#like.. some story parts are insanely good. the symbolism and the romance and the feeling evoked and the TRAGEDY??? | Explore Tumblr Posts and Blogs

twdmusicboxmystery · 3 years

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TWD 11x06: On the Inside - Analysis

Okay, how did everyone like this episode? I loved it! It might be my favorite episode of the season so far. Partly because of all the horror movie vibes and jump scares. I thought that was delightful. And Lauren Ridloff did an amazing job. But more than that, it's because of all the symbolism and what I think this represents. Seriously, I think I might have like fifty-six theories come out of this one episode, LOL. Not brand-new theories, but just connecting symbols in a way I haven't before. For now, let's talk about the broad arcs here and what they mean.

***As always, spoilers abound below for 11x06. Don’t read until you’ve watched! You’ve been warned!***

Basically, we’re following two storylines in this episode. The first is Connie and Virgil. The second is Daryl, Leah, and the Reapers. I suppose you could call Kelly and Carol looking for Connie a third story line, but given that they're searching for Connie, it's really just a subplot of Connie's arc.

Connie and Virgil:

There are a lot of people saying that they might be setting Connie and Virgil up as romantic partners. I think that's probably the case, for a lot of reasons. They were very purposely put together in this house. After the episode, Angela Kang talked about how Virgil basically had to suppress part of his heart in order to get through the death of his family. That's why he seemed a little bit villainous when we first met him with Michonne.

Actually, we're seeing a major theme here that we've seen with other characters. Near the end of the episode, Virgil tells Connie, "I lost myself for a long time." It's very reminiscent of what Michonne said to Carl in 4x14. It's a theme we see where the character goes through some kind of trauma, and the aftermath of that trauma is very much a PTSD thing. They lose themselves to insanity for short time, but then someone is able to bring them back. We see this with many characters over the years. And this is something they're doing with Virgil. So this was Virgil kind of coming back to reality. Michonne gave him the chance to come back first, but he also says that her giving him that second chance led him to Connie and he sees that as Providence.

So basically, A.K. is saying that Virgil lost a big chunk of his heart when his family died, but he's rediscovering it here with Connie. And that's very important. I can't imagine them saying that, or him having this kind of arc, if there isn’t going to be a romance between them. Which, for the record, I think is cute. I totally ship it. (Totally objective over here. As always, of course. ;-))

But the big question is, what does this foreshadow? I'll give you three guesses and the first two don't count.

I think this is a foreshadow of Beth and Daryl. I'm sure you're shocked to your toenails. I'll give you a moment to recover. Good? Okay.

A lot of us got Alone vibes from this episode. Just the two of them in house together. The undercurrent of possible romance between them. There's even a hug at one point.

Actually, the white, plantation style house with the white pillars immediately struck a cord with me. Back when they were filming the missing scenes from S5, they filmed in a house just like this one. it wasn’t the “white cabin” as we always refer to the house Emily was seen going into. But it was next door to that one and had a sign up about not mowing the lawn because it would be used for filming.

I don’t know if this is actually the same house, but I’m willing to bet that this will end up having parallels to something we see when we finally get those missing scenes.

Once they get inside the house, we see Connie holding the door shut against walkers. It's very reminiscent of Daryl doing that at the funeral home in Alone.

The thing is, I don't even think callbacks to Alone are the big cheese. (For the record, we also saw them around Kelly, but I'll get to that in a minute.)

Because more than being a call back, this is a foreshadow. It represents some time in the future when Beth and Daryl will be together inside the CRM and trying to escape. Remember that “No Exit” sign in Beth’s cell?

We have a situation here where Connie and Virgil are trying to get out and there's literally no exit. All the doors are locked, they’re being trapped everywhere they go, they get separated. Even when Connie is in the wall, looking at Virgil, she wants to warn him of things, but she has no way to get into the room with him. There's literally no exit for her.

There are so many parallels to Beth and Daryl.

They emphasize the fact that Connie is lost. After getting out of the cave and walking around for walkers for so long, she clearly lost her bearings and doesn't know where she is or which way to go to get to Alexandria. It puts me in mind of the scene from 6x10, where Carl was talking to Judith and said if she was ever LOST and needed to find her way HOME, she should use the North Star. This is another way in which Connie is being paralleled to Beth. She's lost and needs to find her way home.

Virgil talks about wanting to get Connie HOME. To get her back to her family (which just so happens to be her sister). Of course there's the undercurrent of romance.

I also couldn't help but notice outlets throughout the episode. This house is very dilapidated and dirty. There's grime and rust and darkness everywhere. But we can very clearly see the outlets on the walls, as though they’re brand-new. I believe that's to draw our attention to them. Outlets suggest power, which suggests lamps or batteries.

Remember how I said that the whole battery theory is about resources and that it indicates the CRM? This is why I think this house represents the CRM. And I'm not at all saying that at some point, we’ll see Beth and Daryl running through a house together, as Connie and Virgil do here, trying to escape some threat. I think this represents a much bigger arc of them being inside the CRM and trying to get out. It will probably span a lot of episodes, maybe even multiple seasons.

At one point, we see a red coda pendant hanging in the window behind Virgil. Remember that, via the Matrix theory, red represents the outside world that TF is currently unaware of, and of course Coda suggests Beth. That’s a big part of the evidence for this template being a foreshadow of Beth and Daryl.

I’ll go over all the background details tomorrow, but pretty much every detail I found suggests what I've laid out here. I'm going to do completely separate post on the awake/asleep theme as well as the mailbox theme. That one stemmed from last week's episode (11x05), but I haven't gotten a chance to post it yet. And of course we saw the mailbox feature prominently in this episode as well.

We also have a situation where Virgil basically tells Connie to go on without him and that it’s very important to him that she gets home. And then he gets stabbed, and she not only saves him, but pulls him out of the house. We’ve always said that we think there will be a time when Beth will save Daryl. I think this is a foreshadow of it.

I think we'll have a situation (again, much bigger than what we see here in the single episode) where Daryl will be willing to sacrifice himself, his life, to get Beth back to Maggie. Of course she's not going to allow him to do that, but he'll probably be hurt very badly.

(And for the record, I think we've seen foreshadows of this and other arcs. Daryl getting hurt when fighting Alpha was probably a foreshadow of the same thing. I'm sure we could identify others.) I think he will be hurt and Beth will save him, and that will happen as they’re figuring out how to get out of the CRM.

To touch on Kelly’s side of things, we see her find a camp that Virgil and Connie had previously been at. She finds Connie’s stuff there, and the orange backpack that Virgil must have left behind. The thing that jumped out at me here is that, in the foreground, we saw ropes around the camp with cans attached as an alert system.

That was featured very prominently in Alone, both because Daryl set up something like that at the funeral home and also because the other half of that episode was about Maggie/Sasha/Bob and they did the same thing in their camp. So again, major callbacks to Alone, and to what this is probably foreshadowing.

But my favorite thing about this was connections that I made. Things that kind of confirm events we’ve suspected in 4B, but have never been able to prove. Let me explain.

First, there’s the reunion between Connie and Kelly. And this really jumped out at me. Not only because it's two sisters reuniting, but because of the way it was shown.

When approaching Connie, Kelly is crying and says, "I'm sorry." And that's out of character or out of place in any way. She’s sorry that for what happened to Connie and that it took them so long to find her. All that is completely understandable. But at the same time, Kelly has no reason to feel bad about what happened to Connie. It wasn't her fault, and she's been a dutiful sister looking for her intensively ever since.

But I think the “I'm sorry” will make a lot more sense if we hear Maggie saying it to Beth, given everything that's happened, and especially what happened in S5. I mean, Beth did get left behind.

The other thing is that when they see each other and then hug, the background music almost sounds angelic, like a choir. I mean, they really wanted this to be a big deal, the reunion between these two sisters. And not that the Kelly and Connie's reunion isn't a big deal. It's very sweet, but I feel like this a foreshadow something much bigger. And what other reunion between sisters could qualify for something like that except Maggie and Beth, who didn't get the reunion in season five?

We’ve always said that Connie was a proxy for Beth, and that the cave-in, followed by her being missing was a parallel to Beth’s arc. So, this arc ending in Connie finding someone she’ll eventually have a romance with and then finding her sister is makes me very hopeful for what we'll see when Beth returns.

I have to say that this is kind of a relief to me. Because of Daryl's line back in Still about how, "you ain't never going to see Maggie again," I’ve gone back and forth about whether Beth and Maggie will actually get a reunion. Yes, there are plenty of ways to explain away that line, and I don't disagree with any of them. But I’ve still been really back-and-forth about whether this is going to happen. After seeing Connie and Kelly really reunite, I have no doubt that eventually will see a Beth/Maggie reunion. Yay!

Next, is the fact that Virgil and Connie talk about how the people living in this house lured them into a trap.

This is talked about very much anymore, but was always but what happened in Alone was always so wonky to me. I know it was supposed to be, but the whole thing felt like it was orchestrated somehow. I mean, what happened to the dog? We hear barking, but we didn't actually see the dog again, because when Daryl open the door all the walkers were on the porch. But how did that many walkers get up to the porch without them hearing it?

When Beth and Daryl sat in the kitchen staring at each other, they heard the cans rattle and then at the dog bark. I think that the idea was that Daryl thought it was the dog moving the cans and that's why he was going to open the door and get it to come in. He didn't understand that there were walkers there. But why didn't they hear the walkers? More importantly, why would that many walkers go up to the door if they couldn't see any humans on the inside? It's completely weird behavior for walkers. And then when Beth leaves the house, she just happens to be picked up by a car?

Like I said, I just always felt like the whole thing was really orchestrated, but even at Grady, we were never told that it was. Gorman suggested to Beth that they happened upon her accidentally. Of course, Gorman is the opposite of trustworthy, but we also understand better now the way that these episodes are often approached. We sometimes see things from one character's point of view over another. Clearly, Slabtown was seen from Beth’s point of view, so if she couldn't see the truth about what happened, that's why we couldn’t neither.

My point is, in this episode, Virgil says that he and Connie were herded there like prey. These feral people apparently went to the camp (Kelly says the left in a hurry and something was very wrong, and I think she's right. Given that Virgil and Connie left all their stuff behind; Connie would not have left behind her slingshot on purpose). Which means the creatures came to their camp, scared them away, chase them toward the house, herding them that way, in order to eat them.

Now, I'm not saying that's specifically what happened in Alone, but I think it kind of proves that what happened was an orchestrated trap that was set up to capture Beth.

And we do get the sense from what Noah told her that Grady purposely left the strong behind and took the weak. So, I'm not sure if Beth and Daryl were actually herded toward the funeral home. From what we saw, it really was more like they happened upon it. But I'm wondering if once there, someone observed them, or observed them approaching, and decided that they would be optimal targets. Given that Beth was injured (which they would have known if they saw Daryl giving her the piggy back) obviously it would always be her that was taken, while Daryl—obviously the more survival-oriented of the two—would be left behind.

And I love this connection because it proves (as far as we can prove theories 😉) that there are things they haven’t shown us, not just in S5 with the missing 17 days, but reaching all the way back to S4.

The other thing that's just kind of cool to consider is that, as I said before, the other half of the episode was about Maggie/Sasha/Bob, right? There are a lot of things that their sequence foreshadows as well. And in the episode, Maggie is specifically looking for Glenn, not Beth. However, given that this episode with Connie and Virgil also featured Kelly, Connie’s sister, looking for her, it just doesn't seem like it could possibly be a coincidence that the other half of Alone was Maggie searching for someone. What I’m saying is that both Alone and this episode, 11x06, foreshadow what will happen when Maggie and Beth reunite. I'm sure I could go into the details of Alone find a lot of connections, but I don't have time to do that right now. Maybe during the hiatus. Maybe. ;-).

Daryl and Leah:

Okay, I guess we need to talk about Daryl and Leah’s part of this episode as well. I don't have as much say about the symbolism for them. This is really more about where this is going.

Daryl tortures Frost, which I'm sure some people are going to have a problem with. But A.K. said that this is really about Daryl wanting to stay on the inside with the Reapers. As I said after ep 4, Frost is smart and he understands what Daryl is doing. A.K. said he did exactly what Daryl wanted to do him to do here. Daryl wanted him to give them a basic location but not an exact one. In other words, to tell them the neighborhood but not the exact house. And that's exactly what Frost did. Angela says Daryl did this because he was trying to save Frost’s life. Unfortunately, by the end of the episode, we see that didn't work out so well. But he was attempting to save him.

You have to watch the details closely to pick this up, but the first house that Daryl, Leah, and Carver go to is not the house Maggie is in. That's why Daryl says they should stick around and look around for things, because he knew Maggie wasn't there and wanted to give her time to escape. But the second house we see them go into is where Maggie and co are hiding under the floorboards.

At first, it seems to be empty, but when Daryl comes downstairs, he sees the place where they might be hiding and slides the rug over it. In the end, Carver sees it and checks, but Maggie and the others have already made their escape.

I had to stop and think about that for a minute. Since Beth wore yellow and we think yellow equals life and escape, I would have thought the yellow house would be where Maggie and the others were hiding and then escaped from. That would've made more logical sense. But actually, the yellow house was a decoy.

It gave me a whole new insight into the meaning behind the color yellow in TWD universe.

I still think yellow represents escape, among other things. But it also represents looking for someone in the wrong place. Even if you think about Rick’s mini death fake out in 7x12, there was probably only 12 feet between where Michonne thought he was (right side of the screen being eaten by walkers) and where he actually was (left side of the screen coming out of the yellow carnival car) but still, she was looking for him in the wrong place and assumed he was dead because of it.

I also thought of the Glenn situation in S4. Maggie looked for him on the school bus (yellow). And in both cases, it was because that’s where Rick/Glenn were last seen, but what was UNSEEN was how they ESCAPED. So, TF was looking for them in the wrong place.

And I’m sure something similar will happen with Beth during the missing 17 days. It doesn’t really change what we believe happened with Beth, but it makes me want to re-examine every yellow reference we’ve ever seen on the show, which is probably hundreds by now, lol.

At one point, Carver is coming down the stairs and Daryl runs over to him and starts talking really fast. He says that they (Maggie’s group) will not to come back here, that it wouldn’t be smart, etc. The first time I watched it, I remember thinking that Daryl was being really obvious. It made him seem nervous and like he was hiding something. And he probably was somewhat nervous. The reason he ran over Carver right then, is because he didn't want Carver to see the hiding place where Maggie and the others were (because Daryl himself noticed it when he was coming down the stairs).

But the other thing to remember is that Daryl knows Maggie and the others are down there. He was using this to give them information. He talks about how the Reapers have walls and weapons, twenty people inside their town, etc. That is also him getting Maggie information so she would know what they're up against. It was actually very smart on his part, even if it kind of tipped Carver off.

By the end, they returned to Pope and find that Frost is dead. I thought it was super weird and creepy that Pope started laughing when Carver said they had lost Maggie's group. That's very out of character for him. Angela Kang said Pope was purposely playing mind games to make Daryl and Leah paranoid, but even so. That laugh was just maniacal.

So, not sure exactly where this is going, or what Pope's plans are. He kind of suggests that maybe Frost turned on Daryl and sold him out before he died. I doubt that's true, but Pope also strikes me as the kind of guy who, if he's decided Daryl is an enemy, doesn't actually need proof of it. So, we'll just have to see where this goes.

Okay, that's it for today. I'll do details tomorrow. How did you all like the episode?

#beth greene #beth greene lives #beth is alive #beth is coming #td theory #td theories #team delusional #team defiance #beth is almost here #bethyl

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arcticdementor · 3 years

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I’ve been accused of being a class traitor, something that amuses me as much as being called a gender traitor or any other kind of traitor to something I never swore allegiance to. And something that, in one case, is a diseased chimera from the useless brain of Karl Marx. And in the other is not exact science “the contents match the can” the left thinks it is.

What I was accused of, particularly, was of not liking the Dinosaur-my-love idiocy because I “identified with the working class.” Which … not really. Not in the sense the idiot means by “working class.” Which is itself a deranged abstraction but in the case of the Dino-abomination seemed to mean “louts who hang out in bars and beat up people because it’s Wednesday and there’s nothing good on the telly.”

Actually that story is a good example of what I wish to talk to you about. There is a — for lack of a better term — class or if you prefer category of people who really have no clue how the other half lives. What that woman poured into “working class” was some kind of emulsified crap from reading regency romances (the gin!); the eructations of Marxist professors; and the fear of those who aren’t like them, and who must wish to murder them for being so open minded and smart. Or something.

I’ve seen this so many times it’s no longer a surprise, even if that one was particularly vile.

Revolting, yes. Surprising? no. People with a college degree try to depict people whom they consider beneath them socially, and it quickly devolves to white-trash stereotypes and insanity. (Of note, many people (if not most. I don’t think anyone has done a survey) in trailer parks have at least some college. But none of these people think they can even read or write.) And the things these people can do, often complex jobs (don’t ask me to install faucets or do anything with drains. You won’t like the results.) are dismissed as “things dumb people do.”

Which brings us to where we are.

…

But still, making workers a separate thing made sense. Oh, not in the “owning the means of production” because for some of us those are our minds, and I work very hard to own it, thankee ever so much.

You see, it’s like this: People who make things (even useless luxury things like yours truly) think differently from people who DIRECT things and tell you how things should be made.

This has shadings, because there is an entire preening gaggle that sort of makes things, but not really

For instance artists who live off the public dole, or the academic grift don’t make things. They serve their masters. The work is not tested. It doesn’t have to satisfy. It just has to repeat what you heard. And the flawed, broken parts will be taken as “very smart.”

While artists and writers who are public-oriented i.e. who write for money are a completely different kind of thing. They are people who work. This is why you could always tell Baen writers in the old days. They looked and acted in completely different ways from the other houses. Mostly because by and large we weren’t trying to impress professors.

…

Yesterday I was watching people install granite counters (I was supervising guy making our internet work…. He didn’t, btw) and when it all came together, the young woman in the crew said “I love it when it comes together” and it hit me it was the exact same feeling as when I navigate a difficult plot point, and bring the novel to a satisfying conclusion. I.e. I can’t just stop mideway and say I don’t know what it means but it’s commentary on something or other. I.e. I’m more kin to that young woman (I was highly impressed. Like me, at her age, she could do the physical work of a man. It’s rare, but it happens.) than to university professors explaining the symbolism in the use of punctuation in a novel.

The problem you see is that the people who never do anything, never build anything that has to be made to certain specifications, have no clue — none — of limitations.

Why not? Well, because they’ve never met them. In the realm of ideas, in which they build abstractions, the result is always right, and who are you to question their vision?

…

Unfortunately, the profitable path in our society for almost a century has been to be pharaoh’s supervisor, ordering the slaves to make brick without straw.

Which is how we get to the embassy in Kabul being very very concerned with pride month, but not so much with getting their people out safely.

All of which… leads to where we are. There’s a group of people who can’t find the real world with two hands and a seeing eye dog. And they hate, despise and fear those who can, because those people refuse to fall in with the beautiful abstractions of the shit-spinners.

And they keep trying to control everything. Partly because then reality can’t sucker punch them, I think.

If we let them go on with this, they’ll kill us and destroy civilization.

I think we’ve realized this, which is why we fight. And I’m right on the side I should be, even if the things I make are in the long run rather useless.

This is a war of the workers/those who make and build and create things, against the useless supervisory class, who just tells us how things SHOULD be made: completely divorced of real world materials/specifications/market.

They’ve been driving us to a point we can’t do anything but fight back.

Heaven knows we’ve been trying to do it with words/ideas, not with steel.

But one way or another, we’re almost at

Holla ye pampered jades of Asia! What, can ye draw but twenty miles a day?

#sarah a hoyt

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skamamoroma · 3 years

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“I Told Sunset About You” - How did this show make COCONUTS emotional?!

I know some people have already written about this and it has been talked about a lot but I promised @londongirl2001 that I’d write a ‘little’ post on it - this one is for you, love!

I feel like this is a good place to start where coconuts are concerned because not only are they a metaphorical representation of Teh’s developing feelings but also as a characterisation of Oh-aew and a representation of something ‘good’ and full of fortune and luck. When all considered, it’s such a damn clever way to connect all of the above ideas and also to send Teh into such a significant tail spin over a scent, dude ends up almost smothering himself more than once!

Two facts relating to coconuts are established pretty clearly from the outset:

Oh finds the smell of coconuts calming/soothing as his signature scent

Teh hates them, finds the smell gross

The fact they established this ‘conflict’ so early made the progress all the more delightful and painful to watch.

Coconuts representing Oh-aew was a genius move. Many things are used to symbolise Oh in this show but coconuts being his chosen scent, something is decided for himself and is kinda proud of is just so lovely, right? It’s another Oh thing to have a signature scent and to own it so hard. He’s like, yeah, this is my ‘thing’, it’s calming and soothing and I have adopted it as part of who I am. It’s so perfectly HIM and so like him to be so bold in terms of who he is. It’s sweet too because I don’t know about anyone else but throughout the whole show, I felt like Oh would smell lovely… like, it affected me knowing he always smelled of coconuts and now adorable and endearing that must be to people around him. He’s a Phuket boy, always at the beach and the idea he smells of something so connected to that environment made him even more magical to me.

So you have Oh characterised by this soothing, sweet, natural scent and Teh being entirely not into it. Hoon offers him a coconut as a sign of fortune and luck and Teh’s like, nah, GROSS, DISGUSTING, NEVER WOULD I EVER. He physically recoils when he smells Oh’s scented pen and it’s this clear sense of boundary. It’s clever because it’s that boundary that exists in terms of Teh’s head and how he views their connection… he doesn’t really have a sense of romance or ‘feels’ at this point but he still NOTICES. The moment in the evening when he drops Oh off at the pier and Oh teases him with his ‘smell my hair’, it’s this lovely extended metaphor for Oh’s presence being so full on for Teh. We know he feels SOMETHING. He paced the entire restaurant with jitters until Oh arrived and then offered himself and all of his tutoring tools especially for Oh, feeling oh so happy he could be someone special to him… and Oh’s there at the end of the night like ‘remember I smell like coconuts, Teh?”

And I feel we need to take a moment to just bask in the sweetness of Oh’s coconut pen. It’s kind of iconic at this point, right? (Apparently they made it especially for the show and it wasn’t bought so they really did go all out to make Oh the loveliest, didn’t they?)

I love that their tutoring sessions must have been coconut scented with Oh always using his pen and I kinda love that Teh must have got used to it over time as they spent more and more time together… but we get this huge shift in feelings where Teh’s all over the place trying to work out why he wants to be something other than ‘just another friend’ and then once he’s got to grips with that and tried to play matchmaker for Oh and Bas, why he goes a little insane at the idea that Bas is taking away ‘their thing’ and ‘their time’... his poor jumbled up brain can’t work stuff out and then we get the boat scene.

I’ve written about it before but this is my favourite scene in the entire show. I love it SO much for so so many reasons but I, personally, think this is the moment Teh fell in love. It’s the moment when Oh says everything above… and if Teh isn’t able to opem up then Oh reassures him that’s ok too and he’ll try to work him out. For someone like Teh who is just so very internal and confused and scared and knotted up, having someone say that is so precious, so special and you can see how much it affects Teh (his eyes in that gif above break me). I think quite a few things slotted into place in that moment as to why he was going out of his tiny mind a little… and IMMEDIATELY after that, when they’re playfighting we get the “why do you smell so good?” moment with Oh confirming it’s the same smell as always and Teh’s ‘oh shit’ moment right at the end of the episode because the thing that characterises Oh and the thing Teh really DOES NOT like have become something he finds yummy (I love that he uses that word!), stays up late to eat and smother himself with in the dark restaurant… hahahaha. I mean, it’s a sorry sight on one hand but, on the other, it’s so completely sweet. He’s really just smitten and still trying to sort his head out but if it reminds him of Oh, he wants all of it, right now, in any way he can get it. I laugh and smile and want to cuddle him at the end of that scene when you think he’s going to get up after he’s eaten the coconut and he just face plants back into it again. I LOVE HIM. The metaphor is so solidly established as… the distance has gone, Teh is fully in his feelings and poor guy is a mess because of it. It’s why all of his encounters with coconuts when Oh isn’t around are kinda weird and I love him for it…!

So thus begins Teh’s habit of smothering himself in coconut smelling items and after the hammock, after knowing Oh has feelings for him and kinda admitting his own, he’s doing his whole “I don’t know where to put myself or what is happening so I’m going to roll around on my beautiful rug and pace around my room and rub Oh’s Chinese notes all over my face because they smell like him and I want to see him and I’m going insane, help” thing. Which is totally another favourite scene for me…! BK kills those physical moments. Seeing Teh sit there with green ink all over his face like ‘FFS, I’m going mad’ before standing up and walking out of his room with the sole intention of having it in person rather than rubbing stuff all over himself as a replacement, hahahaha.

I love that when Teh has Oh close and don’t need to inhale actual coconut or smother himself with tutoring notes, they SHARE actual coconut juice. That shot of them riding the scooter with them both sharing the coconut juice, this two and fro. To me, it’s like this sense of when they come together, the confusion seems to always stop. By the end of moments where either one is confused or isn’t saying everything… they always manage to get to some conclusion by the end and so there’s no uncertainty, there’s this symbiotic sense of sharing and being together and kinda being a unit. So Teh happily drinking coconut juice and sharing it with Oh is so full of acceptance and closeness, it’s very lovely.

I ADORED that we got to see Oh washing his hair, clearly inhaling the shampoo smell and we got to see that he genuinely DOES find it calming. He clearly has this really soothing bath time and it’s this reminder that he’s actively sure of himself, kind of in control of who he is and how he conducts his life (which is why the red bra scene breaks my heart into pieces every time but that’s for another time)...

The final few moments for the delightful coconut metaphor are, for me, so emotionally laden with the themes of the show, it makes me a little misty eyed but DOESN’T MOST OF THIS SHOW. When we see Teh drive up to Oh as he’s starting his vow, Teh’s sidecar being loaded with a shit ton of coconuts is both beautiful and so symbolic of how he has genuinely changed. He’s no longer hating the smell, he’s not rubbing is all over his face to try to work out his feelings… he’s bringing the coconuts to Oh and doesn’t care at this point. Aside from the fact Teh fills Oh’s rucksack with coconuts - dude has to run far, Teh, what are you doing - there’s thing lovely sense of Teh knowing what they mean to Oh and how soothing and calming they are AND how Hoon told him they represent good fortune and luck. It’s so sweet of Teh, means a lot in the context of their story and is this emotive way for Teh to show how he understands himself so much more and how he can be so much more calm and focused on WHY he’s doing things. He seems so much more confident and in tune in those moments, almost CARING for Oh actively rather than in a chaotic OTT way or accidentally. It’s like he can work himself out now and is able to say ‘this is for you, I know what it means, I think you’ll need it”. AND THEN THEY DRINK IT TOGETHER, in sync and Teh of all people manages to almost flirt!! I know the in sync drinking was intentional from the documentary but I’d LOVE to know why P’Boss did that. For me, it’s this sense of them both being on the same page now… this sense of the fortune and health that the coconut symbolises being present for both of them in their personal growth to have them both together and both embodying this feeling of peace for a while.

And this is where I realise I’ve written an essay about coconuts… but ONCE AGAIN, this show makes everything meaningful and I love it so!

#itsay #I told sunset about you #itsay thoughts

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cchellacat · 4 years

Text

I Will Be Waiting

Darcy Lewis Bingo

Y1: Soulmate AU

Bucky/Darcy

18+ for some smutterfluff

Darcy never wanted to meet her soulmate, fate has other plans.

Thank you @hawksmagnolia for all your support and help and for the absolutely beautiful cover art/mood board!

Darcy had been coming to New York since she was a kid. She loved the hustle and bustle, the people, the sounds, and the vibrance of the city. When Jane had taken up a teaching position at Columbia she’d been excited, with Jane as a guaranteed roommate she could finally afford to live in the city of her dreams.

It took her a month, applying for jobs to find one but she lucked out and got a great foot in the door at Stark Industries. It only took a year before some wise guy sent her up to act as Stark's assistant for the day; no doubt thinking she’d crash and burn or walk out as every other person had for the last ten years. Not Darcy Lewis, no siree, Darcy Lewis was not a quitter and Tony Stark was an overgrown man child, accustomed to pushing people's buttons till they cracked. Darcy didn’t crack. She pushed back. In less than a month she had Stark’s schedule running like clockwork and Pepper had given her the stamp of approval, promising that she’d be canonised as a saint when she died. Darcy had been walking on cloud nine ever since. Her job was a bit of everything, but surprisingly similar to a lot of what she'd done for Jane, everything from paperwork and coffee to experimental engineering. Her salary rivaled most department heads and she had been able to move into an apartment in the Tower. When Jane had visited Darcy she’d crossed paths with Tony and the two had hit it off. Jane’s funding went from meager to unlimited and she was offered science space at the Tower. All in all, life was good.

One of Darcy’s favourite places in New York was in Central Park. There was a small plaza, in a quiet area of the park, perfect for some sun and picnicking at lunchtime. On a plinth at the far end was a statue. The real mystery though was that no one knew where it had come from. The statue of the man was just over six feet, he appeared to be a soldier, in full uniform from around the second World War. He stood, with one arm reaching out, as though waiting for someone to take his hand. There was no record of it being commissioned, no artist had claimed it. Eventually, the city had simply installed the wide plinth with room for the invisible stranger to stand on and constructed the small plaza since it had become somewhat of a tourist attraction. Many people visited just to get a photograph with the handsome soldier.

As with any good urban legend, a fairly ridiculous story built up around the statue. The most prevalent story was that he’d been a real man, frozen in time and only his soulmate could break the curse and bring him back to life. This was completely absurd, but romance sells and so it was in every tourist book and even had its own following on social media.

Touching the soldier was seen as good luck; people said if you did you’d meet your soulmate within a year. It had such cultural belief that many people ended up saying their first words to each other in this very spot. It was rumoured that Pepper Pots had met Tony Stark here ten years ago while she was on her lunch break and the man had spoken to her for the first time when he was passing through on a date with another woman. Darcy doesn't know if that's true, but she's about ninety-nine percent convinced it’s pretty damn accurate. Her boss has a picture of himself and Pepper in front of the soldier on his desk that he often looked at smugly.

The Searching Soldier was deemed as the perfect place for romantic proposals, first dates, and even the occasional wedding. Darcy had seen her fair share of men and women getting on one knee and popping the question in the last two years since she’d made it her regular lunch spot and she couldn’t help but love this place for that alone. The Searching Soldier had become an icon and a symbol of true love and Darcy’s escape from the constant buzz of the building she worked and lived in.

She crumples up her napkin and grabs her coffee cup and ambles over, throwing the waste in the bin before coming to a stop in front of the statue. She’s been inclined more than once to just climb up the steps and touch him, but she’d never been particularly superstitious or even very desperate to meet the man who will give her his first words. In spite of that, every time she stands here, part of her is really tempted to do it anyway. She’s looked at his face every day for two years, trying to figure out the expression. It doesn’t look hopeful or happy. His eyes are slightly wide, his mouth caught mid-smile, or perhaps on the cusp of speaking a name. He looks, Darcy thinks, both resigned and startled. Some days she thinks he’s saying goodbye instead of hello. Her phone beeps, disturbing her a little from her contemplation and she realises she's going to be late back to work if she doesn't hustle. Throwing one last look at the soldier and his out-stretched hand she hurried off.

Stark’s experimental lab was a perfect example of finely organised chaos. Darcy both hated and loved it. There was certainly never a dull moment with Tony as her boss, but the number of clean up requirements every time an experiment went wrong meant overtime as well as exacting and specially vetted clean up crews to ensure no proprietary research left the building.

It’s getting late but Tony is in the final stages of construction of what he says will be a time machine. Darcy doesn’t want to think about the possible ramifications of such a breakthrough and has already discreetly informed Pepper and the Legal department.

“Hey, pass me the sonic wrench will you?”

Darcy glares at the tools in front of her. She’s half-convinced he makes this stuff up just to mess with her. She randomly grabs an oddly shaped tool and passes it over.

When it happens, Darcy is caught off guard. The machine hums to life in almost the same second that the lab doors are forced open. Tony grabs her and hauls her up onto the pad behind him, his watch enveloping his hand as the repulsor glove activates. There is shouting going on and a gun fires. She’s not afraid to admit that at the moment, panic sets in and she’s hardly coherent of anything other than the feel of Tony's hand in hers before he wrenches it free and then slides something onto her wrist. The next thing she knows, the machine whirs to life, there's a sharp noise like metal on glass and then she's falling.

Silence envelopes her as she hits the ground. The bright light of the lab was gone, replaced with almost total darkness and the scent of damp. She groans, pushing herself up and is thankful when Tony’s twin moan of pain reaches her ears through the dark.

“Tony?”

“You ok, Short Stack?”

“I’m fine, what the hell was that?”

“Time travel without a capsule. A little bumpy, but we managed.”

“Are you freakin’ kidding me?”

“No, why would I?”

“Are you insane? We can’t go experimenting on ourselves.”

“Would you rather we stayed where we were and got shot or kidnapped?”

Darcy glares as Tony’s suit deploys and an ethereal glow emanates from the nanotech.

“How are we meant to get back?”

Tony grins.

“I’m glad you asked. I put a recall device on us both before I launched us out of time.”

“The wristband?”

He nods and moves to check her over.

“You seem alright. How are you feeling? Dizzy?, headache?... how many fingers am I holding up?”

“Ugh, you are not a doctor, Tony. I’m fine. Just jittery.”

“Hmmm, shock, probably. Good, that means they work.”

“Means what works?”

“The wristband isn’t just a tracker, it’s like a bubble of real-time from our timeline, one that travels with us and keeps us from what I theorised could be temporal sickness caused by the jump.”

“So what now?”

“We lay low for a few days, in forty-eight to ninety-six hours the tracker engages and we’re pulled back to our own time. Easy.”

“Sure it is, but what are we meant to do while we wait? Do you know when we are? We don’t have any money and I refuse to stay trapped in this mouldy basement for the next two days.”

Tony looks mildly chagrined before shrugging a little and muttering about him figuring it out. Darcy sighs and follows him. She was putting in for danger pay when she got back. This was above and beyond.

They make their way up through some abandoned tunnels, the air turning colder and colder the higher they climb. When they finally make it to the top Darcy realises they are in a railway tunnel and there is a train coming straight at them. Tony manhandles her for the second time that day and pulls her out of the way. Only his suit saved them from a steep snowy drop into the ravine below.

They’re barely back on their feet when an explosion rips through the air and the side of the train car that almost hit them rips open. Even with the speed it’s going, the unmistakable form of a man falling has Darcy crying in horror. Tony doesn’t hesitate. At that moment he forgets where he is, all that matters is saving a life. He takes off, leaving Darcy safely on the embankment, and flies after the man as the train speeds out of sight.

A shaking and cursing soldier drops in front of her as Tony lands and his suit retracts back into its casing. Darcy is barely processing it all as she stares at the stranger, he looks so familiar. He’s tall, dark-haired with the bluest eyes she’s ever seen. He shouts angrily, accusations flying back and forth as Tony explains who they are. Darcy doesn’t blame him, she wouldn’t believe them either. He does tell them the date though, 1945. She has traveled back in time seventy-five years, they are apparently somewhere in Austria. When he finally gives them a name, Tony winces and Darcy’s ears perk up. She knows that name. She knows it because the man in front of her died a hero, falling to his death from a train just before the end of the war. If they weren’t already white with the cold she’s pretty sure Tony would be turning transparent. How the hell do you tell someone they’re dead and have been for seventy-five years? Yeah, it goes down about as well as you’d think. Darcy suddenly sneezes and the sound of her teeth chattering stops both of the men mid-argument. It’s the first time the guy finally looks at her, his eyes seem to widen and then he’s whipped off his coat and swept it around her.

“We can’t stay out here, we have to get off this mountain and back to base.” He addresses Tony. Darcy almost wants to punch him for the rudeness of ignoring her even as she pulls the warm coat around her tightly, savouring the comforting warmth.

“What do you not get about you’re dead? You can’t go back, you can never go back!” Tony punctuates each point with a finger jab at Sergeant Barnes, she grabs his hand to stop him. Barnes looks about one more jab away from knocking Tony out.

“Tony, we still have to get out of here and somewhere sheltered. We don’t know how long we have before we go back and we can’t just leave the Sergeant without any help either. Maybe he can’t go back, but there must be something we can do to help him, right?”

Tony looks at her grudgingly and nods.

“Okay, I’ve got a plan. We get back to the base, I go in alone and talk to Howard. We fly to New York and I’ll make sure Barnes here gets set up with a new identity and a job.”

Darcy smiles as brightly as possible at Barnes.

“See? A whole new start, it’ll be great!”

Barnes's eyes widen for a moment before he bites out the words she had been dreading to hear her whole life.

“I won’t leave Steve!”

To be fair, he looks almost apologetic the second after they came out of his mouth but Darcy closes up and Tony growls.

“What did you just say?”

Barnes raises his hands shaking his head, looking beseechingly at Darcy.

“I’m sorry, I didn’t mean it like that, I just-”

“Have you got any idea the damage those words have done to her you selfish neanderthal?”

Tony had seen her words once, completely by accident. They’d had to go through decontamination after a spill in the lab, the showers hadn’t left much room for modesty. Her words crawled up the small of her back, just below the rise of her jeans. After that, the older man had been stupidly attentive and protective of her. She’d honestly never expected to encounter her soulmate like this, and especially not with Tony in tow. Tony who knew more of her secrets than anyone other than Jane.

Barnes' face at Tony’s accusation was bitterly remorseful. His eyes flashed to Darcy, boring into her own deeply, seeing the hurt and rejection she’d lived with her whole life. He stepped towards her, his lips parted, she wanted to say something, but any words she could have said were swiftly cut as Tony pushed him back and away from Darcy.

“I said I’m sorry!” his voice is harsh and Darcy thinks she can almost see the threads as he unravels. “But I can’t leave Steve, he needs my help, he’ll get himself killed if I’m not there-”

Tony gabs Barnes and shakes him.

“Rogers lives. You died and Captain America carried on, did just fine without you. You going back, being alive? That could change all of history and just might get your friend killed. Do you want to do that? Risk the future just to butt in where you’re no longer needed?”

Tony’s words were scathing and sharp but no less true for the content.

“Tony! That’s enough….” she turns to Barnes. “Look, I’m sorry this happened, but you were meant to die, it must feel like your life has been turned upside down, I know. But it’s better than actually being dead, right?”

His eyes settle on her and he shakes his head, she suddenly wants to be anywhere but here. He looks lost and afraid and she can’t help but feel this is her fault.

“Better than being dead? I can’t see my best friend ever again and my soul mate is going back to the future. I’m going to be alone for the rest of my life, I’m over the fuckin moon.”

She recoils like a blow has been struck. He’s angry, of course, he is. She is too. This should never have happened. It’s not fair, but if there is one thing she’d learned in life it’s that it is never fair. She’s toe to toe with him, shaking from anger or cold, she’s not sure which.

“How do you think I feel? I’ve been shot at, fell through time, nearly got hit by a train and now my soulmate wants nothing to do with me and even if he did I’m never going to see him again! You’re not the only one with a sucky life Barnes but I’m not having a tantrum over it. Suck it up soldier and deal with it. This is life.”

Twin blue eyes blaze at each other before Tony comes between them again and then she ignores Barnes, letting Tony guide her as they get off the mountainside.

It takes six hours to get back to the base. Tony somehow manages to carry them both, flying low and slow until the dark green tents and the wooden barracks appear. They drop down a few miles out, Tony leaving them both sneak in and find Howard. He doesn’t think it will take much to convince his dad of who he is and tells them to stay safe until he gets back.

Barnes stalkes about the clearing they’re in like an angry bear while Darcy does her best to push away the strange grief she feels welling up in her heart. It doesn’t make much sense, really, it’s not like she knows him or is going to get the chance. The wristbands are their only way home, not equipped to carry an extra passenger. Tony had already put the full stop in her unspoken question about her staying. It was a huge no-no, she didn’t belong in this time, he was almost certain the time-stream would rearrange itself around her if she stayed but that it would most likely try to erase her the longer she stayed. He’d made too good an argument for the universe trying to Final Destination her ass to be comfortable with taking the risk.

“I don't even know your name” She jerks a little at the abrupt statement, suddenly aware of how close he'd come to her.

Bucky feels like his world just ended and nothing is ever going to feel right again. When he’d fallen from the train he was certain he was going to die. It was a long way down and in those few moments where he fell he’d almost made peace with his end. The words inked on his arm the only regret he had. He’d wondered his whole life about the girl that would one day try to reasure him.

See? A whole new start, it’ll be great!

Wondered what he’d say to her, how he’d greet her. Instead of one of the many things he’d hoped he might say he’d pretty much rejected her for someone else. He cringes at the thought that she had spent her life wondering who Steve was to him that he’d refuse her. Now here he was, with the one girl he was made for, who was made for him and he was furious at himself for the cock-up he’d made of it. He runs a shaking hand through his hair, feeling the small ice crystals melt when they come in contact with his hand. It’s freezing out here but he hardly feels the cold. It’s been that way for a while now, not just the immunity to the cold, but the strength and the speed and his senses all sharper and better than they’d ever been. He can see her shivering, even with the long blue coat of his wrapped around her tiny frame.

God, they haven’t even been introduced properly. He feels like a fool.

“I don’t even know your name.”

She looks up at him, seeming surprised at his closeness.

“Darcy Lewis.” she doesn’t give him more than that, a brief snippet of knowledge.

“James Barnes, but my friends call me Bucky.” she raises a brow, “I’m sorry for how I reacted back there, for what I said. You didn’t deserve those words. I was just worried about my friend. You gotta understand, I’ve known him since we were kids, he’s like family to me.”

Darcy sighs. “I get it, I do. Consider it forgiven.” she shivers again and hugs herself tighter.

Bucky feels a twinge of guilt.

“Don’t know how long your friend’s going to be, we could..” he trails off, his hand, held towards her hesitantly, gesturing for something.

Darcy looks at the outstretched hand, it's like a bell in the back of her mind, like deja vu.

“Look, you’re obviously freezing, come here and we can huddle, share warmth. I know it's a little unconventional, but I promise I’m not trying to make a move.”

Darcy snorted.

“Like I couldn’t take you if I needed to.”

The way she side-eyes him and the little twist of her lips as she delivers the words induce a sudden chuckle. It’s been a while since a dame smacked him down so dismissively. Part of him admires her moxie while a deeper part finds a bittersweet understanding of why the universe paired them. He could see it. How they could be. If life had given them a different path.

Darcy throws a half-hearted glare his way.

“What, you don’t think I could?”

“Oh, I’m certain you would if I got fresh, Doll. Come here, you’re freezing, no use refusing just to make a point.”

“And if I said no?”

“You could, '' he nods his head. “ But you won’t, you’re too practical and smart to be the kinda girl that’d cut her own nose off just to spite her face.”

“James Barnes, is that a compliment for little old me?”

Bucky rolls his eyes. Of course, she would be full of sass to match his.

“Tellin’ you you’re beautiful would be a compliment. I’m just calling a spade a spade.”

Darcy presses her lips together, refusing to smile and lets him take her hand, he pulls her in close and wraps his arms around her as she tucks her head into his chest. When she realises he really is like her own personal space heater she unashamedly clings to him like a limpet.

“Getting comfortable, Doll?”

“Digging in, like the spade I am.”

She replies dryly then lets out a tiny giggle and feels an answering rumble of amusement from his chest. His arms tighten around her a little and she sighs, some of the tension bleeding from her shoulders.

“Thanks,” she tells him quietly.

“Least I could do.” He responds equally quiet. A silence lapses between them but it lacks the jagged edges that it had held before. Darcy breathes him in. It would be so easy, she thinks a little sadly, to get used to this.

It’s dawn when Tony gets back to them, Howard in tow. In less time than she’d expected they were in the air and flying over the Atlantic. Tony and Howard are upfront, conspiring away while she’s stuck in the cabin with Bucky. It’s strange watching the man, her soulmate, the little voice in her head whispers, as he sleeps.

Out there in the snow and ice, he’d been all hard edges and furrowed lines. In sleep the angles of his face softened, he looked younger. She’s not blind, the man has the sort of face you’d expect to see in some lookbook for a model agency. Maybe if he’d been born in her time he’d have found himself doing exactly that or perhaps acting on some cable tv show. He was almost pretty but with just enough dangerous charm to describe him as strikingly handsome. More man than boy, despite the big blue eyes and soft lips. If she had to admit to a type, he was exactly hers. Not surprising considering the words curling up her spine. It doesn’t seem to be something she can entirely dismiss, even when she knows there's no future here for them. Her heart sees him and she feels like the breath is knocked out of her. But even the knowledge that he hadn’t been rejecting her is now more of a burden than a relief. A burden because she can’t help but wonder what could have been. It’s like being given water in a desert and then having someone take it away to pour into the sand. In his sleep, he curls an arm around her and pulls her in close. Darcy lets him, selfishly allowing herself to pretend that this isn’t just a temporary stop along the road. She closes her eyes and rests her head against his chest and cuddles in. Deep inside she thinks they really could have been something.

The change in air pressure, subtle though it is, is what wakes him. He finds Darcy wedged into his side, fast asleep. He can feel the plane descending. She’s a soft warm, sweet-smelling refuge of hope amidst the raging storm of his emotions. He’s torn. He thinks he should be pushing her away, this is just prolonging and making matters worse. He doesn’t want to get attached. She's going to leave and he’s never going to see her again. His heart, soul? Whatever they want to call it, this connection the universe gave them is pushing him to keep her close and never let her go. It seems the longer they spend in close proximity the stronger the pull is between them. He has no idea where he’s going to go from here. What sort of future he’s going to have, but the unsettling feeling that there isn’t one without her leaves him numb.

“Hey…”

His eyes flick down to meet hers, gazing up at him, sleep heavy and soft. This is what he was meant to wake up to every morning, he thinks, somewhat bitterly before a fond smile, curls around his lips at the cute scrunch of her nose.

“Morning, sweetheart.”

Darcy huffs and reluctantly pushes away from him.

“Please don’t…” she trails off. The way he was looking at her made her heart swell, she could feel herself softening to him with every second. “This wasn’t what I expected…” she pauses and shakes her head. God that was a stupid thing to say, neither of them could have predicted anything like this.

Bucky purses his lips but keeps quiet. He can see her struggle to put her thoughts in order and his Ma raised him to be polite. He let her gather them, seeing the little wheels turning behind her eyes.

“When I was a kid I used to pretend I didn’t have words. I figured it was easier to say I was blank than admit my soulmate didn’t want me… wouldn’t want me. I told it to myself so much it felt true.” It had felt like that. She had cut herself off from any sort of longing to protect herself from the pain of being rejected. It wasn’t something that happened very often, but it did happen. People refused their soulmate, denied the bond and it would fade into nothing, Meeting your soulmate wasn’t a guarantee of happiness, it was just a chance, an opportunity to find the person best suited to you, but it didn’t guarantee love. “I thought if we ever crossed paths we’d both walk away content with the decision. Me happy to let you have what you wanted, you happy not to have some overly emotional drama queen stalking you.”

He could feel her sadness, her eyes were wet and her voice wavered. He gently cupped her face and caught the tear as it trailed over her pale skin.

“But now…. Now it feels like, -”

“Like we’ve been cheated. Like you were given a chance but the choice has been taken away. It was your choice before, to walk away from me when you thought I wouldn't want you.”

“But I didn’t have all the facts. If we’d met in my time… God, everything would be different, we’d still have a choice, an opportunity to ... I can feel it, you know? You feel it too right?”

His thumb stroked over her lip.

“Yeah, I feel it too, s’like magnets pulling together. Never wanted to know someone the way I want to know you.”

The sincerity in his voice struck a chord deep in her soul. She felt the same echo in her own.

“But we can’t. And this… the way you’re looking at me and touching me… I want it so badly but it’s just going to hurt so much more when I leave... if we keep doing this. I can’t afford to get this comfortable with you, I don’t want to... I’ve been hurting my whole life but now it's real and in front of me and I…” Darcy crumples. Maybe she’d convinced herself she’d never have a great love, but it didn't mean she’d ever really stopped wanting it. She feels like every moment in her life leads here, an inexorable inevitable point, fixed and immovable and she doesn’t want it to end.

He gathers her close, feels her tears soaking into his shirt as she cries. She’s breaking his heart. Every bit of him wants to protect her, comfort her; seeing her like this and knowing there is nothing he can do makes him furious at the world, at whatever god consigned them to this tragedy.

“It’s not fair...it’s not.”

“I know it’s not, princess. But we’re going to hurt either way. Why not make a few memories to hold onto?” The words are out of his mouth before he can stop them, his mind changed. Maybe this wasn't going to be a forever, but he'd be damned if he didn't at least hold onto whatever he could get.

Darcy breathes and considers his idea. Maybe he’s right, isn’t this going to hurt no matter what?

“We might only get hours, a few days at most.” she’s not sure if she's trying to discourage him or begging him to tell her it doesn’t matter, that he’ll take whatever he can get. He doesn’t disappoint her.

“Then we make them count. Enough for the life-time, we could have had.”

Bucky places two fingers under her chin, bringing her gaze to his. Darcy blinks then lets it all go, lets her guard down, and sinks into his eyes. She thinks for a moment she forgets to breathe. His eyes are soft, a warmth in the deep blue. He smiles gently, encouraging an answering smile from her lips.

“Okay.” She finally lets go of the fear, embraces the chance to snatch a few small moments of beauty amid the chaos of their inevitable defeat. How, after all, could you win against time?

“Okay?”

Her smile grows wider at the happiness in his eyes and he hums a little tune. It’s a small thing but it brings a tiny snort of laughter from her, an old song so ironically apt.

“They can’t take that away from me.”

“What?” Her brows rise, was he serenading her?

“The way your smile just beams.” He sang softly, grinning down at her. She giggles.

“The way I sing off-key?” She answers back in kind.

“The way you’ll haunt my dreams… no no they can’t take that away from me.” He presses a kiss to her forehead. “Seventy-five years and people still know that song?”

“I like the Fred and Ginger movies, that one was a favourite.”

“I’d have liked that, taking you to a movie, on a date. Take you dancing somewhere so I could hold you close.”

“You don’t have to dance with me to do that” Darcy wiggles her eyebrows suggestively and Bucky thinks he’s never felt so charmed in his life.

When they finally get off the plane Darcy pulls Tony off to one side.

“I need time,” she tells him.

“Lewis, I swear if I could fix this…” He looks pained, but Darcy just shakes her head.

“No, that's not what I meant. I need time on my own with him, it’s the only chance we’ll ever have and I want to make the most of it, you understand, right?”

Tony sighs. She’s stubborn and fierce and he’s done his best to ignore the way the two had gravitated towards each other once their words were spoken. He knew from his own match that trying to keep them apart would have been pointless so he hadn’t tried, maybe even encouraged it by staying with Howard and letting the man talk his ear off. He gets it, he really does and just once, he can give her this.

“Think you can keep out of trouble till we get pulled back?” at her nod he continues. “Fine. When the recall alert goes off make your way to Central Park. We’ll meet at the little plaza, it should be deserted enough and open enough for our return back. You’ll have about half an hour to get there so don’t stray too far.”

She surprises him with a quick hug and a whispered thanks in his ear and then he watches as she drags Barnes off by the hand.

Forty-three hours later her wrist device beeps. Darcy looks at it mournfully and cuddles into Bucky’s arms. He’s spooning her, her body snugly tucked against his. It all feels so monumentally right, the feel of his skin against her, the rhythm of his heartbeat in time with hers, the way each breath between them works in harmony. His arms are wrapped tightly around, holding her fast, she wishes she could stay here forever, in this one perfect moment, suspended like a dragonfly in amber.

“Bucky, baby, we’ve got to go.” His body tenses and he mutters into her shoulder.

“It’s not fair Darcy… it’s not right.”

“I know. But we’ve had this.”

“S’not enough, doll. It could never be enough.”

He growled, tugging her under him as he rolled on top of her. His mouth met hers swiftly, kissing her till she was breathless and clutching him to her as her body sang for his.

It’s quick and desperate. Two bodies trying to merge deeper than imaginable, both of them attempting to leave their mark on the other. When they peak she cries, even as her body shudders in pleasure. It’s the sweetest torture. To have this and know it will soon be over. She feels his tears on her skin, falling to mingle with her own against her cheeks as he kisses her deeply. She never thought a kiss could feel like this, like hello and goodbye and forever.

They make their way to the park with a few minutes to spare.

When she enters the clearing where the little plaza is usually found, all that's there is a wide grassy space with a few benches and a path. It’s a little jarring to see it like this, without the presence of the Searching Soldier the place felt empty, haunted. Before she can think about it anymore there’s the sound of shouting and the retort of a gun. It’s like the lab all over again, only this time it’s Bucky that grabs her and forces her behind him.

“Put the fucking gun away Howard, it’s not going to help!” That's Tony's voice carrying through the trees.

Tony and Howard burst into the clearing, running, and made a beeline for Darcy and Bucky.

“Three minutes till we get delorean’d back to the future, Lewis and we’ve got a sorcerer on our ass.”

“What? Like Strange?” A blast of golden light cuts through the trees and they’re thrown off their feet.

“More Voldemort than Dumbledore, but sure.”

“What the hell do they want?” Bucky hisses at Tony.

Tony shoots him his patented “Am I the only smart person in the room” expression and Darcy elbows him in the ribs.

“What do you think? They want to know the future!”

“You’re telling me you managed to get Nazi wizards on our asses in less than two days?”

“Like it’s my fault!”

Darcy glares like she could set him on fire.

“Fine, it’s about 12% my fault, the rest is his,” he tells her, nodding at his shamefaced father.

“Oh god, there’s two of you. Now I can tell Pepper where you get it from!”

Tony scowls as they dodge another blast, running and throwing themselves behind a low wall beside the path.

“What are we meant to do?”

“We just need to stay in one piece till we get yanked back.”

“What about Bucky, and Howard?”

A sudden flash of light behind them as a portal opens sends them scrambling, but instead of danger, the serene face of a woman looks down on them as she emerges from the rip in reality. Her head is bald, her porcelain skin seems to shimmer, and about her neck is the faint green glow of the eye. Darcy recognises it as the Time Stone.

“Dr. Stark.” she nods.

“Ancient One.”

Darcy is taken aback at the seriousness of his tone and the respect he gives the woman without question. It’s disconcerting, to say the least.

Four sorcerers follow behind her and scatter quickly, facing off against the enemy as spellfire bathes the clearing in an eerie light.

The Ancient One moves her hands in a complicated pattern, a golden dome engulfs them in a protective bubble.

“You are safe now and there is not much time.” She regards Bucky with a sharp eye and traces some unseen line back to Darcy. Her gaze softens as he takes Darcy’s hand in his, moving protectively in front of her.

“You have nothing to fear for your soulmate, Sergeant Barnes, I mean neither her nor yourself any harm.”

“All due respect Ma'am, but I don’t know you and I don’t trust you.”

She nods to him and returns her gaze to Darcy.

“The timeline of this universe has been irreparably altered. I can see why now and perhaps this way is better.”

“What do you mean?”

“Your Sergeant had another path he should have followed, one that still would have ensured you crossed paths here in your future. That way is now lost, since it cannot be recovered, perhaps there is a way to resolve your current predicament.”

“Can you send Bucky back to the future with us?” she asks her hopefully.

The Ancient One smiles mysteriously.

“In a manner of speaking, yes. But I am afraid your soulmate will have to take the slow path.”

Darcy’s face fell. She had hoped… The watch beeped again, Tony gave her an apologetic look as he held his hand out to her.

“It’s time, Short Stack.”

She doesn’t let Bucky's hand go even as she is reluctantly pulled away by Tony. Bucky seems about to speak, the smallest regretful smile turning his lips and then the Ancient one taps his shoulder just as Darcy's hand leaves his. Bucky freezes, caught in a moment, utterly still as his whole body seemingly turns to stone. Darcy tries to lunge back, a cry of horror ringing out.

“He will be here, waiting, Miss Lewis. And like any good fairy tale, true love's kiss will break the spell.” The Ancient One imparts softly.

Darcy doesn’t have time to react to the words before she feels caught up in a whirlwind of motion and the world jerks sharply to the left.

They come awake together in the lab they left from. Tony tripping over himself to check the machine. The place looks fine, nothing seems out of the ordinary. It’s like the firefight in here never happened.

“Tony?”

He sweeps his desk for his phone and checks the date.

“Just as I thought. The same day we left from, it’s lunchtime. We’ve come back before we left. Come on, we better get out of here before we run into ourselves.”

They take the secret elevator out and Darcy follows Tony without question, still half in shock and trying to wrap her mind around the events she’d just experienced.

Before she knows it, they’re back at Central Park. Tony shepherding her along in a daze.

“It all makes sense now, this is crazy. I mean, you’ve spent every lunchtime here for the last two years... Darcy..., Double D! Snap out of it.”

“He’s been there, all that time?” she finally says, shock and disbelief colouring her tone.

“From the moment we left. He’s been there. Waiting for you.” Tony puts his hands on her shoulders and she doesn’t know whether to sob or laugh.

“I didn’t lose him?”

“Look, “ he tells her, nodding over her shoulder. She turns her head, as though seeing the statue for the first time. It’s him, it’s really, him.

She looks back at Tony, shaking her head.

“What do I do? What if it doesn’t work… what if-”

“Lewis! Breathe.”

Darcy curls her hands into fists and sucks in a deep lungful of New York air. She is a well of mixed emotion, confused and hopeful and terrified. It’s almost too painful to believe this is real. That he’s been here, all this time, trapped in a single moment, waiting for her to free him.

“This is unbelievable.”

“I know.” he agrees soothingly.

“He’s the Searching Soldier”

“Patron Saint of true love and all-around good luck charm. New York may never recover the loss. Pretty sure, lover boy over there accounts for about a quarter of tourist revenue.”

Darcy snorts, a hysterical giggle forcing its way out. Tony only manages to keep a straight face for about a half-second longer than her before they're both howling with laughter. Passers-by stare at them as they walk past. Eventually, breathless and shaking but far calmer, Darcy stops.

An exasperated cough to their right has both turning sharply.

Stephen Strange is dressed casually, a grey jacket with a matching scarf wrapped around his neck, hands stuffed in the pockets.

“I don’t have all day you know.”

“Strange.” Tony gives the wizard a distrustful frown. He dislikes Strange on principle. The man tacks an inordinate amount of pleasure in needling him.

“Stark, Miss Lewis.”

“What are you doing here?”

Strange rolls his eyes, a look eerily similar to Tony’s own” How do I deal with these idiots” sneer crossing his face before he dispels it at the look Darcy throws at him. She is so clearly done with all the shit today.

“Well, we can’t just let the rest of New York know that a man has been trapped in stone for seventy-five years, can we? Besides, the sudden disappearance of a national treasure would be impossible to hide and the economic impact… what, what? Stop laughing, honestly, Stark, can’t you take this seriously for five minutes?”

“So, you’re here to cover it up.”

“Indeed. Miss Lewis will break the spell, I’ll cast an illusion and Wong will bring the duplicate statue through from the Sanctum.”

“How…”

“Did I know? Well, the Ancient One left a reminder on Wong’s phone. Got the alert this morning and crafted a replacement...”

Darcy shakes her head, tuning Strange out, and faces the statue. She’s put it off long enough. She takes off, leaving Strange and Tony bickering behind her, and crosses the plaza. She only pauses for a moment at the bottom of the plinth before determinedly taking the steps and standing beside him.

She knows the answer to the question now. The expression on his face had been both I love you and goodbye. She takes his hand in hers and steps closer before pressing her lips to cold stone. For the tiniest instant, she thinks it didn’t work, but then it’s like the world suddenly found its breath and cold marble becomes warm flesh, unyielding stone transmutes to living motion and she faintly hears a gasp before strong arms crush her close. Bucky’s voice, whispering her name, fills her ears and then he’s kissing her as if he’ll never stop and she revels in every second of it. A Million possibilities open before them. Infinity beckons.

#wintershock #darcy/bucky #dlbingo2020 #dlbingo #my writing

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golden-deer-dear · 4 years

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Claudeleth Fic Recs

I love fic recs. I love Fire Emblem. And since I can’t really focus on anything else right now, I decided to just promote my favorite Claudeleth fics out right now. If you’re looking for something to read, then check these out because they’re all amazing. In no particular order, here are my top five fics. (Many of these authors have other stories I love, but I decided on one per author for this list.)

Fate and Other Lessons by DistractedSiren, Byleth/Claude, wip - 33k

When she'd been a young Blue Lion at Garreg Mach, Byleth had been certain that Claude von Riegan, leader of the Golden Deer, had done everything in his power to make her life difficult.

Now, four years later, Byleth finds herself teaching at the Officers Academy alongside her old rival, and he's just as annoying and distracting as he was when they were eighteen. He's also at least twice as handsome. The pair are quickly back at each other's throats, only Byleth has no idea that now all of their interactions are fraught with sexual tension. Claude, on the other hand, is hardly aware of anything else. And their students? Their students are on the verge of locking them in the Goddess Tower together and leaving them there until they figure it out.

I love this AU so much. I find AUs fascinating, but it is sometimes hard to find one that keeps the characters’ personalities in tact. Not only does this one do so, it is one of my favorites because of how on point the characterization is written. The plot is intriguing, and I am immediately drawn in as soon as I start reading. This is one of those fics that as soon as it updates, I’m immediately pouncing on it to see what happens next.

If you’re looking for a well written fic with amazing characterization and some tasty slow burn romance, this is exactly what you want.

Point and Shoot by doylesmom, Byleth/Claude, 7.4k Once the war was over. Maybe they could all move on with their lives, then. Bernadetta could retire and never have another trauma induced episode again. Hilda and Marianne could finally get married. Ignatz could finish art school. Sylvain could come out of hiding. And maybe, maybe, if they were both still alive, she could confess to Claude, her best friend, who she loved more than she had ever loved anyone or anything in her life.

But that day had not come yet, and that time was not now, and as she took his hand as he helped her out of her seat, she could only pray, pray, pray that that day might come soon.

I got distracted writing the review for this one because I needed to read the fic again as soon as I opened the page. Apparently this is the author’s first smut, and that is just insane to me, because this fic literally has my favorite claudeleth smut scene. This AU is intriguing, and that is coming from someone who normally gives Mafia/Crime AUs a wide berth. I want to know more about this world, and the fact that we’ll be getting a sequel in a few days has me super excited. Byleth and Claude are still wonderfully in character, even with the dramatic setting shift, and I love it so much.

This story showcases some amazing writing talent. If you’re in the mood for some interesting world building, and some amazing smut, I strongly recommend you read this fic.

For Whom the Stars Shatter by Cirrocumulus, Byleth/Claude, wip - 50k

“I would have made you Queen of Almyra, eventually”, he whispered against her collarbone, sensing her discomfort. Part of her could have indulged in that fantasy, even then, but whenever she raised her eyes to wrinkled folds born from laughing she would count his crow feet like the years that passed.

20 years ago, Fódlan had been granted peace by the King of Almyra in a battle written down in history. Now, the anniversary crept ever closer, and with it old feelings and new ambitions. But time divides people, and he had been giving his away while she seemingly hoarded hers. Yet the rings on their fingers were ever present, stuck in pipe dreams of the past.

Oh man, I could literally go on all day about how much I love Cirro’s writing style. It has this beautiful, poetic feel to it that hits along the lines of a Shakespearean tragedy. There is so much pain and yearning in this fic, but it is such a good hurt. This is exactly how I would imagine Byleth behaving if she was made Archbishop, and just the tension and love that still exist between her and Claude is so good. It usually takes me all day to read a new chapter, because I’m just mesmerized by the writing that I’m going back to reread lines I just read. It overflows with symbolism, which I am just a huge sucker for.

Are you looking for something with angst and longing? Something that is just the epitome of beautiful writing? Then you’ll want to check out this fic.

last kiss by wanderlustt, 3.8k

Five men who've stolen kisses from Byleth, and the one man who steals her last.

Oh my god! This fic is full of desperation, and the writing is done in such a style that it conveys Byleth’s feelings perfectly. I have read this fic at least five times by this point, it is just so good. My heart ached the entire time I was reading this, and that feeling did not dull upon rereads.

I can’t say much more without giving away plot points, but everyone should read this fic. Just stop what you’re doing right now and go read it.

to fall in love again by mochee, 12k

"Who are you? Are you a spy for Edelgard?" "It's me, Byleth," she says, almost desperately. Claude’s next words cut through her like a knife, so earnest and true that she doesn’t doubt them for a second. “I don’t know a Byleth.” -- Or: Byleth comes back from her slumber to find out Claude has not only been ill with Hanahaki, but that he was forced to undergo surgery. There are consequences.

It’s a hanahaki fic, so you know you’re in for some pain. This is another AU I don’t typically seek out, but man am I glad I gave this one a chance. This fic has a unique take from what I’ve seen from other hanahaki AUs. The end of the first chapter had me literally gasping out loud in shock. I made the mistake of reading this right before I was supposed to go into work, and I could not put it down. I was trying to take sneak peaks of it whenever I got a chance, I just needed to know what happened next.

Yes, more angst and pain, but the payoff for this one is so beautiful. Give yourself enough time to finish this before doing anything else, because it will engross you and you won’t put it down.

I enjoyed doing this, so if you guys would like more fic recs at some point in the future, let me know. Go enjoy these wonderful fics!

#fire emblem #fire emblem three houses #claudeth #claude x byleth #claudeleth #fic rec #other peoples stuff

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reachexceedinggrasp · 4 years

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Fated to Love You here reaffirming my long held conviction that no pure romance drama should be 20+ episodes.

This show is... really something. It is, in the fullest possible sense, A Lot. It starts out as an all-out screwball comedy wrapped around a troperiffic romance fluff plot. Wall to wall clichés, but not in a bad way; in a meta, self-aware, peak performance, finest Velveeta way. And if you’re not familiar with screwball comedy, think ‘light-hearted crack fic with slapstick and farce’. There is nothing believable or grounded about any aspect of it, it starts at Bonkers Level: Platinum and it only climbs higher as it goes on.

(On a side note, this results in the leading man being possibly the most memorable love interest in romcom history. His introduction scene is nothing short of batshit insane and you can't reliably predict how he will respond to anything. I have never seen a main character like this, he is all over the shop and utterly singular. Your first reaction to him is ‘wtf?’, your second and third reactions are ‘really?! this guy??’, your fourth reaction is ‘okay he do be mad hot tho’, your fifth and final reaction is ‘I cannot believe this performance exists, I have no idea what he is doing, but it is amazing.’

Appropriately(?) the actor who plays him is an uncanny Korean doppelgänger of Johnny Depp and- between the resemblance, the mannerisms, and the fearless total commitment to a bold as fuck acting choice with the very serious chops to back it up- I’m not convinced they aren’t half brothers separated at birth.

They do sabotage my happiness several times by starting to randomly style his (long, beautiful) hair very weird, fixing it right when the plot is rapidly circling the drain so he looks his hottest just as the show becomes briefly unwatchable, and then ruining him for the entire second half of the series by shearing it all off. WHY, my anguished cry goes up. Why do you do this?! Why does he have like seven hairstyles over the course of the show? Much later they even briefly give him that ubiquitous Kdrama Second Lead haircut with weirdly forward combed fringe in a solid straight line across the brow all the way back from the crown. It looks terrible on everyone and I hate it so much. This version was less bad than most but it is still bad. Anyway.)

So it’s an incredibly fun time to start but there are some problems with the tone and plot even in the first 9 episodes, including when the lovers start getting along really well right away and they’re both thoroughly decent people so there’s nothing keeping them from having a lovely time together making the best of the circumstances (forced/fake marriage). And, instead of introducing new conflict or advancing one of the dozen conflicts previously established and actually moving forward, there is a painfully contrived rehash of something they already dealt with which is then just never resolved. They make the hero leap to a conclusion his wife is nefarious after he’d already decided once that she isn’t (though it was completely reasonable for him to think she was- the fact that he decided to trust her so quickly just speaks to what kind of person he is), never try to find out more or talk to anyone about it, start pushing her away because of it, and have all this come to absolutely nothing. It only exists so he’ll stop being so incredibly nice to her and they won’t fall in love too fast.

You’d think they would have to eventually clear the air before the romance advances right? No. It wasn’t a real plot point, it was just a reset button to get them estranged and hostile again after they connect over their kindred spirits and we’ve spent a bunch of time showing how profoundly supportive and honourable our hero is. He’s being beautifully mature and selfless because he’s a really good dude (unusual for a romcom drama, right? for the main guy to be nice and considerate? to accept responsibility even if he doesn’t have to? Gun’s weird but he’s wonderful), but the writers need him to be cold and standoffish, so they just make him act like an unreasonable idiot for a while. He’s been thus far hugely proactive and direct and honest about everything, it’s one of his most prominent character traits, but suddenly he’s going to avoid confrontation in favour of being super passive aggressive?? Then the writers never solve it. Never! It just goes away. He got over it, I guess? He decided he doesn’t care if she’s a gold digger who deliberately trapped him? God forbid we have motivations that make sense and organic character drama, right? It's not like he didn't have totally valid reasons to be suspicious that could have led to legitimate conflict our heroine would struggle to vindicate herself from.

But anyway, apart from that kind of lazy bullshit, it’s a fine romance plot with extremely endearing characters who have great chemistry. They are fun and well-rounded and incredibly human despite all the silliness and OTT antics. Their relationship is hugely, hugely engaging and the dynamic is perfect, they really complement each other as characters and organically drive each other's arcs. There's the genuine depth and warmth and quiet pathos so often lacking from this kind of show. Things progress at a semi-reasonable pace. They work up to confessing their mutual feelings and get into some cute shenanigans before making out. It happens soon enough that you are not frustrated, but there's still plenty of build-up. Then- uh oh! We’re only 9 eps in and we have another 11 hours to fill with this fluffy plot!

Time for a bunch of absolute fucking nonsense. Time for our show, which has been so goofy and removed from reality it occasionally resembles a Monty Python skit, which has been so light it asks you to ignore the frankly incredibly fucked up implications of its premise for the sake of comedy (they were both drugged and proxy raped resulting in a pregnancy- the FL was a virgin prior to this and Gun had a girlfriend he wanted to propose to- and it was the FL’s family who did this to them: SUPER FUCKED UP), so farcical that it makes Some Like it Hot look like a gritty crime drama, that show to cover a bunch of serious heavy shit.

First, the rankest of melodrama. The families and the world all turn on our couple, but their love is true and will conquer all- UNTIL, he randomly collapses and gets convenient Soap Opera Amnesia. He’s forgotten their entire relationship and a series of coincidental pieces of misconstrued evidence, the machinations of his scheming ex girlfriend, the Soap Opera Doctor’s advice, and his closest confidants all going along with this conspire to make him believe (AGAIN) that his wife just wants his money.

This whole terrible episode is mercifully brief, but it just gets worse after his memory returns. This is where we get into the Noble Idiocy. The ‘pretend you don’t love them to “save them” from getting hurt by hurting them and making their important life decisions for them as if they don’t have a basic fucking right to decide that themselves’ kind. Which goes on for three FUCK years in the show. He wastes three years of their lives they could have spent together because he’s worried he might die young (in a terrible way) and doesn’t want to put her through that. And, of course, they inevitably get together later, so all he did was make it infinitely worse for her either way. To say nothing of how he thus couldn’t be there for her through the loss of their child. Possibly my most hated fucking trope of all time when done this way.

And, yep, you read that right. This show that has the single most batshit bonkers over the top slapstick I have ever seen in a kdrama, this show has a storyline where the fluffy romcom trope accidental pregnancy ends in massive trauma. Because she was standing around in the street after realising he does remember her (he continued to pretend he had amnesia after his memories came back, it’s all part of the stupid noble idiocy so I glossed over it) and gets hit by a car in the middle of their angst staring.

It is nearly Meet Joe Black levels of hilariously abrupt and incongruous.

so, blah blah, they lose their baby (there’s a very stupid whole thing about her telling everyone to save the baby instead of her- the baby is not far enough along for this to have been remotely viable. She is like 3 months pregnant. They all act like there’s a choice to be made between them and she’s mad at her husband for choosing to save her, but there was NO CHOICE. Either she lives or they both die! ffs I’m so irritated about this) and then he dumps her ~for her own good~~ because he loves her too much to make her go through losing him? So she loses him sooner?? right after their baby died???

Why do people in these stories always think being betrayed and abandoned for no reason and being incredibly angry at someone you love while also not getting to be with them is somehow less painful than making the best of your life together and then losing them against their will? ‘I will make her hate me and then she won’t be sad we broke up/I died!!!!’ is such a fucking galaxy brain take and I despise it with the heat of ten thousand suns. Fuck you, Spider-Man. You aren’t protecting anyone, the villains still know you love MJ and will still use her against you, you clod. Emotionally torturing the person you love is not going to make them not a target because the villains are not as fucking stupid as you two. Anyway.

Amnesia was right where I started fast-forwarding and skipping around (because I couldn’t bear it), but it only goes downhill from there. Maybe I would have toughed out more of the wretched middle part plot twist if they hadn’t cut all the hot guy’s hair off. If I’m going to watch total nonsense tedious melodrama, I need it to at least be pretty. I understand it was a Symbolic Haircut but damnit! Let me have this!

And it ultimately does the thing that kdramas seem obsessed with and which makes me want to claw out my own eyeballs with frustration. There’s a giant time skip, the female lead gets a personality transplant, all narrative momentum is lost, and the characters who eventually (at ENORMOUS length) get together permanently are essentially completely different characters with a completely different dynamic than the couple you were shipping for 90% of the story. It is so FUCKING unsatisfying and it is EVERYWHERE.

Not so much with this one because this one still had a lot of very romantic scenes late in the game, but most that do this, it’s also like all the romance is sucked out of the post-time skip episodes and the ending is a consolation prize instead of a triumphant culmination. Inevitably, the heroine abruptly cools off and is suddenly wary of the hero and wants this Important New Career she never mentioned until the penultimate episode but is now her one true life’s dream. What the apparently irresistible appeal is of these contrived separations and demure conclusions is I CANNOT FATHOM. I’m here for the fucking romance guys, you have not made Citizen Kane, please just indulge me with a big schmoopy finale.

And if not that, it’s frequently that there’s been so many random mood swings and so much shitty behaviour by the end that the relationship doesn’t make sense and you don’t know why they even bother to get back together.

I’m not inherently against all misunderstandings (they are the bread and butter of low stakes romance let’s be real) or attempts at noble idiocy from misguided characters, but the duration and seriousness of the drama these generate needs to be in proportion to how ridiculous they are. If your entire plot can be solved by a thirty second conversation there is NO REASON not to have and the continuation of the misunderstanding is a result of someone just NOT SPEAKING UP when any functional human being would have spoken up seven times by now IT’S BAD.

Do little cliff-hangers, whatever, but don’t draaaaagg out silly misconceptions into Shakespearean tragedy, it’s just wearying. It makes me hate the characters for acting like emotionally constipated toddlers with terminal stupidity. If there is so little trust, so little understanding, and so little basic patience between these people, they probably shouldn’t be dating, so try fucking harder, writers. And noble idiocy that is more than an impulse they fairly quickly see the error of is just insulting. You are not helping the other person, you are being domineering and selfish. I have a whole complex about wasting time and seeing endless parades of characters flushing years down the toilet for literally no reason gives me hives. Especially when the whole issue is about time!

(And, btw, so much of the plot is about how desperately the family needs an heir and everyone still wanting them to have kids the second time they get together- while the ~dilemma used to keep them apart is a GENETIC DISEASE which could STRIKE AT ANY TIME. Do you SEE THE PROBLEM WITH THIS WRITERS????? NO, I KNOW YOU DON’T. ommmmmmmmggggg that’s awful! So they’re just dooming more kids to Soap Opera Brain Disease? And maybe growing up without a father just as Gun did? And no one even considers suggesting adoption??? He never considers that he shouldn’t have biological children despite thinking he shouldn’t have a wife?)

ANYWAY. Please do watch the first nine episodes and the last three, it’s bananas. They are cute as fuck, Gun is The Best, and the tropey romance scenes are top quality. You don't get those things executed so well, it doesn't happen, so you need this in your life. The acting is of a calibre you never usually see in modern romcoms; these are people at the top of their game committing utterly and taking these characters completely seriously. In that way it is pure wish fulfilment for me as someone who loves romance and is almost always disappointed by popular romance media, and thus the show is incalculably special. But skip the middle. Just skip it. It's not worth the suffering. I find the tone whiplash honestly just this side of crass.

I’ve been thinking about it for over a week and I truly love the main characters so it did plenty right, but I just cannot with wedding the two things this show is trying to be together, especially when it goes so hard in two mutually exclusive directions. but also the Meet Joe Black sudden car accident device is not redeemable under any circumstances. Can we never do that again, please.

#fated to love you #kdrama #jang hyuk #writing

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nellie-elizabeth · 3 years

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3, 12,

3. What were your top five books of the year?

The Song of Achilles by Madeline Miller - I feel like I’m the last queer Greek mythology nerd in the world to have not read this book, but I finally did, and boy oh boy did it not disappoint. Romance and angst was on point, myth stuff was really creative, prose beautiful, and I loved the theming around legacy, and myth, and what it means to be a hero and what it means to be remembered.

A Tale for the Time Being by Ruth Ozeki - highly recommend to everyone, one of my favorite novels of all time. This was my third time reading it and it definitely won’t be my last. It’s about quantum physics and also about Zen Buddhism and also about suicide and also about familial love and also about natural disasters and climate change and math and poetry and war and love and... it’s kind of just indescribably perfect in my opinion.

His Dark Materials by Philip Pullman- cheating because this is a series but yeah I reread it this year and it’s just as insanely good as I remembered it. Like. The worldbuilding and the style and the characterization... maybe the best books written for children that I’ve ever read, honestly.

The Broken Kingdoms by NK Jemisin - still haven’t read the last book in this trilogy but the first and second ones were really good, particularly the second! I don’t know any other modern writer who can get away with making up so many fantasy words for her novels... she makes the worlds feel so lived in and true that I’m never distracted by any of the terms she creates, in direct contrast to a lot of fantasy authors who really like to throw funny fake words around to make it seem unique. And the way she writes ache in her romances... oof. So good. You can tell she got some of her experience writing fic. :) Plus, there’s polyamory, albeit unconventional, to say the least!

Avatar the Last Airbender: Imbalance - fans of the tv show should absolutely read all of the continuation comic series, I think they’re insanely good... I just read the latest one this year and it’s as good as all the rest! This one shows the early beginnings of Republic City, basically showing how the industrial revolution is causing chaos galore and codifying tensions between benders and non-benders in a rapidly growing urban area. It’s actually such a great way to like... teach young people about some really important issues. Love the art, plus Sokka got a really meaty supporting role in this one and his character was done perfectly, a great balance of zany humor but also the thoughtful insights and perspective he adds to the group.

12. Any books that disappointed you?

The Starless Sea by Erin Morgenstern. This one would have been a DNF if I hadn’t been reading it as part of a book club with some friends. It’s... real bad, and I’m aware that this is a controversial opinion lol. I think tumblr loves this book but my god I thought it sucked. There were moments, particularly in the interlude short stories, where I saw sparks of brilliance in the style and creativity of the ideas. But this book has several major sins, in my opinion: first, all style, no substance, all symbol, no meaning. This is a book about stories, about the importance of stories, and it fails to tell a meaningful story about anything at all, as far as I can determine. The second sin is that the main character is a boring lump with no personality and no agency. He sets off on an adventure, makes a choice to investigate a mystery, which is great... but then he gets sucked into this world and basically just gets dragged from place to place and makes no decisions at all. Also, the romance was laughably awful. I recall literally setting down the book and laughing out loud when the love interest announced his feelings for the protagonist, because the two of them had literally never had a conversation and it was supposed to be this big moment of confession and I was just like... “have you two ever spoken?” Anyway. I feel like this is harsh but I just did NOT get the hype around this book.

Ask me questions about the books I read this year!

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frumfrumfroo · 4 years

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What are your favorite movies and TV shows outside of SW? I’m looking for new things to watch since SW was so disappointing

My tastes are pretty eclectic, so I will stick to just things that are either similar to sw or are in the reylo-esque romance wheelhouse and have happy endings:

Chuck. It is a goofy, light-hearted action-adventure show with extremely endearing characters and a very prominent central romance (seriously, heavy romance and there is a lot of payoff for it, you will be FED- it's kind of slow burn but also shockingly NOT slow burn, they are deep into it pretty much immediately). The main couple is the classic Stoic Badass gradually softened by an innocent they have to protect who is a liability in battle but full of the Power of Heart. Chuck is The Heart btw. He is of that vanishingly rare male Beauty (of B&tB) type. He's incredibly generous and open, Sarah is prickly and closed-off. It is Quality. Very much a gender-swap of your typical cliche anime couple lol. I would recommend stopping at the mid-season finale in season 4, because it's downhill from there. The beginning of season 3 is very rough, but it's definitely worth it to stay for the back half, imo. There are several great endings to choose from before things go to shit, so we don't need to talk about the finale. Probably the most tonally similar to SW thing possible without being high/space fantasy. More humour, more silly, but definitely has a spiritual kinship. Has the best THE BEST 'secret revealed' scenes I have ever seen in anything. If you're into that and were hoping for that in ep IX, you need to watch Chuck.

The Shop Around the Corner. 1940 romance/drama film. You've Got Mail is a remake of it. Jimmy Stewart being profoundly adorable, Frank Morgan (aka the Wizard of Oz), various amusing side characters, and an absolutely deathless double blind 'secretly in love with the workplace nemesis' plot that can and probably has been a great reylo AU.

Mirromask. Fantasy/coming-of-age film. Touted as a 'spiritual successor' to Labyrinth by the filmmakers (one of whom is Neil Gaiman) and let me tell you, that is extremely apt. Beautiful, magical, laden with symbolism and Mask Discourse, and has a great ship. I quote it regularly.

Speaking of which, I'm sure you've seen Labyrinth? If you haven't seen Labyrinth, drop everything and watch Labyrinth.

Legend (the Ridley Scott director's cut, not the theatrical cut). Sumptuous fairy tale, runs on proper fairy tale logic, stunning to look at and overall captivating. Tim Curry. Tim Curry as a lonely tragic lord of darkness who tries to seduce the heroine and has drippingly overwrought monologues.

Howl's Moving Castle. Fairy tale adventure/romance film. Beautifully animated, has the ending you want.

The Silence of the Lambs. Thriller/drama film. Actual masterpiece. Use it as a gateway drug to read the books and rejoice that Clannibal is canon and it is spectacular. Just SotL and Hannibal, you don't need to read the other two. Stan Clarice Starling and revel in that ending. Most triumphant 'villain'/heroine ship of all time (he is not technically a villain but for shorthand's sake).

The Adventures of Baron Munchausen. Terry Gilliam 1988 fantasy/adventure film. THE TRIUMPH OF IDEALISM OVER CYNICS I CANNOT STRESS ENOUGH HOW HEALING IT WAS TO WATCH AFTER THE TROS BULLSHIT HIT. Jonathan Pryce's spiritual villain is basically Chris Terrio and it is cathartic to see imagination and sentiment conquer him.

Sabrina. 1995 romance film. Modern fairy tale with Harrison Ford. Rejecting what you thought you wanted all your life for the thing you actually need, growing up but still believing in magic, beautiful character development across all the leads. Could be (and is irrc) a fantastic reylo AU.

The Scarlet Pimpernel. 1934 adventure film. High romance, secret identities, play-acting, people who aren't at all what they appear to be, falling in love with your own spouse, Big Heroism, guile and wit and audacity. It makes me do little kicks like a happy baby. This is one of the 3-5 films constantly tied for my favourite film of all time. There is a good quality rip free on youtube. Watch it and fall in love with Leslie Howard (this is possibly my favourite acting performance of all time).

Oh, related note. Pygmalion 1938 or My Fair Lady. (The musical is based on this film and borrows from it heavily, including its much more romantic ending compared to the original play.)

The Mummy. 1999 action/adventure/romance film. Very tonally similar to sw. A fucking great time, A+ characters.

EVER AFTER. 1998 romance film. The flawless and perfect and best ever Cinderella adaptation. This is the most satisfying film in history, maybe, the ending is so good it is amazing it exists. Also, it has Richard O'Brien being slimy. Huge selling point. Grapples with identity and stewardship, is brilliant.

Fruits Basket. drama/romance anime. I haven't watched the new version yet, but it's following the manga so I know the story. The original anime didn't do the whole plot (because they caught up with the source material) but it's wonderful and I still recommend it. The central ship is (spoiler.........) a B&tB type where we eventually discover the main love interest both feels like a figurative monster and turns into a literal monster. He has an incredible speech about his relationship with people's fear, it makes me weep. I called the endgame from the first episode and always thought it was obvious, but there is a red herring love triangle dynamic. It's really not annoying, though, because it is a red herring. (I hate love triangles)

I am Dragon. Russian monster romance film. Beautiful, simple fable with a really great heroine.

Jane Eyre. 1943 Gothic Romance film. It's Jane Eyre, byronic hero x sensible heroine love story with much atmosphere and Gothic drama. I stan this version because I am an Orson Welles fangirl and I'm also not convinced it can be improved upon. Elizabeth Taylor's film debut btw.

Hellboy. 2004 action/adventure/romance film. Defying destiny, reconciling identity, monster romance. The complete package and a great time. Tonally similar to SW and probably thematically closest to it out of this whole list. Don't watch the sequel.

Beauty and the Beast 1987 tv series. Exactly what it says on the tin. Deals with the classic B&tB themes, but in a different way. He's not cursed and will never transform into an ordinary man. The first season is very episodic and 'case of the week', but the second season gets more into character drama. It's dated, but if you give it a chance you can get past some of the cheese factor and it's really a unique experience. Its concerns are SO atypical that it feels like something fandom would make rather than a mainstream network show. It was so massively, insanely popular with women at the time that a record of Vincent (the beast) reading poetry topped the album charts. Also Ron Perlman and Linda Hamilton. Stop at season two. Point of interest: George RR Martin wrote for this show.

Stargate (the movie not the series) sci-fi fantasy about a nerdy guy who accidentally a hero.

Possession. 2009... mystery/supernatural/romance. Okay. This is a whole thing. Lee Pace and Sarah Michelle Gellar. It's based on a Korean film I've never been able to find for some reason, but being Hollywood they ruined the romanticism and nuance of the original in the theatrical cut to make a shitty punative ending. However. If you buy it on dvd and go to the alternate ending (which follows the original story) with around 20 minutes left (scene after Lee Pace's character wakes from a bad dream-go to deleted scenes and select the alternate ending), you will get a very, very interesting character study/thriller/redemption about sincerity within deception, compassion, and a major question about second chances with a positive answer. It's kind of dark and kind of astonishingly idealistic at the same time. The heroine makes a very powerful choice, twice over. It's fascinating. If you're into the conflicted and uncertain period in reylo, the part where he is most ambiguous, and you wanted more of that and much darker shades to it, you might be really into this. Also, it should be noted, there is a MASSIVE height difference and they show it off. The film is flawed (and the seams show on the Hollywood rewrite) but idk, it's fascinating. Shocking to me that they even got to shoot the original ending. It is pretty balls to the wall with its themes on forgiveness.

I would recommend getting into kdramas because there is a wealth of female-gaze tropey amazing content, but always check the ending before getting invested. My all-time fave is the 1st Shop of Coffee Prince, but it's not sw related at all lmao. It has a happy ending with all the elements you'd want, but it's not satisfying in execution, so that's it's major flaw and I find that pretty common with kdramas. One that is maybe more relevant is My Love from Another Star, which has a hero who is a little bit like Ben in personality. The heroine isn't my favourite, though. It does have a decent ending.

Oh yeah- brain fart. Kurosawa films and classic westerns were both very influential on SW. Or you can combine both and watch The Magnificent Seven.

#this somehow ended up a wall of text??? I'm so embarrassed #anyway it should be fixed now #recs #anyway 40s movies are fantastic they used to CHURN OUT rom coms and even the bad ones are entertaining #and they were not in the romance ghetto they had prestige actors and directors #I don't know what happened and why this isn't done now because that shit was profitable #another edit:#I messed up my directions on Possession bc I first saw the alt ending on YouTube from the fridge point #but actually the full thing starts way earlier and covers more of the loose ends than I remembered #so I've fixed that now as well #(because I just rewatched it after writing this rec) and serious SERIOUSLY someone watch this movie and scream about it with me #I can't stress enough how important it is you switch to the alt ending and watch that INSTEAD of the theatrical cut but but but #If you do - OMG the ending is incredible #the coded conversation the subtle optimism #it is a meeting place where we Soft Reylos and the edgier villain/heroine stans can meet in the middle

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jcmorrigan · 4 years

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Still on my Crypt TV kick, and I have to gush for a moment, because Crypt Fables was actually my ultimate favorite series despite being disconnected from the Monster Universe, so I have to just spell out for a minute why it’s so great and needs more attention alongside the Look-See and company

-Mermaid is the ur-example of a tragic monster

-I will hike through those woods myself to carry Mermaid back to safety and the ocean. I am not strong enough to lift her but I am determined

-The ending of The Little Mermaid actually REALLY calls back to the original fairy tale, and it took me a few minutes to even put it together, but it puts Mermaid in the position of choosing between a doomed romance and damnation to her existence, which is how the original ended

-Mermaid’s design. (Though there is no work of fiction that cannot be made better with fish people in my opinion)

-Rapunzel/Luke is relationship goals

-Seriously watching them kiss gave me so many feelings

-When do I get a murder zombie boyfriend that will accompany me in my house arrest and kill the people who wronged me

-(Note: I do not actually wish death upon everyone; it’s all hypothetical if I say I do)

-The way Mira says her own name

-That part where Mira shushes Sandra

-Sandra technically didn’t even do anything wrong. She was vain, but not in a way that would actually do harm to anyone. And I think that actually makes the story better. I have a doctrine that “horror isn’t scary when it happens to bad people” (which, yeah, means Mermaid didn’t really “scare” me because I was just like “you go girl”), so the idea that Sandra could slip up so little and still be “punished” for it really makes the audience rethink how safe they are from their own mirrors - there’s no way to say “Well, I’m not like HER”

-The Pied Piper of Hamelin was already a horror story in and of itself and I’m glad someone just took advantage of that

-Kinderfänger’s design, which has the exact opposite energy from Mermaid’s

-JORDAN IS BABEY. PROTECT HER.

-MAX IS ALSO BABEY.

-The ending of Kinderfänger. Just...yeah.

-The ending of Geppetto and all the implications that come with it

-The way Geppetto makes you think you’re watching one kind of horror story and then it turns out to be a completely different type of horror story

-DR. CHESHIRE MOTHERFUCKING BROACH

-I want to marry him

-Best villain

-Really, he has all the trappings of the suave, deceptive manipulator with a dash of supernatural power that really has long-reaching implications if you think about it (what would happen if he took on someone who felt bullied by their classmates or threatened by a politician, huh?)

-I know this is all headcanon and conjecture but I have so many thoughts about how his true villainy isn’t his “insanity” but rather that his stay in the asylum hurt him so badly that what he’s doing now is vengeance upon the system and making others suffer what he suffered while he lives like a king

-He’s also a lovely blend of the “monster” and “villain” archetypes

-And there’s no way they could one-up Mermaid or Kinderfänger but the design of “evil anthro cat demon” is the exact aesthetic they needed to complete the triad

-Let’s face it: we all want to do something like what his patient did deep down (HYPOTHETICALLY)

-DNI if your response is “stop glorifying serial killers.” I’m a big girl and I know the cat therapy man is fictional and I just feel a good horror story requires a good monster

-Though really, the rest of the series offers a lot of wiggle room for headcanons and analysis as well. The last shot of Mermaid thinking about what she did. When you know she has regrets in more ways than one. And we’re left to fill in the details of her heartbreak.

-I thought Knave was the weakest of the series, as 1. they’d already knocked the Alice imagery out of the park with Cheshire and 2. I wasn’t altogether comfortable with how they played the whole “gay best friend” thing, but I did see comments in that vid from people who thought he was cool and empowering, and I’m sitting here like “I like the mentally ill one because he kinda reminds me of my time spent in a mental ward and I can imagine how that would make some people snap into full villainy!”, so really, it’s all subjective and some people really did like the Knave so I’m not gonna cry Problematic - this exact series also gave us a heroine in the form of a deaf girl who said “fuck you” to a sound-based monster

-Just in general the idea of twisted fairy tales is something that horror has been doing for decades and not always been the greatest at, but the Crypt TV series really felt like fresh new takes on all of these ideas and utilizing the symbolism from each tale to create a whole new bite-sized horror story, and it’s really cool looking over each narrative and picking out the little details from each source story (like when you realize the Pied Piper rhyme ended with one child unable to follow the Piper because they were disabled and then you see Jordan, or the idea that Rapunzel being under house arrest is her version of being locked in a tower away from the world)

Okay, the Crypt Fables gush hour is over; please resume your daily activities

#crypt tv #crypt fables #cheshire broach #please.......i need chesh's tag to be filled with more content.........

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lunelantern · 4 years

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~Sasusaku analysis ~

~~ Sasuke and Sakura - - pair analysis ~~ ~THE BRIDGE SCENE~ (Team 7 Reunion - - after the Five Kage Summit)

--- PART 4---

How would anyone act when given an impossible choice: be a shinobi or a lover.

This scene suggests that one can't be both (Zabuza states that they can't be both and the human wins every time, albeit Naruto begs to differ and state that it is realistic and achievable to balance the two antithetical perspectives).

"Kill her and I'll accept your offer." Sasuke gives her a pill of her own medicine. Because he doesn't speak randomly for the sake of conversation, cruelly with seemingly no remorse lingering in his heart, Sasuke gives Sakura one example of how her life would be if she were to join him; the life of an outlaw where murder and disposing of people like nothing would be ordinary.

Plus, the scene is also symbolic; Sasuke asks a famous medic - - his following sentence is more than revealing for he knows very well that Sakura is a medic - - to kill a suffering person, when the very essence of her jobs nature AND her symbolism in the manga as the representative of rebirth and regeneration is to heal, to cure, to lessen one's pain.

By joining him, Sakura would give up on her own self (Naruto answers to her shrouded confession that no sentient bring should event lose himself and betray his own morals, principles and feelings "I hate people who lie to themselves"). Hypothetically, Sasuke shows Sakura a glimpse into how her future beside him would look like.

Albeit is kosher and nuanced, barely noticeable, Sasuke still has a good nature and he proves he cares; he doesn't snap at her, he doesn't launch an attack, he takes his time to lecture her in his own blunt and sarcastic manner.

In the light of the most recent events - - Itachi’s death, the Kage summit, Danzo, Obito and his confession about Uchiha - - Sasuke might arguably have his ration altered, with interlaced moments of lucidity and madness, triggered by the emotional trauma, extreme stress and because he is being provoked. And that makes his moves seem mad, unusually erratic and exaggerated (his famous mad laughing moment when he shouts to Kakashi that no one could ever bring his family back and restore that status quo - - a doctrine that the manga embraces).

But that's not the case; not with Sasuke and not in this scene.

The overly popular consent postulates that "Sasuke went mad/ he is crazy". Which isn't the truth at all, but it's so facile to superficially judge a character with no proper introspection.

He is not mad at all. Nothing in his demeanor reveal that Sasuke lost the clarity or the ration and his furious state must not be mistaken for insanity.

Sasuke is perfectly lucid. He's, calm, composed, enigmatic, his words have double meaning, he is coherent, analytical, tactical and he knows perfectly well what he is saying; he has complete control of his thoughts.

The fact that his following conversation with Team 7 steals exacerbated reactions from him is due to the fact that he's more emotionally attached to them and thus his emotions would be pushed to extreme; he'd be more expressive and his rage would be more evident.

Sasuke is less reserved with Team 7 because he's emotionally involved; it’s very personal. But that doesn't make him a mentally deranged man.

He even kept his lucidity and perfectly placated Danzo with a sparkling strategy; he had enough lucidity to analyze Danzo's attacks and outsmart him, despite the emotional trump card of psychological upper hand that Danzo supposingly had on him. Even Obito himself thought at some point that Sasuke has lost it and he's only launching at Danzo erratically, aimlessly in his crazed mind, like Juugo. But it wasn't the suicidal rampage of a crazed man. Sasuke fooled everyone into thinking that he does not know what he is doing / that he lost it.

Nowhere in his attitude or his manner of speaking does Sasuke seem crazy and that's luckily to Sakura because she exposed herself to a ridiculously deadly situation. She came before him like it's a cakewalk with a confusing and conflicting strategy - - if it even existed.

That's the beauty of this pair. It's refreshing and novel, the dynamics are exciting, it lefts the reader constantly guessing and the finale isn't predictable. They aren't a cliché couple. Their movements, the inner feelings, the evident indecision and introspective turmoil is fabulous.

Sakura's ambiguous intentions and Sasuke's personal manner of speaking, his body language, her evident conflict and bedraggled approach are confusing and enigmatic. We keep in guessing what did she hope to accomplish?

Her presence alone holding a lethal weapon that she plans to use on Sasuke and the mention of the word "kill" on her lips when talking about Sasuke the man she loves might be symbolic for how much she treasures the bond with Naruto and how much she regrets for her innocent, naïve plea to bring Sasuke back.

A bond of blood, pain, rancor and emotional torment that she created, a harpoon of tm emotional trauma and torture for Naruto who didn't deserve it. Her present alone with murder intent is an attempt to free Naruto her best friend from this curse (a repentine decision taken after her "confession" failed - - her attempt to free Naruto from that promise failed because Naruto suggests that the supposed burden of her promise was also a conjoined personal motivation).

And maybe Sakura wants to confirm her own feelings and proceed from there: does she love him now when he's gone to this lengths or did her feelings changed for this new Sasuke and she'll be able to fulfill her shinobi duty?

That's how her disarrayed moves and the lack of any proper prior plan could be explained. She wanted to confront her own emotions and the best way to do so was to meet Sasuke herself and assess the situation with her own eyes and her suspicions coupled with the rumors about him lead to the verdict: he is not the same Sasuke that she fell in love with.

Solidifying Sasuke's role as a character with great development in the Manga (a Bildungsroman which follows the evolution of a character from childhood to adulthood, which emphasizes and supports the moral of the story). In antithesis with Naruto who is a linear character who didn't change in the bit, Uchiha is a dynamic character who evolves and never stays the same.

Both Sakura and Karin make it perfectly clear that Sasuke is not static like an unperturbed lake with no ripple to break the mirror-like stillness of its surface. He's a vivacious ocean - - unpredictable and fulminant with constant vicissitudes between tranquility and serenity and turbulent storms.

Sakura confronts her own feelings by approaching Sasuke and realization almost costs her life - - her heart gives us the painful confirmation that she loves him, still helplessly loves him ardently, in a moment when there's no safe turning back.

A moment of hesitation is lethal for a shinobi. A moment of indecision or unfortunate choice comes with devastating consequences.

She reveals her poisoned kunai from under her clothes while indecision takes control over her reeling emotions and fogged lucidity. Simultaneously, Sasuke prepares his Chidori and prepares to strike his attack.

The manga is very descriptive and suggestive. The transitions denote melodious cursively and the flow and cohesion of their interplay is assured by the constant introspection into the characters minds and hearts as the silent face expressions and body language emphasize their dialogue.

Sasuke sees Sakura's internal turmoil. He notices how she reviews her own feelings for he did the same when he heard the truth about Itachi. She's analyzing her feelings for him as he silently allow her to make a decision, up to the very last moment - - he wait for her to get close to him while he won't let any other enemy with murder intent to get so close to him.

Waiting for her to decide, to make up her mind, to choose the road to take and dictate the course of action. Up to the last moment when she reveals her kunai and her mind decides that "she doesn't matter", meaning that she won't comply with his request to kill Karin and "prove" her loyalty and feelings to him.

The implicit dubiety in Sasuke's voice has a moral purpose behind: in a couple, trust is fundamental for a healthy relationship. Love isn't enough when it’s not coupled with trust and respect.

When trust misses, there can't be any romance between two parties and that's what Sasuke's ironic and daring words mean when he dares Sakura to prove her loyalties and back up her confession.

Yes, she might love him but she won't do everything he asks and she does not NEED to comply to his requests. Sasuke tells Sakura that she does not BELONG to his world now. To this version of reality, according to the script of this play he can't be her lover, the one she dreams of.

His eyes, the mirrors of the soul as the symbols of the Third Eye in Buddhism - - the omnipotence of the one who beholds all the wisdom and knowledge / the spiritual part represented by Sasuke's Yin avatar - - are always scrutinizing and introspective. Sasuke is following Sakura's mimics, gesture and reactions with hawkish diligence, attentive and meticulous.

He sees right through her deception; he might not have accumulated enough life-experience, wisdom and information to unravel Itachi's truth ("how far can you see with that Sharingan of yours, Sasuke?"), but he sees right through Sakura's soul, reading her like an open book, every page and every line. She's transparent in front of the man she loves.

It can't be any different because romantic bonds are unique; nothing can begin to compare or come close to. There's nothing else tangible to compare romantic love with, nothing that can offer such a complete body and soul experience.

It's very difficult to draw a kokeshi doll mask on the face of a lover because primal instinct makes one react differently, in a peculiar manner in the presence of the loved one.

Is primal, animal instinct to entice and attract the attention of a potential match and thus it makes it difficult to fight against such strong innate reflexes.

For both Sasuke and Sakura, the primeval instinct to be a couple is very difficult to placate and hide. Sasuke makes it obvious from his tempered gestures, for how he allows her closer to him than anyone, and from he way he talks to her - - the syntax of the phrase and the choice of words are all very intimate, very personal.

And Sakura's pendulating actions shine with confusion and indecision, the inner turmoil revealing as theatrical and dramatic: she alternates between blubbing and shouting, rasping and barking at him and getting emotional and mellower with him.

The look in their eyes is one of this pair’s most symbolic feature. Since Japanese people aren't overtly extroverts with displaying emotions in public, subtlety is the key of this representative pair. There is an entire repertoire that composed the aria of love songs between this pair. There are heated glances, angst stares, incredulity and confusion. This time Sakura does not eschew her eyes from Sasuke; she doesn't glance shyly and flirtatiously aside from him like she does at the end of the manga. She holds Sasuke's gaze, leveling his piercing gaze as she knows she risks a lot because this man's eyes can see through everything.

He... Was always capable to see right through her deception. She can never hide from him.

Sasuke instead can perfectly mask his emotions, but chooses not to.

Considering how this couple's love story is embroidered into the tapestry of scorching passion, it’s no wonder that Sasuke is the one who initiates most the innuendos between them. No pronouns are more idoneous than the repetitive "Me" and "you" and the syntax of their dialogue; the flow of the conversation, the order of the words and the feelings elicited are extremely intimate.

There is history behind this couple and their now earmark stares and glances exchange support it.

Sasuke and Sakura are subtle but their body language is unique and a expressive. No fustian description can give their story justice, for it's far too complex.

That's why passion and intimacy scorch like a pyre with this pair. Every feeling, every emotion and every sentiment is augmented and exacerbated.

While he's clearly deranged by the women's litany of flirts and attempts to seduce him, he listens to Sakura's every word. He doesn't brush off her confession, he doesn't ask her to keep her distance from him, and he doesn't repay her confession with brusque scowls or growls (like he does to Karin, Ino and Mei).

Sasuke and Sakura's love story is very reminiscent to the compelling elements of Shakespeare drama in terms of its characteristic elements: the tragic hero who's suffering is the product of a peculiar trait of fate or an extraneous force (the Uchiha curse/ manipulation and lies that surround HIM); his inner struggle (the struggle between good or bad), darkness and hatred and evil that destroys any iota of goodness in the hero's heart, the stupendous internal and external conflict and the effect of catharsis that their feelings produce.

The strong, Naruto-esque happy ending is the only thing that differs, as Sasuke and Sakura don't end in a veritable tragedy, emphasizing the triumph of good in the manga.

I'd end by citing Obito and Hagoromo's hermeneutics: "When a man learns how to love he must shoulder the burden of hatred."

The negativism and pessimism that attributes a negative connotation to life and suggests that pain and suffering are inherent to life and win over positive emotions - - the reign of pain and suffering.

... In conjunction with:

"I hope that this time is hatred which turns into love."

The positive overview of the humanist manga conclusion.

The positive, idealist triumph of peace, love and happiness, with love winning over pain.

It's Sakura who returned the lost peace and gave Sasuke happiness. It's her love that turned his hatred (Sasuke set on redemption journey because of lingering Uchiha demons he's scared to hurt people).

#Sasusaku romance #Sasusaku pair #Sasusaku explained #Sasusaku analysis #sasusaku #sasuke and sakura love #Sasuke and Sakura pair

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