i love the idea of cody and obi-wan needing to go undercover for some mission that they do not trust anakin, rex, and ahsoka for. they somehow end up with a ridiculous backstory of being a married couple from a farming planet who'll spy on a separatist command base and rex—rex just can't fully wrap his head around it.
"so you and general kenobi are meant to be a lovers?"
"yes."
"and you're supposed to," rex waves his hand in a flimsy, confused motion, "play the part?"
"yes, vod. we've already done the debriefing. weren't you paying attention?"
"not in the slightest. what if the general wants to hold hands?"
"i'm prepared to make that sacrifice."
"what if he wants to kiss?"
"i'm prepared to make that sacrifice."
"what if he—"
"brother, you don't want to know how far i'll go for this mission. it's for the greater good. everyone is counting on obi-wan and i."
rex is quiet for a moment longer than necessary and it all clicks in that split second and a half it takes him to realize—because this is cody and rex knows him better than he knows the back of his own hand—that maybe cody won't be 'playing the part' of being in love with the general.
because cody has been in love with him since he stopped being "general kenobi" and became just "obi-wan".
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Zuko is a mostly realistic yet... strange depiction of the angry teenage boy character because like he's 90% punching holes in the drywall and making himself as big and loud as possible and being violent and hateful and everything you'd be right to be scared of but then the other 10% he is throwing himself to his knees and making himself as penitent as possible and begging for absolution and putting his forehead to the ground and its to the point that its absoLUTELY weird, and there's really hardly any times he settles between these two extremes. or if he does its always relatively short lived, and he rockets back to either or both of these antipodes.
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your posts about English folk culture being treated as esoteric within England reminded me of a conversation I had with my dad relatively recently. I was complaining about how much I hated doing scottish country dancing in P.E every year in school and he, having grown up in London, mentioned that he never did any kind of folk dancing in school and it really surprised me.
Having an Irish family and growing up in Scotland I just assumed that folk culture would be a big part of national identity in England because it def is in Ireland and scotland. I mean I grew up in the city and I went to a Catholic school where a lot of pupils didn't come from Scottish backgrounds so I'm sure my experience would be different from somebody who grew up in a smaller town or a rural area, but my school still dragged out the girls who could sword dance every year on burns day y'know
Also now I'm wracking my brain trying to remember all the English folk songs I know and realising that it's comparatively few next to the hoard of Scottish, Irish and American folk songs I've accrued over the past 2 decades. That's definitely partially just due to being connected to the cultures those songs come from and that American folk songs are generally quite a bit younger than the scottish & Irish ones, but it's still not something I've ever really thought about
yeah absolutely. it's something england -- and probably urban england and london especially -- has really lost touch with. a lot of my friends and colleagues are irish, and when the topic of things like irish dance comes up, it's always like "oh yeah i did a bit of that as a kid, everyone did" or "yeah i learned the whistle, obviously, but i stopped when i was eight" -- but there'd be no obviously about that here (even when people learn the recorder at school, it's not often trad tunes they're learning to play!)
i don't know if this is to do with the proportion of the population that's urban vs rural in england compared to ireland or scotland (not sure where wales is at with this, they have a strong song tradition but i don't know much about the welsh equiv of trad dance music nor tbh enough about the song tradition to say anything meaningful on the topic), or if it's a "survival of trad culture to spite oppressive dominant cultures" thing so england lost it due to lack of need to defend it, or if it's predominantly a class issue (but that wouldn't wholly explain schools/the national curriculum, particularly at primary level)... i think there's a lot of factors at work
but it's something i do notice because i spend time in those irish-dominated spaces where the attitude towards trad music and dance is so different. but then those are also often irish language communities, so they're specifically irish communities that are interested in their cultural heritage, and maybe that's not representative of the whole country. still, it feels like even people who aren't interested and haven't carried that interest through to adulthood were exposed to it in childhood in a way that many english people weren't because our equivalent traditions have been relegated to this very niche, marginalised (and potentially very rural) status
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Miraculous Twin AU Halloween! - Part 3/4 🎃
(Part 1 | Part 2 | Part 4)
The twins have taken refuge in Adrien’s room, and Plagg is experiencing consequences for not warning them that “sentient, vengeful magic boots” could be an issue! But they can’t call Ladybug, so the only option is for Felix to face this himself...
Check back tomorrow for the final page! 🪄
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"It's three seasons old, at least," said Phillip, in a pained voice. "What sort of provincial backwater did you buy it in?"
"The Little Dover Dress Shop." Visander bit out each word, fuming that he knew the answer.
"It still has an empire waist," said Phillip, a kind of agony on his face. "You know, here we have fashion, we don't just go about wearing robes for ten thousand years."
"I care nothing for your human fashions, worm," spat Visander.
Dark Heir by CS Pacat is a comedy. Or, in other words: if book 3 is not a married-life sit-com between Phillip and Visander I riot.
(In other, other words: there are so many fantastic romantic dynamics in this book, but the one couple I have imprinted on like a baby duckling is the queer murder-machine with tunnel vision stuck in the body of a Victorian ingénue and his husband Who Really Does Not Want To Be Here and can endure his wife being "a dead man from a defunct world" but draws the line at him not dressing for dinner.)
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i dont feel like putting this on main but do u know that thing people did where they would assign the brothers names they thought they would name their kid or wtv.... i would like to dump here that i think levi would name his daughter either lorelai or hannah HERE ME OUT PLEASE THIS TOOK A LOT OF MENTAL GYMNASTICS,,,,
hannah - derived from ruris last name, hana.
ruri = rori = rory = lorelai
bam. thanks for coming to my ted talk.
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I kinda maybe put a lot of my OC plot tag lines on a Wheel and gave it a spin so outta 79 options, it landed on "Cellphone Justice" which is... these two.
Matthew "Skittles" Mouse and Daisy Eddington
Partners in justice (of sorts). They're basically vigilantes and their orders are simply text messages. They don't really know who their bosses are but they do as they are told.
Skittles is a very mediocre guy. Doesn't stand out. The most color he has in his wardrobe is blue jeans. He's amazingly asexual and has zero interest in romance regardless of intimacy and yet he gets partnered with Daisy. The gayest lady he has ever met. Great start. She enjoys calling him fun little nicknames but seeing as they're monitored closely (via cell phones/technology) she is scolded and told to pick a single one. So she does. She dubs him Skittles. The candy as gay as her.
The one thing they have in common is their number one weakness: cute girls.
Daisy turns into a stuttering MESS of a human being. A disaster. At the mere sight of a cute girl. Skittles on the other hand is TERRIFIED of them. When asked, he simply blames his life growing up. Daisy doesn't really push the matter just thinks it's a little weird to be scared of every single cute girl (no offense to the not being afraid of her taken).
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love keisuke at first denying the reality that his sports hamburger car got easily overtaken by a 10 year old tofumobile, then accepting that reality and challenging the driver of that old junk thinking he'll win this time for sure, then losing to him (again) and threatening the guy to never lose a race because the delivery boy can't lose to anyone BUT him in the future
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I am not for a minute the kind of person who believes that bio parents are always more important than adoptive parents, but I will say there is something so... wistful to the dynamic playing out in s3 of OMITB with Loretta and Dickie.
I grew up in a religious area with a strong emphasis on having and raising children, so... honestly, I've seen it happen before IRL. Couples who thought they couldn't have bio children so they adopt a child, only to then have a "real" child who they end up doting on far more. It's a cruel thing to do to a child, and it would be an even more awful dynamic if your brother was rich and famous and the whole world loved him. Especially if you know that it was your ideas that made him famous, but he was just so charismatic that he got the love and fame and accolades anyway.
I can only imagine how much Dickie longed for a family that prioritized him. That put his needs first. I can only imagine how much he wanted just one person to look at both him and his fancy, famous, selfish brother and choose him. I can't help but think that he wondered about his bio parents and why they, too, didn't want him.
And then for him to find this woman who's treated him more like a son than his own parents ever did, who is finally prioritizing his needs, who finally cares about his mental health, who is finally seeing his talent, and... he doesn't even know it, that she's his bio mother. That she always missed him, but assumed he was living a better life without her. That she always watched him from afar and loved him.
It's almost like something out of a neglected child's fantasies, isn't it? That he has a real parent somewhere who loves him desperately. That he really is special and precious and worthy of love; he just had to find the right person to give it to him.
But at the same time... how much will it hurt when he realizes who Loretta really is? When he realizes how much time they've lost? When he realizes how long she's stayed away? When he realizes that she's lied to him as long as she's known him?
Loretta has spent her whole life sacrificing her own happiness for his, staying away because she believed he was happier with his adoptive family, and then as soon as she meets him IRL... she does it again! She sacrifices for him in a way that ends up leaving him all alone again. It's both kind and terribly cruel, isn't it?
It seems like love and stability are two things that he's craved all his life, and they're two things that have largely been denied to him. His brother loved him, but he treated Dickie like dirt. (But still a possession to be hoarded.) His parents presumably love him to some degree, but they made it very clear to him that he was always the backup plan, never the talented, perfect bio child they actually wanted. Even Loretta, with her flighty, dreamlike Broadway lifestyle, could never have given him the stability he needed, even if she did love him.
idk, Dickie's a really fascinating character to me. He really, really creeps up on you, doesn't he? But I feel like I'm so invested in his happiness now. I really want him to finally get the life he's always wanted, even if it had to be born of a tragedy that he never asked for.
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