so little time

Marti. 32. Queer af, serial tv quoter, shameless stan, likes to learn more languages than they can speak. (they/them)

[kdramaladies]

THE ONE WHO SEES MEETS THE ONE WHO BELIEVES

JEON YEO-BEEN as Hong Ji-hyo NANA as Heo Bo-ra

G L I T C H (2022) dir. Roh Deok

[cuddlybitch]

Do you want to live with me?

GLITCH (2022) dir. Roh Deok

[kdramaladies]

I don’t care if the world ends. But you… I can’t let them take you.

GLITCH (2022) dir. Roh Deok

[fyeahshippers]

First teaser of Jeon Yeo Been’s SciFi NETFLIX drama #Glitch; set to be released on October 7. 

[escarg4l]

the implications of Jihyo already knowing she likes girls in middle-school (believes in aliens). the implications of Bora discovering she's a lesbian at the moment Jihyo rejects her and her getting bullied for being gay in middle-school and probs in high-school if she didn't droped out. the implications of Jihyo dating Siguk because 'he asked' and 'why not?' while being in denial - while actually seeing aliens inspired by Bora. the implications of Bora getting kicked out of her own home, being a reject, while denial Jihyo is in a great place, almost getting maried. the implications of Jihyo going batshit insane when she starts planning getting more seriously with her boyfriend, but her aliens dissapearing once she is with Bora again.

[1liv]

[leet911]

I need to keep yelling about how important it is to me that Print’s birthday wish is that Rey can still be her friend.  Print is in a position where Rey kind of “owes her”.  Print did just fend off that attacker and get hurt in the process, where Rey (in Print’s body) was the desired target.  Print also granted Rey’s advance birthday wish previously, when Rey asked if Print would stay with her at night.  Rey used being scared as an excuse, because she knows about Print’s crush, but Print doesn’t know about that ulterior motive.  As far as Print is concerned, Rey was afraid, and so Print went to help.

In that sense, Print may feel entitled to ask for something she truly desires, and Rey may conversely feel like she has to grant it, because Print has already done so much recently (because reciprocity and all).  Plus Rey knows.  She just told Print that she overheard Auer talking with her.  And the wish that Print makes is that they can still be friends. 🫠🫠🫠  She doesn’t ask for a kiss.  She doesn’t ask for a date.  Both of those are things that Rey might agree to, regardless of how Rey actually feels.  Print doesn’t want anything that’s owed.  Print wants exactly what they have, where it feels like they care about each other.  Where Print changes the graffiti on that ancient school desk after Rey saw it again.  Where Rey bestows the Glitter Girl sash onto Print now, even when no one is watching, because Print deserved to win that day.  Where Rey tries to make breakfast, even if she doesn’t really know how to, because she wants to try.

So Print wants so much more.  She’s allowed to want so much more.  But she doesn’t ask for that.  She asks if they can still be friends, if they can keep doing whatever it is they have going on, even if that means pretending. But Rey doesn't want to pretend either anymore. “What if I don’t want to be friends?”  😭😭😭

[achillesinhighheels]

People unpleaser

[nervouspearl]

[onaperduamedee]

For a while we had with WoT one of the most beautiful platonic relationships between a man and a woman since Elementary, two soldiers of a different kind, equals, complicated, who would die for the fate of the world, and it guts we won't get more bc it's still so rare.

It's also deeply unsettling that Lan is probably one of the noblest fictional men since Aragorn, truly such a rare combination of devotion, humility, duty, strength and frankly hot badassery, and it's that kind of masculinity we need more of in these times.

Meanwhile, Moiraine is an intense desperate pathetic wet cat and weird little girl who grew up to be a weird little woman and I love her for that.

Truly, a platonic soulmate duo for the ages.

[lejardindeschats]

if sinners (2025) taught me anything, it's that it IS actually always about race.

you can be oppressed, and still promote and maintain the very same systems of oppression onto other marginalized people. being oppressed in one dimension doesn't allow you to be exempt from oppressing in other dimensions. the "villain" of the movie, remmick, being from the time period of the english colonization of ireland, all the while wanting to take a piece of sammie's own culture from him, use him for it. and this plot point coming after remmick witnesses the significance of sammie's playing within his culture, for his ancestors and how it would shape Black culture in the future.

even in today's society, ive noticed that people treat Black people like a commodity. our worth is only as much as other people decide it to be, and that's usually dependent on how much the oppressor can take from us. for example, the controversy of"internet slang" and how it is blatantly just AAVE with a bad disguise on

do you listen to Black musicians? do you watch Black movies? do you engage with Black creators? do you defend the racist tendencies you notice in your friends, in your family, or do you stay silent? do you listen when Black people tell you you've said or done something racist? do you actually care about not being racist, or do you just not want to look like you're racist?

i just think people have a very specific take on what racism is, and that if they're not committing KKK-levels of violence on people, then they're not racist. or if you've experienced oppression in one form, you cannot possibly be engaging with oppression in another form. but the ways in which we interact with other people and the world will always be through the lens of race, because that is simply what it means for oppression to be systemic, especially in the US and our current political climate

anyway 10/10 movie. highly recommend

[liquid-bonhomme]

List of things in Andor that absolutely snatched my weave fucking Star Wars Disney let be in Andor:

Attempted rape.

Visceral and realistic police brutality.

A meaningful queer relationship.

A none-insignificant amount of blood and violence.

Implied drug abuse.

Imperial characters that were very real people-- and not just British cartoon villians.

Pointed depictions of bureaucratic laziness and incompetence.

Consistent, coherent, well rationed Marxist, socialist, anarchist, and revolutionary theory and philosophy.

A realistic depiction of the practicalities and morally compromising nature of fighting a totalitarian regime. The degree of physical, emotional, and spiritual sacrifice that actually goes into it.

Genocide.

Genocide being called explicitly genocide.

Prison abolitionism.

A fancy white woman forced to sacrifice her daughter for the cause drunkenly dancing her feelings away like the queen she is.

"Make it stop, make it stop."

Weaponized old lady brick being a highlight kickass moment.

Several characters fates being left hauntingly ambiguous.

"Work visa."

A care to squeeze in these strangely humanizing moments-- like Luthen taking a moment to get into his Antique Dealer headspace in season 1, or Cassian taking the time to water plants he likely never had a chance to return to in the final episode.

[winter-wise]

Captain Jang works so well as a character because. I mean.

She's the archetypal leather-jacketed, sunglasses-wearing, hard-drinking, badass spaceship captain, with past romantic conquests who are absolutely not over her. And so often that role is given to a man. But she's a woman!

And they don't make a joke out of that. There's no "ha-ha, look at this woman perform a man's role" moment. It's just a character archetype almost universally applied to men, that happens to be applied to a woman this time. You could take her entire character and story arc and apply it to a man with basically no change.

When people say you can make a cool female character by taking a cool male character, and then making that character a woman, this is what they are talking about.

[bipolyjack]

bawled my eyes out rewatching space sweepers lmao. its the.. aggghgh.. found family of space assholes for me. a family can be 3 loser thirtysomethings trapped in an endless cycle of debt, a trans robot girl, and a techonmagical first grader and i think thats beautiful

[lakeofsilverpike]

The ongoing squabbling about whether Siuan's death falls into a bury your gays trope or is racist ignores the fact that ultimately there were stories the writers decided they were not interested in telling.

The story of an older queer couple who survives, changed and traumatized, but together and devoted to each other. What it would be like to feel changed by stilling or lifetimes of trauma in another universe, but to look at your partner of decades and see that she still accepts you. To feel changed, different, but still so loved. The story of a long life together. A story we almost never see for queer people. The story that is the reality of so many queer people's lives but is almost never depicted on screen.

The story of people who experience profound trauma and what it means to survive and rediscover who you are with a partner who loves you and supports you. Older people who survive trauma. Who have experienced it again and again and are exhausted and hurt, but who in the end still are able to be happy. Traumatized people who are still happy. That is important to see.

An interracial, intercultural couple who navigates making a life together in one of their homelands. The complex relationship of that woman to a home that rejected her for who she is, and what it means to love a culture that also hates something fundamental about you. A story that surely speaks to many queer people's experiences.

The way that Siuan as a character so deeply connected to her culture resonates in a particular way to audiences because the show cast a Black Jewish actor. The way seeing her feel so proud of her identity in the face of obvious prejudice simply does resonate differently because of the casting.

I think the posts that argue for how narratively right Siuan's death felt, continue to miss that the audience who are really sad about that choice are largely people who watched for Siuan's story. Audience members who watched because we wanted to see Siuan survive, who were excited about the potential mentorship arc between two women of color, to see Siuan find a new purpose in helping Egwene find her power after her own story of trauma. To see a story about stilling as disability, and seeing the story of someone who survives and lives a whole fulfilling life after being stilled, who finds a purpose and a new way to do good in the world.

We were excited for Siuan's story. And for Siuan and Moiraine's story together. There are stories to be told about trauma and disability and culture and class. Stories about older queer people in a long-term loving relationship with all the complexity that a marriage of decades holds. There are audiences who liked seeing stories that resonated with us.

And I think it fundamentally misses the point to argue about whether it makes narrative sense to kill Siuan. A good writer can make any death make narrative sense. I wish the writers had spent the time though thinking about how to write Siuan a compelling story of living rather than dying. I wish the writers had felt that these were stories worth telling.

[jynandor]

WHEN LIFE GIVES YOU TANGERINES (2025) dir. KIM WON-SEOK If she can't even ride a tricycle, she'll just live in the kitchen the rest of her days. I want Geum-myeong to have everything.

[lakeofsilverpike]

I’ve seen a few posts about Moiraine and her knives musing about whether she started carrying them after being shielded last season. But New Spring Moiraine killed her mentor who turned out to be evil with knife. Baby Moiraine was already comfortable with a knife. Was that because of her Cairhienin upbringing or Siuan’s teaching? Both are fun to think about.

But I would think it’s imperative for any Aes Sedai who goes out into the world to be able to fight with non One Power weapons. Because they swear an oath to only use the One Power as a weapon if they are about to be killed. That means anything short of death they can’t protect themselves. These are women who half the world thinks are evil. The whitecloaks routinely travel around capturing and torturing Aes Sedai.

Aes Sedai can be tortured and raped, can be forced to watch the same happen to their Warders, and as long they or their Warders aren’t about to die, they still can’t use to One Power as a weapon. Of course they learn to use knives and swords and defend themselves with force. Of course Moiraine can stab a Myrddraal in the neck. As Liandrin points out, there is still misogyny in the world. There are threats to women with power. And Moiraine is not going to be defenseless.

[lilithsspacestuff]

The amount of times I had to blink watching WoT S3 because I could simply not believe how many diverse and three dimensional female characters were present IN JUST ONE SHOT/ FRAME. Like, they were of different ages, ethnicities, sexualities. And none of them were cardboard cutouts because of these factores. And none of them were male gaze sexualized.

LIKE WHAT DO YOU MEAN I CAN ACTUALLY CHOSE WHICH FEMALE/ QUEER CHARACTER I LIKE BASED ON THEIR CHARACTER AND NOT JUST BECAUSE THEY ARE THE ONLY ONE IN THE SHOW??!?

I feel powerful and represented and happy and I never ever want to watch anything else anymore. More please!