prayer circle for stina and russo on the pitch at the same time

me after I saw the news about viv leaving 🙂

So, there’s this guy, Jonas.

And I just want to say, for the record, fuck Jonas.   

credit

fly with me

2️⃣7️⃣0️⃣2️⃣🖤🖤⚫️🏅1️⃣2️⃣3️⃣

-18-17-13-12-11-10-9-8-11-10-11-10-9-8-7-6-7-8-10-11-12-13-12-13-12-

🟥6️⃣🟥

I feel that Phineas and Spahr are one of those relationships where you REALLY need to examine it with shipping goggles off. There's so much there that, if distilled solely to a romantic aspect, I think gets lost in translation. There are so many layers to their relationship - the pseudo-parental dimension, the mentor/mentee situation, Phineas' idolatry of Spahr as a moral paragon, Spahr's guilt towards his failings of Phineas, generational trauma, all and then the devotion and romantic dimension on top of that? To condense it to just the romantic component feels reductive in a way that does it a disservice. Regardless of the lens you choose to view it, these two are - and have been - the most important person in the other's life. And after an extremely high-stress, near-death situation that has them both reevaluating their entire worldview? i don't necessarily find it unrealistic that in this absolute mess of emotions, that attachment gets manifested into a kiss, but I hardly see that as the be-all and end-all. There's so much more. It's complicated and ridiculously messy but that's what I love about it.

There are things out there that our little minds will never comprehend.

DARK (2017-2020)

𝕳𝖊𝖑𝖑𝖔 🖤👋🖤☠️

𝕵𝖔𝖊𝖞 𝕵𝖔𝖗𝖉𝖎𝖘𝖔𝖓 & 𝖂𝖊𝖉𝖓𝖊𝖘𝖉𝖆𝖞 13 𝖋𝖔𝖗 𝕶𝖊𝖗𝖗𝖆𝖓𝖌! 𝕸𝖆𝖌𝖆𝖟𝖎𝖓𝖊, 2011.

The thing about Phineas/Jonas is that like, it's actually a great illustration of why it's so stupid to try to shut down a ship with "well, I get more of a familial vibe," and, inversely, to complain any time someone does suggest that a dynamic feels very familial in nature, in the same way that it's patently stupid to try to ascribe nuclear family roles to a found family. These aren't antithetical dynamics! They're not rigidly bounded, not least when you don't have any real blood ties! Honestly I really wouldn't consider myself a "shipper" for this show because the vast majority of the character dynamics can fall any number of ways, and I'm interested to see where they go.

This dynamic is interesting because it has been previously a very defined circumstance of mentorship and has also been, in many ways—which Jonas essentially states in this conversation—patronly, to the point of patronizing. But that's also a dynamic that was rigidly upheld by the Trust! It no longer applies, because, as stated, they're both at zero. When the Trust falls, all that's left are people, who now have to renegotiate how they relate to each other outside of those structures. Whatever specifics existed in this relationship prior to this point are irrelevant, because the thing that mattered enough to outlive the Trust is the fact that they actually cared for each other regardless of the roles they were forced to play, and they now get to—and, in lieu of anything else making their decisions for them, must—choose for themselves where they go from here.

moments from the 23-24 season [1/?]

↳ brock faber celebrates his first nhl goal in his first game of the season

panthers @ wild || 12.10.23

PEOPLE DIED

(i’m people😋)

Vivianne walks a lap of honour with Beth | Arsenal - Brighton, Barclays Women's Super League, 18.05.2024 ©️ Richard Heathcote via Getty Images

I find something striking about how once per season Spahr is asked to act against each of the three protagonists in a deadly way, against his personal judgment and desire: 1.19 Moonfall (Phineas), 2.13 Inside (Weepe), and 3.15 Breach (Lark).

There's an arc across these moments, with each building on the last. Each time, he is haunted by his failure in the previous moments and is increasingly resistant: stopping immediately at the slightest indication, arguing against this but swiftly backing down when threatened, and finally having the resolve to refuse. It's interesting that it is Imelda who asks (or is one of those who asks) and that the first two instances, he is commanded to do nothing—to stop, to stand by—and the third, he is commanded to do something.

It's fun that as Spahr finds his resolve and finally takes responsibility for his own agency across these moments, it's one for each protagonist.