azune never left that rebellion baby he's still there he's always been there and he'll never leave that place

I know Azune is the type of guy to not understand why his coworkers hate the paperwork aspect of their job.

another thing i love about both jud and blanc as characters is how many versions of them we get to meet. they change and code-switch a lot. there's knives out blanc, covid-crazed blanc, "eat the rich" vacation blanc, blanc during those 2 minutes at the church where jud doesn't know his identity yet, wicks-case blanc, one year post-case blanc. pre-wicks jud, during-wicks jud, jud as the murder mystery unfolds, jud a year later on the precipice of being reverend. the implied hints of pre-canon jud and blanc and the subtle context clues we gather about their lives. the way they act when geraldine/someone else is there vs when they are alone together. the hints of post-canon jud as a confident famous left-leaning reverend, whoever blanc will be in the fourth film, and so on. their personalities remain strong and unique throughout but i really enjoy seeing which aspects of them become dominant based on context (with jud changing in one film almost as much as blanc changes in 3!), there are so many directions you can take well-crafted characters like this and i'm having a lot of fun exploring them all in my head

oh no consequences for me thanks i just wanted to click dialogue options in this roleplaying game you made

In Knives Out, Ransom makes that comment about "our ancestral home" and Benoit bursts into laughter reminding him that his grandfather bought it off an oil magnate in the 80s

in Wake Up Dead Man Jud talks about how the fancy church is a lie, a story, it's built to mimic the old churches in europe and england but it definitely hasn't been around as long as the architecture implies

Rian tell me more about architecture and real estate please I am seated I am listening

i will never get over the evolution of eliot and hardison's relationship and how hardison goes from being intimidated by him to just fully bulldozing over grumpiness and outright threats (i'm specifically thinking of that scene in the french connections job but also just in general). like sorry eliot he loves and knows you so intimately that he'd let you put a knife to his throat and not be scared, must be rough for your badass reputation

There's "committing to the bit" and then there's whatever the fuck Shawn Spencer and Burton Guster were doing on television every week from 2006-2014

i’m fascinated by the code of secrecy implied by the fact that both athenril and meeran know that you or bethany are a mage and nobody throws you to the wolves even if you betray them and they literally later in game try to jump you and kill you. when your contract runs out, they both seem to have tried to hold onto you, but neither of them did something like threaten to inform the templars once you were no longer of use to them. (or if they did, it was an empty threat and the hawkes knew that enough to risk it.) and these are not exactly morally scrupulous people. varric also implies he knows about you/bethany when you meet him and the hawkes aren’t surprised so this information is like, out, if you move in certain circles. but nobody has turned you in. even though for example if you’re on the athenril route you’ve been a thorn in the side of the biggest criminal factions out there. i like the idea that turning someone in to the templars basically makes all apostates blacklist you and nobody can afford to do it

I love shipping characters as exes, like yeah no they're not endgame, they could never be endgame, but they've absolutely fucked nasty and changed who each other are as people and at least one of them got their heart broken

also im never going to not be fascinated by the way much ado gets SO close to being a tragedy. the breaking into factions, the duel emerging between claudio and benedick, the way hero really could have almost died of grief or despair like many other shakespeare heroines and how the narrative really plays with this as a possibility!!! what would it have been like if it was true!!! what would it have been like if everyone in the play really was driven mad by grief!!

can i ramble because there's something delightful about vaelus' and thimble's narrative encircling each other. both immortal beings confronted by mortality in different unique ways. thimble beginning to age after the door to the faerie closed those years ago. vaelus' open desperation for her stone that promised her place after death, like a sick mix of faith and *preparation*. both "immortals" being denied of their forever homes - thimble is kept away from her birth place and thimble kept vaelus away from her resting place. like oh for two people who were considered the most deadly, that had felt delicate.