stereotypical hypermasculine elements used to define characters’ positive traits (vash not being our traditionally hypermasculine hero for example) - the only time we see a semblance of gender-based violence is, you guessed it, at the very end, when knives forcefully takes control and bodily autonomy away from vash and inseminates the plants against their will (also interesting to note that knives, as the character that does exhibit that kind of violence, is the only character to be shown incredibly buff and all muscle) 

the women in tristamp are written for women, with the goal to be women that we can recognise, that represent the women that we are and know

anyways, i love all women in tristamp and have not once felt uncomfortable or said “oh look, a panty shot” and honestly i just find that pretty neat

Just thought about sharing this frame right here

Do with it what you will

had a dream and drew it :o)

really love characters who have varied panic responses. kirk stating himself that he does not panic outright, externally, not in high-stress dangerous situations, but instead becomes tense and level like a wound string, on-guard: mostly because his role as captain necessitates that he maintain level rationality even when facing potential death as his training as 'the guy who tells you what to do when shit hits the fan' requires, but also because his childhood experiences taught him early that drowning in the desperate haziness of panic won't help you survive. especially as kirk already follows his intuition so deeply. he learned to grasp and contort the feeling. spock is the main person who represses his emotions, of course, but kirk does it to those deep-set, personal ones (this includes how he doesn't reveal anything truly personal about himself willingly 90% of the time, only what others already know/shallow anecdotes) in a much more subtle way that's really interesting to me. certified expert at avoiding the subject as long as he isnt caught out on the lie. professional bluffer.

in terms of past or parents we dont know much!!! hes known as the heart-on-his-sleeve guy!!! like yes he yells, he gets irritated, excited, hes a whirlwind of quick-thinking and plans and intuition, he goes out of his way to connect with his crew and shows it, when he puts on a little act or bluff he puts his heart into it and clearly enjoys the dramatics so much, at times he wears his heart on his sleeve, he laughs openly and is honest to spock about what he means to him, he's very sun-coded to me in a burning, passionate way, always intertwined with the stars and seeking them out, but when it comes to genuine deep-set turmoil? we dont actually know all that much about him??? hes so full of emotion and character (i love fics where spock characterises jim's mind/bond as a whirl of colour and sensations, hes a quick thinker!!! intuitive!! lively!!!) and yet its still so outwardly surface level. tarsus iv gets mentioned like twice? so especially here where kirk gets briefly jumpscared by the creature, because like:

its subtle but his eyes. his eyesss!!!!! kirk commands with his emotions but there's always some sort of level of control to it, or he transforms them into something that spurs on others or uses them to ascertain a goal: seeing unguarded fear/distress in his eyes even if its faint and brief (in this instance) makes me go insane every single time. like!!! its such a small moment!!! he isnt even panicking!!! really, he just got jumpscared!!! its insignificant!!!!!!! but seeing a two-second flash of actual, naked apprehension is just...oughhh,,,,,,,,,

oh god, and dont even get me started on the galileo seven episode where he assumes a tense level-headedness throughout the whole thing, irritated and apprehensive but not panicking, making sure he maintains intelligent rationality, even when he has to leave them behind, but when spock and the crew are confirmed safe and the bridge is occupied the camera pans to him and his eyes look like they're fucking watering and he's so achingly relieved. don't even talk to me. im. fuck.

he shows so so much but at the same time reveals so little.

@raggedytiger so I had a uhm. An idea. And originally it was meant to be sweet and all but I don't control the definitions of names so-