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finally finished watching the fall guy and while a lot of it was not for me personally, the concept of putting these characters into a dimension 20: never stop blowing up scenario, where these movie makers suddenly get sucked into an action movie world jumanji-style and trapped in the bodies of various action movie archetype characters and have to get to the end of the movie to get back to the real world, has been rotating in my brain for three entire days
anyway colt seavers waking up as a femme fatale cat burglar send tweet
I've been consuming a lot of Coltland twins media lately, and most of it is really great, but I also think there's a lot of mischaracterization in that part of the fandom(s).
Specifically, I think a lot of people want Colt and Ryland to be polar opposites, so they exaggerate both of the characters. This way, Ryland ends up being the shy/innocent nerd, and Colt ends up being the idiot who's always getting into fights.
And don't get me wrong, I get the appeal of having the sibling characters be direct contrasts, but guys. Ryland is FUNNY. Sure, he doesn't curse much, and he's a sort of awkward guy, but he's also an Andy Weir character. He was kicked out of his university after he insulted every leading scientist in his field. The most powerful person on the planet had to tell him to shut up on a daily basis. He's a competent, social, FUNNY guy.
And Colt is way smarter than people tend to give him credit for. He literally solved a MURDER (after being drugged, nonetheless), and then found a way to trick the culprit into confessing. He has a career in the arts (just because his job is more physical than most others does NOT mean it doesn't count).
They're both such complex characters, and I think it makes fan content way better when people acknowledge that.
It’s like Ryan Gosling is trying to single-handedly eradicate Toxic Masculinity. In Barbie he’s a himbo with a heart of gold, who falls down the rabbit hole of Patriarchy but learns to be better, all while wearing pink and sharing skinship with his fellow Kens. In Fall Guy he reacts in an understandable way to his not-accident by pushing Jody away, but once given the chance he gives her a real, heartfelt apology and does his best to make amends. He’s also a total simp for her while also being her biggest cheerleader. He’s respectful of the other women around him and even shows care for the dog he shanghaied (witness him getting Jean-Claude a glass of water in the bar). Not to mention crying to Taylor Swift and not being ashamed of it. And in Project Hail Mary he is the Platonic Ideal of Soulmates with a Sassy Space Crab, isn’t afraid to cry at anything or wear clothing that is generally worn by women (witness the famed Fox Cardigan) and is great with children. No one is doing it like him.
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Genuinely, the fall guy is such a FUN movie for me because of how stupid meta it is. Just each scene feels like a comedy in its own way. Personal highlight is the split screen scene, absolute ingenuity and stupidity. Great film
augh it's just so... the way olruggio's memory of the landscape where qifrey tried this 'leave me behind I don't matter' shit with him last time morphs so seamlessly with the landscape of the lake and tower, signifiying the shift in his attention/awareness. that combined with the how he trails off at 'I remember...', evoking the concept of memory before we even find out what his plan is going to be. the ribbon in the wind, like we've seen qifrey wear it a thousand times. his big big eyes and little face. boy about to make the decision that's going to define his life before our eyes. it's just all so much to bear
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Having your friends react to WHA manga to you is so funny because I have to cheer over Custas, Tartah, and Coco's friendship acting like everything is fine
Using this post as a jumping off point, I also have a lot of thoughts on Olruggio and his ego
💬 0 🔁 2 ❤️ 20 · ramble exploring olruggio's ego a little bit.
for all of olruggio's warmth and goodness, the man sure has a big ego. he l
In this post I want to go more into his ego from an interpersonal relationship standpoint.
I think he genuinely wants to be seen as a hero, that's why he has no trouble saying cringy things "all things fire are my domain" (look at the other post for more examples of this side of it). But he's got an ego in his domestic life too, not just when he's saving people from literal danger.
He also has a lot of pride surrounding his inventions and loves when people find them useful.
He wants to be recognized for his actions. His inventions, yes but also his acts of service.
He wants to be able to help. He loves teaching people.
He wants to be relied on. He wants his loved ones to know that they can always trust him to have their back.
When we first meet him, it's easy to miss this side of his personality because he gets uncomfortable when people don't praise his actions/inventions, but instead praise him specifically.
When Coco asks about the glowstone path, he takes the time to explain to her how the contraption works. He only gets flustered and throws her out when she pushes it too far.
This image kinda sums it up for me. He doesn't congratulate himself on doing a job well, he centers it on the outcome. Other people are safe.
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In general olruggio having a Courtly and Elevated Register he can slide right into at the drop of a hat when he wants to is so important to me, it's why the sheer over the topness of 'and every flame is my servant' gets me giggling and kicking my little feet every time I think about it. what an utterly wild way to enter a situation olly no notes. code switch king. honestly aside from the necessity of it considering he spends a lot of time around high society, I get the feeling he kind of likes that element of being a witch — the poetry and ritual of it. qifrey obviously likes to wax poetic any time you give him the slightest chance, he never saw an opening for a good dramatic pose with accompanying monologue he didn't love passionately on sight. but he doesn't seem to care much about that specific part of it; the courtesy elements, the right gestures and words of formality. notably it seems to be olruggio who brings out the clasp of covenant, who makes an oath of it between them. several times he's the one to lend a moment extra weight like that, like a narrative invocation of magic in addition to the literal in-universe manifestation of it.
also qifrey is ah. like he is at all times, unrelenting in his grace and extraness (affectionate), while olruggio switches between casual and high drama with the same ease that makes me love mourn watch rook so much in dragon age: the veilguard. (lest you should happen to have been here for my peak dragon age insanity and think I've forgotten about my boy rye ingellvar: no. always in my heart sharing 'my favourite son' position with hawke. my weird vengeful little death freak guy of all time.) qifrey is very capable of deception, of course (understatement of the century in fact), but he does stick to the set character he presents much more than olruggio, who might be a quietly more flexible and inconspicuous performer of the art. there are many layers of the qifrey, but not one of them would strike you even on first glance as a chilll and normal everyday guy lol. olruggio can make you think that, and then he does something utterly nuts and you have to recalibrate in a hurry. they are two witch dads each alike in extraness, but different accents of it.