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angelanimedesaray · 3 years

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Through the Looking Glass Chapter 9: April

AN: I’m getting ahead of the question now and stating that in this world, AOT isn’t an anime (Poor souls). So no, the Reader isn’t going to become omnipotent to Levi’s life/world.

They did not binge this in one day. The first round, for sure they did, but it was a little broken up in spurts. For the sake of brevity, considering this was already going to be a long chapter, I cut out all the flickering back and forth and just focused on their Movie Nights and them watching the show.

It might feel a weird mix of rushed and long, because they’re watching the entirety of Your Lie In April, but I wasn’t going to transcribe the whole show, so there’s a lot of summarizing and cutting things out and highlighting certain pieces, but its still long because there’s a LOT to cover.

Also because of how emotional this chapter is actually going to be, I want to just remind...that Levi is like, mid teens, and hasn’t gone through much of the stuff that adult Levi has been through, so in my mind, that justifies a bit more of a REACTION for some of this stuff. But he’s still Levi, and he’s still going to be reserved and such, just...not as controlled as Adult Levi.

This whole chapter is like one big lead up to the next chapter, funnily enough. XD

Also got to listen to “Constellation” by Far Out feat. Karra on repeat writing this. It felt so fitting!

I’m putting quotes from Your Lie in April in italics with quotes and an indent like this, so its clear that they came from the show. Levi’s thoughts/memories will just be in italics, no indention .

Characters: Levi, Reader

Pairing: (Eventual Levi x Reader)

Warnings: SPOILERS FOR “YOUR LIE IN APRIL”, Angst, FEELINGS, Language

Word Count: 10994

<----Previous Chapter Masterlist Next Chapter---->

*Levi’s POV*

At long last, Y/N was finally going to show him those movie, show things she kept talking about. He knew plays and acting and putting on an act, but the concept of a show that was saved so you could watch it whenever you wanted without having to make people do it over and over was novel to him.

Boisterously proclaiming that it was going to be a “Movie Night” day, she’d grabbed his hand and dragged him after her like she’d used to do when they were young, despite his protests. To be fair, he didn’t try too hard to wiggle away, either, letting her pull him along to the living room as she fussed and tried to decide what they were going to watch.

After all of her attempts to explain what a movie or TV show was, she decided that the best way to explain it to him was just to show him, though she still had to stop and explain the type of show they were watching.

“Okay, so what I’m showing you right now, is actually called an anime. It’s a type of animation from a country called Japan, and it’s made from computers or hand drawn. They draw the story, picture by picture, and put it together to make the characters and such move, with actors doing their voices and recording it in time with the pictures, sound effects like bells and wind also being saved, background music, so on and so forth,” she explained as she cut up pieces of paper and layered them on top of each other, pulling out a pencil and drawing a circle on each page, moving its position slightly each time. “See, if you do it frame by frame, and then move it really fast, it's like the ball is bouncing--animation, and anime, works off the same concept, except they’re drawing everything,” she continued to explain, grabbing the bottom page and then letting the papers rapidly spring free, causing Levi to see the ball she drew appear to move along the page, even though he knew it was a bunch of individual drawings going by rapidly.

“They draw a solid background that doesn’t move, and then they add another layer on top that you can see through like glass, but they draw the moving parts on that layer, so it looks like they’re in the solid background and they’re walking and whatnot. It’s really cool--makes me wish I could draw,” she continued, putting aside the papers she’d used for her demonstration and picking up the controller so she could get them started, gesturing for Levi to take a seat on the couch. “I haven’t seen this one yet, but a friend recommended I watch it cause I love music, and I play the piano, and she said it was a really good coming of age story. I’m a little wary cause she said she wanted my reaction to the end, but she usually suggests stuff I love, so I’m gonna trust it,” she continued to babble as the screen lit up with colors and pictures like a computer screen, most of it nonsensical to Levi as she shifted rapidly past most of it looking for the specific show.

She stopped on something extremely colorful, blues and yellows and pinks and reds in vibrant color with four drawn people lying in what looked like the sky, and she abruptly turned to face him. “Are you okay with having to read what they say? The original is in a different language, so it’ll have subtitles at the bottom translating what they say. There are other versions where they redid the speaking parts in different languages, but I really like listening to the original--I feel like it really gets the emotions across because it's so well done.”

Levi hesitated for a moment, contemplating her offer of putting it in a language they understood or keeping the original and having to read what they were saying. Eventually, he just shrugged. “Whichever you want.”

“Subtitles it is,” she said, turning back to the TV and messing with a few things before she finally started the show, coming over to sit by him on the couch. He was sitting normally, his ankle propped up on his leg with one arm resting against the back of the couch, the other lying casually in his lap. Y/N, however, sat directly beside him, his arm behind her shoulders and her side pressed slightly against his, causing Levi to glance at her, mind flashing back to how she’d sat at the piano with him not too long ago. She wasn’t even glancing at him, though, gradually relaxing next to him like a kitten curling up to get warm, her eyes fixed on the colorful display that was now on the TV.

Turning his attention back to the TV, Levi studied the images in front of him, a cheerful bit of piano music fluttering towards them as vibrant and colorful images of a girl chasing a black cat moved seamlessly across the screen, much smoother than the quickly drawn bouncing ball Y/N had put together to describe what they would be watching.

If she was trying to sneak a peak of his reaction, she would catch his eyes had widened at the vibrant colors and amazing detail, the realistic sounds that came through and made him want to check and see if the piano behind them was being played, or there were people hiding somewhere making the character’s voices and singing the song as the scene suddenly shifted to what Y/N described to him as an intro, a quick prologue of sorts that set the tone of the show. Thankfully, however, she’d already explained to him that the sounds were done beforehand, recorded and somehow stored so it would be repeated to the images on the screen as they watched.

It was a little...outside his realm of understanding, how it all worked, and he had the sneaking suspicion he’d just have to accept that it just was and he needed to sit back and try to enjoy it. That was how a show was supposed to work, right? And that was exactly what Y/N seemed to be doing.

As she had warned him, the characters were speaking an entirely different language, so Levi couldn’t understand what was being said on its own. Thankfully, there were the subtitles to translate, Levi’s gaze flickering between reading the small letters to looking at the colorful screen to see what was happening, trying not to get too caught up in the details he didn’t understand, like the games the kids were playing, and how different the environment was even to what he saw in Y/N’s world.

At least the basic stuff he could easily make sense of--the main character was obviously the quiet and reserved, black haired, blue eyed pianist Kousei, and the characters were around Levi and Y/N’s age. The point of the story wasn’t clear yet, but she’d explained this was going to be episodic--it would be played like chapters in a novel, stopping at the end of a chapter before they would have to start the next one. So it might be a while before he started catching that. Right now, they were meeting characters, finding out their relationship to one another and getting hints at the history between them all.

Like the fact that Kousei lived alone because his father was absent, and his mother was deceased. She’d succumbed to illness when he was still young. That alone had the stirrings of empathy settling in Levi’s chest for the main character. He couldn’t relate to the abuse, but the desire to make her better, that somehow he could do something to make her feel better did resonate. It made him listen to their conversations a bit more, since he already had a foothold and something relatable.

Once he started drawing comparisons to the story unfolding in front of him, he couldn’t stop noticing them.

“The moment I met him, my life changed. Everything I saw, heard, and felt. All the scenery around me started to take on color. The whole world began to sparkle.”

A world of monotone, devoid of color, until he meets a certain vibrant youth who brings a sudden rush of color and life into the world around her, dragging Kousei in by the hand--as if he could ever resist the force of nature she was.

Hm. He wondered who that reminded him of.

He didn’t even notice when the “chapter” ended and the next started, his gaze flickering subtly towards Y/N on the couch beside him, appearing just as taken by the story as he already was.

However, this new chapter did bring about new questions, and was a bit closer to his grasp of understanding after watching Y/N play music for so long.

“Do you ever do competitions?” Levi asked as the characters walked around the competition and the history Kousei had at this specific building was teased, easily able to see that there was a piano on the stage despite it being a violin competition. Surely if there were competitions for violins, there were for pianos?

She shook her head, chewing slightly on her lower lip as she answered him. “No way--I play piano for myself and a few people. I’m not looking to make a career of it or become famous for it. Not to mention, I don’t think I’m cut out for competitions. There’s a lot of pressure, and they’re really strict about playing the pieces exactly how they were originally written. I want to play the piano how I feel, and that’s not always by paying attention to how it's written on the sheet.”

“And violins? What are they like?” he asked. He hadn’t seen or heard a violin yet, and was curious to hear what they would sound like.

“They’re a string instrument--portable, small. Really beautiful, too--they’re my second favorite instrument. They usually pair wonderfully with pianos--I’m pretty sure it’s common for a piano to accompany a violin in shows and competitions.”

Levi hushed with his questions again as the scenes playing out on the TV continued to unfold and the first violin performer took the stage, Levi hearing the light and lively music of the violin for the first time, the same song being performed over and over by the nondescript and nameless musicians on the stage in the show.

Beside him, Y/N was slowly tilting her head side to side as she listened to the music being played, eyes fixed on the screen. She must have felt almost in her element watching this, while Levi felt a bit more like Tsubaki, not understanding a lot of the names and such that were being thrown around by the characters in discussion, but still there to enjoy it nonetheless. When Kousei was tapping his fingers on the armchair to the piano music, Levi’s gaze flickered to Y/N to see if she was doing something similar, since she seemed focused on the music as well. It wasn’t as precise as Kousei, maybe she wasn’t playing every note in her head, but her fingers were lightly tapping against her legs like she wanted to be playing the keys on the piano.

Then came Kaori’s first performance.

Watching, Levi felt a familiarity in the girl’s intensity, once again reminded of the girl sitting next to him, who seemed to throw herself into every aspect of life around her--at least compared to him. There was a tension in the air, a feeling that this was going to be much different than the music they’d been hearing up until this point. Even Y/N had stilled next to him, eyes riveted to the girl on the screen.

The first notes were shocking. After listening to Y/N play the piano for so long, even his unprofessional, inexperienced ear could hear the shift in the sound, and how rich and deep it suddenly was. Beside him, Y/N shifted into a more upright position, eyes suddenly lighting up and sparkling as she leaned forward, her breath catching. The ripple through the audience wasn’t just in the show, but in reality, as the two of them on the couch suddenly focused entirely on Kaori’s performance.

The girl’s eyes flashed on screen, and the music suddenly leapt to life before them, making his own heart seem to pound a little faster, the sounds pleasant and uplifting to his ears, making him restless in a good way. It sounded similar to when Y/N played the piano with him that one day, not necessarily in skill, but in the life and emotion that was in it.

Like Y/N, Kaori was pouring herself into her playing, she shone brightly through in the piece, made like it was pulling back a curtain to reveal a part of her soul. Kousei even said as much, stating that Kaori was making the piece hers and hers alone.

The performance ended, and Y/N suddenly grabbed his arm with a squeal. “That was awesome! I’m going to have to find a recording of that!” she said breathlessly. Her excitement was infectious, and almost prompted Levi towards a smile as they slowly settled back onto the couch, the story progressing in front of them.

She was such a stark contrast to the black haired youth in front of her, the whirlwind to his reserved personality, but even she would show flashes of vulnerability, for his eyes only, it seemed. And he did what he could to hide what he could in order to protect her, without her ever knowing, probably.

Wait, was he still thinking about Kaori and Kousei?

Levi shook his head, focusing back on what was happening, reading Kousei’s contemplations about how he could still hear the refrain of the music Kaori played in the competition he witnessed, over and over.

Levi’s fingers tapped slightly against the back of the couch and in his lap, barely tapping out the melodies for the song they’d played on the piano the other day, music he heard even when he was alone with his thoughts in his own world, still able to feel her fingers aligned with his, guiding him through each key. He’d find himself tapping them out in rare moments of idleness, like he was still clinging to the memory of the sound even if he didn’t have a piano in his world.

Y/N shifted entirely back to her relaxed position against Levi’s side, head brushing briefly against his shoulder and making his skin tingle where the brief contact had been, his stomach squirming.

Kaori dragged poor Kousei around everywhere, usually into situations far out of his comfort zone, and far more aggressively than a certain someone sitting beside him. However, it seemed like more often then not, those situations were wonderful places that he wouldn’t have found or experienced on his own.

She brought color to his monochrome life.

Where he was hidden in shadows, she was cast in light, and she didn’t hesitate to pull him into the sun.

”I know you’re broken and beat up, but I want you. I choose you. I want you here.”

The beginning chapters seemed to fly by quickly, with Kaori pushing Kousei more and more, and beside Levi, Y/N seemed to be slowly wiggling closer to him. Was it intentional? Did she realize she was doing it? He did--he seemed hypersensitive to every motion, yet he didn’t pull away, didn’t even twitch. He stayed still, like sudden movement might frighten her away as easily as a stray cat.

As intriguing as the events on the screen were--and he was taking in the information, such as how Kousei used to have a black cat, how he couldn’t hear the sound of the piano after his mother died and quit piano directly afterwards, important stuff like that--Levi’s thoughts kept wandering as he watched.

He thought of how beautiful the trees with the pink petals were, how breathtaking every scene with them was, and how prominently they seemed to feature in every scene that had something meaningful going on. Y/N called them cherry blossom trees. He wanted to see one. What would it look like? What would the scene be if he stood under one with her?

Before he knew it, Kaori had cornered Kousei into accompanying her on the piano, and they were rushing towards another performance. Anticipation stirred in the air between him and Y/N, both of them wondering how this piece would sound, considering Kousei had already been framed as a child prodigy on the piano, and they knew Kaori was breathtaking. What would it sound like when they played together? Levi worried about how it would turn out, how Kousei seemed to be unraveling in front of them just before they went up on stage.

Before Kaori gave him a literal smack to get him out of his own head.

As lighthearted and carefree as she seemed to be, every now and then, she would drop these little petals of wisdom.

Levi’s gaze flickered to Y/N again.

Her eyes would shift from a sparkle that almost seemed naive to a depth he hadn’t expected to see, and she’d say something that seemed beyond her years.

“Go on a journey. A man away from home need feel no shame.”

“Natural. Bizarre. It’s like this girl herself is the journey with no clear destination.”

“You’re Freedom Itself.”

The couple took the stage. The song started out slow, sensual, peaceful. It reminded him slightly of the song Y/N taught him.

Before, predictably, Kaori brought her wild, fast paced playing back, bringing liveliness to the performance. It started beautifully, but just as the music seemed to portray some kind of descent, Kousei lost sense of the notes, the sound distorted even for them, listening, as if they were Kousei, only able to faintly hear Kaori while the rest sounded muffled, strangled out by water. When they were allowed to hear the sound again, it was off, it sounded harsh and jarring, out of sync. Not at all pleasant.

Considering the earlier mentioned problems, he should have known this wasn’t going to be a perfect and completely enjoyable performance. It was grating, and while he understood the emotional significance of seeing Kousei give up halfway through, his ears were a little grateful by that point.

The surprise was seeing Kaori stop as well. He’d thought perhaps something would urge Kousei to start playing again, but he hadn’t expected Kaori to stop in the process. Beside him, Y/N seemed to be biting on her thumbnail, her brows furrowed as she watched the screen in concern, a frown on her face, leg shifting restlessly around on the couch as she suddenly curled closer to Levi, directly against his side, oblivious to the surprised look he shot her because she was so focused with what was happening on the screen.

“Maybe there’s only a dark road up ahead. But you still have to believe and keep going. Believe that the stars will light your path, even a little bit.”

Kaori began to play again, the sound of just the violin playing on its own sounding lonely and out of place, especially when he knew there should be a piano playing with it. All they needed was for Kousei to play again. Would he? No excuses, Kaori needed his support, and Levi found himself silently judging Kousei, mentally pushing him to help her, to play, because that was what she needed from him.

”So what was it that you saw in me?”

“But you have me! Look up, and look at me. Look at me.”

Kousei starting to play again was a relief, even if it wasn’t quite right at first. After a bit of inner reflection, some time where they spent listening to the underwater sounds, it all faded away, and a soft scene of a mother and son filled the screen. The mother’s softly sung lullaby was soothing, and as it shifted to a scene of the sky, Levi’s eyes widened at the brilliant beauty it was, the range of color, of blues and whites and even some purples and pinks. How it sparkled and shimmered, stirring up emotions he didn’t know he’d buried somewhere inside him as he suddenly felt small again, curled up in a nest of soft warmth, staring out a small window up towards the sky high above him for the first time, gazing in wonder at the stars and moon that glittered high above him.

Words from one of the many times Y/N had played the piano for him drifted to his mind. How she had perceived her music had struck some kind of chord with him, even if he wasn’t saying anything--even when he realized he had no words to describe what he was feeling listening to her play that single song. He remembered how she’d told him that the point, what made music with her time, was how it could communicate what couldn’t be said with mere words.

The music shifted, and Kousei finally began to play, and the sound was enrapturing. There were no words--it could only be felt, what was happening between the boy at the piano and the girl with the violin.

Could he find a violin in his world? Could he learn to play it, so he could play with Y/N like Kousei played with Kaori? Would they manage to produce something similar, something wonderful like that? What would it feel like? What would the sound between them be? What would it say?

”I can hear your sound.”

So caught up in his thoughts, in the raw emotion and the music that had just enraptured them both, Levi was caught off guard when the mood took another shift.

He tensed, hand gripping the back of the couch a little harder as the sound faded away into an echo as Kaori suddenly collapsed. The hairs on the back of his neck seemed to raise, warning him of something incoming, even though there was no physical threat. He had a bad feeling, suddenly, seeing Kaori’s paler form in the hospital, seeing Kousei’s disbelieving look, the way all of her face wasn’t visible during certain key answers. It put dread inside him over what was happening with her, where this would go. A brief moment of happiness...but what did it mean in the long run? What did it matter, if it was going to be ripped so harshly away, anyway?

“It was everything to you, and you’re trying to rip that away by force. As if you were plucking off your limbs. That’s why it hurts too much for you to bear.”

“Do you think you’ll be able to forget? No, not a chance. Because you and I are living for that moment.”

“I won’t forget. I won’t forget, even if I die.”

“Thank you.”

The mood of the show mellowed drastically, far more serious notes seeping into the air around them as Kousei and those around him were faced with far more serious matters than who liked who, and music competitions. The competitions seemed to be fading into the background, a mere backdrop to the true story.

Ah…

He might be seeing it now.

There was more to this tale than just playing in competitions.

And he had the feeling he was going to be facing some...difficult scenes. Not the kind of gristly scenes of the everyday Underground. The personal, emotional kind. He was already getting flashes of past events, old emotions stirring this early on. What would come next? How deep was this show going to dig to bring out emotions or thoughts he didn’t even know he was keeping buried?

Y/N shifted again, now blatantly sidled up beside him, head leaning slightly to the side, coming to rest very lightly on his shoulder. Levi stilled, pulled entirely from his thoughts, both of them seeming to hold the position to see what the other would do.

She didn’t pull away.

Neither did he.

Her head leaned a little more heavily against his shoulder, and she got more comfortable in her position next to him. Levi relaxed, letting her do as she pleased, silently grateful for the companionable warmth her presence beside him seemed to be offering him, allowing the scarier thoughts to temporarily be soothed and chased away. It helped that the story was shifting towards the more light-hearted as well, as Kaori and Kousei began to prepare for a piano competition.

“Before your fingers touch the keys, you must determine in your mind how you’re going to play it. Why do you play the piano? Is it for your sake? For someone else’s sake? How do you want to play this piece?”

Levi turned his head slightly to look at Y/N, curiosity stirred up in his mind as Kaori grilled Kousei for his mental imagery while he played. “What about you? What do you think of when you play the piano?” he asked her.

“Hm?” she asked, pulled for the first time out of the show as she turned slightly to meet his gaze, surprised by the inquiry. “I...don’t know. It depends on the moment. Usually it’s memories, though. Certain songs make me think of certain people, usually memories with that person. Maybe something I want to do or say to them? I haven’t thought of that much before...usually I just...do it. And I tend to get lost in what I’m doing, too. I guess that’s part of the reason why I haven’t thought of it much before.”

Levi continued to look at her even as she turned her attention back to the show, barely holding back a question that bubbled up inside him.

Have you ever thought of me?

She was teaching him to play the piano, right? What would his mental imagery be when he played?

While Levi got his quick question in and mulled over his own thoughts once more, the mood shifted to something more serious in the show again.

Kaori was worried she was being too pushy, that Kousei might resent him for forcing him into the position he was in, now. That she was being too hard on him. And something that they said resonated with him, because of recent events.

“You’re suffering because of me. I’m sorry.”

Levi saw Y/N in front of him in his mind’s eye. Her eyes were downcast, lips pressed together, shoulders slightly hunched, and she was on the verge of tears after his barbed words expressing how shitty this situation was for him, how it teased him with what he could never have. Did she blame herself, for him being pulled into her world, always around her for a brief while before he was kicked back?

But again, she’d been right. Even if it was brief, that didn’t mean the time he spent here with her was worthless. It still meant something to him, and it still brought him some comfort and, oddly enough, a sense of security. From the very first time they’d met, she’d provided him with somewhere he could truly feel safe and cared for.

“It was you who swept away all the dust. For sweeping away the dust that had collected on my body...thank you. For encountering me.”

The more hints the story dropped about Kaori’s health, the more worried Levi became about the turn this story might take. He was bracing for impact, a small frown on his face as he saw the pile of medicine Kaori was carrying around with her at the competition. Kousei’s musical rivals didn’t register so much with him in the previous two chapters, because he was still so focused on what was happening with Kousei and Kaori.

Y/N had gotten up at one point by now to get a drink, bringing back a water for him to sip on as they continued the story, time passing by without either of their knowledge of just how long they’d been sitting here. Even Levi, usually so much more active, was content to sit here and watch, hardly noticing his inactivity as he drank up every scene, every word, some ringing out through his mind, others falling into place as narrative importance, worry and elation and nostalgia, as well as so much more, all stirred together inside him, Y/N curled up like a kitten at his side, his arm still leaning against the back of the couch, his hand resting softly on her shoulder.

However, while he and Y/N were falling into a position of ease, the story seemed to be starting to shift more to the relationship between Kousei and his mother, and what happened to her. Kaori was getting worse, it seemed, and they were digging into a relationship that felt, in certain ways, similar to what Levi had gone through, and not too long ago, either, now that he was forced to look at it. It made him...uncomfortable, to say the least, but he wasn’t saying anything--he needed to see where this story was headed, with how invested he was at this point. And even if it got personal, he thought he might be able to sit and endure it all the same.

”My mom’s coming from the hospital to see me perform...so you see, in order to make Mom well again, in order to make her happy, I’m gonna play my very best as a gift!”

The first hit actually made him flinch. It was slight, but it was there, and Y/N might have caught it--he wasn’t expecting it, not from the tone, or what had just been discussed, or the way the scene changed so rapidly from the cheers of the audience after little Kousei finished playing his best for his mother to the slap across his face from the ailing woman. He suddenly felt tense, his hand still on Y/N’s shoulder and his expression suddenly unreadable as the hits kept coming, making something dark and angry well up inside him as Kousei was hit hard enough to draw blood against a backdrop of the abuse he’d been suffering the entire time.

Perhaps Y/N hadn’t caught it, because she was flinching as well, and her reaction was far more open on her face, eyes watering with near-tears, a slight shake in her body, and the occasional, shaking breath.

”All I wanted was for you to get better. All I wanted was for you to be happy. And yet...I wish you would just die.”

“That was the last time I said anything to my mom.”

Levi’s grip tightened on Y/N’s shoulder, but neither of them said a word, a grimness in the air as they continued to watch the story in front of them that had started so colorful but was taking a darker turn rather quickly.

Levi scowled slightly at the switch to such an upbeat little song at the sudden end of the chapter, which would be followed by another upbeat song at the beginning of the next.

“These ‘intros’ and ‘outros’ are deceptively cheerful,” Levi criticized.

“What’s a good story without some struggle?” Y/N replied, though she briefly untangled herself from her position at Levi’s side and wiggled off the couch. “Though, I think I’m going to go grab some tissues. I’m starting to think there’s going to be some really sad or heartfelt stuff coming up. Tell me when it’s back on if I’m still missing!” she added before darting away, leaving Levi to sigh quietly to himself and look up at the ceiling, keeping track of the show in front of him as he waited for her to run off and come back with a colorful box, squirming back into place beside him and letting his hand return to her shoulder as she placed the box next to her on the couch, sighing contently.

“The show must go on!” she insisted, face devoid of the strong emotion they’d been sharing just a few moments ago. She settled next to him with a soft sigh, the sight of Kousei struggling at the piano returning where the previous chapter left off.

They watched him struggle against the ghost of his mother, trying to force himself to play through it, to play even though he couldn’t hear, even as the sound grated on them. Watched as he slowly gave up, until he stopped entirely before the song was even over, just like he had with Kaori.

Part of him had expected Kousei to have some kind of revelation just before he quit and push through, but he’d really stopped. Now it just remained to be seen if he could start again. Of course, after his performance with Kaori, they knew he was disqualified. But would he find a reason to play anyway, like she had?

”Even the you that’s here inside me, won’t let me give up. That day, I wonder. What did you play for?”

Levi felt the ghost of her fingers on his again, unaware that he was tapping the keys against the skin of her shoulder at the memory.

Once more, the sound changed as Kousei found his reason to play. The girl who’d changed his world from monotone to color, who dragged him into a whirlwind of life without giving him the chance to think twice about it.

“Just one person matters to me. Only you matter. Thank you...Will it reach her? I hope it reaches her.”

”Your hidden emotions. The you that you’ve never known. The piano drags out everything…”

Levi’s gaze once more was unfocused on the screen as he was swept away in a sea of his own thoughts, thinking back to the times he’d listened to Y/N play. What had he been hearing those days? What would he hear in her playing in the future? If he put enough effort into learning to play as she tried to teach him...could it help him communicate some of the things he struggled to say? It was at least worth giving it a shot.

And he would be sure to pay closer attention in the future to see what he could hear, what he may not be aware of.

The pacing lulled into something more relaxed once more, a brief reprieve after the emotions that were just thrown at them, allowing him and Y/N to talk a bit more, both of them keeping one eye on the subtitles even as they made little comments about what they’d heard so far. The unspoken love triangle? Maybe it was a triangle. The romantic feelings were crisscrossed and all over the place between this group of friends. They commented on their observations about Kousei and Kaori, what they thought was going to become of the two as they watched, whether Kaori or Tsubaki would end up the one with him in the future.

Music was another thing they talked about, obviously. How they wanted to hear Kousei and Kaori play together again--and were excited they had the chance to with the upcoming concert. Y/N also expressed how she loved Chopin pieces, and as a result was happy about how many Chopin pieces were in the show so far and was hoping to hear more. She also mentioned that Love’s Sorrow, the song they were working on now for the concert, was a beautiful piece--mournful, obviously, but beautiful. She even offered to help him learn it when he got more used to the piano if he wanted to.

Levi was a little distracted, though, by the further warning signs that something was going to happen to Kaori. In the same stroke that he contemplated how she had a skill for seeing the beauty in the world, like Y/N tended to do for him, she said something ominous that further solidified a growing suspicion that Levi was keeping in mind.

“You know, I’m not always going to be around to help you.”

As worried about Kaori as that line made Levi for the context of the show, it also reminded him of his own situation with Y/N. He helped when he could, but he was absent so often...and it worked both ways. He was perfectly capable of taking care of himself when he was on his own, but Y/N he worried about. What if something serious happened when he wasn’t around to help her? Would she be all right? Would she be able to take care of herself until he could be here to help her?

It was another line that resonated with him, another one that was going to burn in his mind and make him brood over their situation. This show was rife with them, and it had his emotions all over the place, despite his outward calm posture.

He had no way of knowing just how strongly the next chapter was going to hit him.

He was as riled up as Kousei after hearing that smart mouthed kid claim that the music Kaori made was just disastrous noise. If he’d ever heard someone say that about the music Y/N played, he was liable to sock them in the mouth. Honestly, after that comment, he’d thought that the focus was going to be on Kaori again, even with all the recent focus on Kousei’s mother. That misconception was quickly fixed, though, when the chapter began with a flashback to Kousei’s mother and how he became a pianist, further reinforced when Kousei started to play and they were given the first glimpses into his thought process, and what his new mentor--his mother’s old friend--was thinking.

Kousei’s mother’s favorite song, Kousei’s lullaby.

”Would she have played it like this?”

Kousei was curled up against the wall in the darkness of a room with no one else, knees pulled up to his chest, head buried, trying to shut out the world, the woman who’d known and been close to Kousei’s mother finding him in the darkness as Kousei cried out for his mother, for someone to help him, save him. Levi tensed, going completely still beside Y/N with his gaze riveted on the scene in front of him.

”That son of ours is about to bid you a last farewell.”

”Will it reach her?”

Levi’s jaw clenched, his teeth grinding together as he attempted to keep a lid on the emotions that were trying to rise inside him again.

“After I’m gone, what’s going to become of Kousei? Will he be able to earn a living?”

There was a pressure on his chest making it impossible to breathe and a forceful pain in his throat that was pushing right at the back, like there was something stuck there that wanted to come out but couldn’t, because he wouldn’t let it no matter how much it pushed.

”What a terrible mother. There’s nothing I can leave that boy...”

His breathing ground to a halt except for the barest, shaking whisper through his nose.

“I wish I could’ve stayed with him longer...Will my treasure ever find happiness?”

Eyes fixed on the screen, Levi suddenly felt the overwhelming need to bolt, could feel his fingers and legs twitch like he was about to without warning, but the music was reaching a crescendo, and he thought maybe, just maybe, he might be able to make it through this, even as the pain in his throat and the pressure on his chest seemed to grow more crushing, more painful, so much harder to contain.

”Do you think it reached my mom? The way I played my very best? Do you think it reached Mom?”

“You two are connected, aren’t you? Of course it reached her.”

Kousei broke on screen, and Levi suddenly realized he wasn’t going to make it to the end of the episode. He needed to bolt now or he might shatter.

Levi tapped Y/N on the shoulder to get her to move, not daring to look at her and possible see her a crying mess already at the emotional scene. He gave a brief, “I need to take a shit,” that he managed to get out in a steady voice past the pain in his throat by some miracle, and then stood up, the brief statement her only warning to shift before his movement accidentally dumped her on the ground. He didn’t run to the bathroom, that would be too much of a tell. Instead, he got up calmly and made his way to the bathroom, not hurrying his step until he was out of sight and already halfway up the stairs.

By the time he reached the bathroom, he couldn’t hold it back any further, safely locked behind the bathroom door with the water in the sink running seconds before he finally choked on the feeling in his throat and chest. A strangled sound left him, and he leaned over the sink, trying to catch his breath even as his body tried to make him sob. His breaths hitched painfully, a slight shake in his hands before they clenched the edge of the sink, shoulders hunched and teeth grinding painfully as a soft whine escaped his rigid body.

Y/N was waiting for him. He couldn’t stay up here forever, but he at least had to get ahold of himself before he headed back down there. Out of stubborn determination, Levi tried to gulp in air and steady his breath and hands. Once he had a strong enough hold of his breathing, he cupped his hands under the water and splashed some of it onto his face to help calm himself down.

Only when he felt his composure had returned, Levi dried off his face and hands, then carefully made his way back downstairs, well-aware that the chapter wasn’t even over, and there were still several chapters left--nine, according to Y/N.

A lot could happen in nine chapters.

Levi calmly returned to his seat on the couch, Y/N giving him a quizzical, examining look before she resumed the position they’d been in before resuming the show in the exact spot he’d left--thankfully, it was after Kousei’s breakdown, so he wouldn’t have to see any of that again.

That didn’t, however, mean that he was in the clear. No, now that they had put a neat little bow on Kousei’s struggle with his mental image of his mother, they were moving on to the one who had been concerning Levi since one of the first few episodes.

”There’s an ever present sorrow hanging over Arima’s music...Then it’s a demon’s path he must walk. His growth is spurred by sorrow. If he walks that path, he might have to lose someone to move forward.”

Kaori was in the hospital again, and Levi felt the uneasiness and dread about the direction this show was taking grow substantially. Especially as Kousei ran inside the room and saw Kaori in the exact position his mother had been in. The way this show was starting to dig at some subconscious and deeply buried pains and fears of his that he would rather keep far from the front of his mind, but it kept plodding on, and he felt far too invested now to just leave it where it was. The curiosity and need to know what happened next would eat away at him if he asked Y/N to stop it there--plus, asking that might tip her off that something about it was upsetting him, considering at this point he couldn’t claim he was bored with it.

”You’re gonna be fine, right?”

“I can see you again, right?”

“You won’t leave me like my mom did, right?”

At this point, the focus on Tsubaki and Kousei’s relationship was a much needed break from the reality and darker questions being asked with Kaori and Kousei right now, questions that he had asked himself from time to time regarding Y/N, questions and concerns he didn’t want to think about for his own sanity. What was happening with Tsubaki was more lighthearted, less grim, even if it was confusing and brought up even more questions to ask himself. After all, Tsubaki was being faced with the question of how she felt about Kousei--the boy who had been her friend since they were little, who she was falling in love with no matter how much she tried to deny it, who she had always been beside and wanted to be beside forever.

It made him wonder. He and Y/N were friends--had been for years now. She was there for him during his darkest moments, and he’d been there for some of her scariest moments. Yes, they were friends, but...was it starting to go deeper than that? Did he feel closer to her, somehow?

Her hands had felt warm against his when they played the piano together, pressed against one another with his arms around each other so they wouldn’t get in each other’s way. His skin had tingled where she touched him when she’d taken care of and cleaned him up after that fight. He felt comfortable sitting beside her now, with her leaning against him, her head on his shoulder, despite how borderline intimate it felt.

Had she felt something similar? They hadn’t really looked at each other in these moments--they’d been avoiding looking at each other whenever something like that happened, so he had no idea. Was she aware of just how comfortable he was around her? How different that was for him? Did she have any clue how important she was becoming to him, how big a part of his life she had gradually become despite the very real distance and difference between their two worlds.

This entire time he’d been drawing similarities between them and Kousei and Kaori, when perhaps the comparison should have been with Tsubaki and Kousei.

It sure as hell might make him feel better, considering he was rather sure she had a terminal illness. After growing up in the Underground and with the experiences he had so far, fatal illnesses were something he could spot, especially when there were as many warning signs as there were for Kaori. She only seemed to be getting worse--he was pretty sure she’d been told she was going to die, even though there was no audio for the moment to confirm it. Since the first episode, Kaori had been centered on making an impression, about living on in the memories and hearts of others--she was clearly afraid of disappearing without a trace after she was gone.

Still, amid all the aching and pain, there was still flashes of hope as Kaori struggled against her illness, and more moments that made him think about the relationship between himself and the girl next to him--more damn connections between them and Kousei and Kaori, which did nothing to sooth his nerves and fears he didn’t even know he had.

“Why are the sounds you make so beautiful I think I’m going to cry?”

“That devotion you showed. Her heart had turned grey, and you gave it color.”

Had he managed to give her what she gave him? He felt like he didn’t have anything to give, coming from the dreadful world he did. She was always the one bringing color into his life, had he ever brought color to hers? Would he ever be able to? His world, his life, was ugly and dark and probably tragic. What could he offer her out of that?

”Did I reach him?”

“You don’t have the time to see me.”

“It’s not about time--I want to see you.”

The chapter started so calmly--discussion about the next round of the competition, Kaori continuing her struggle to get better, Tsubaki finally admitting her feelings for Kousei in a way. Levi even made a quip about how Watari and Kaori really needed to stop dragging him along as the awkward extra in their group, practically rubbing it in his face even if it was unintentional. There was even another moment of resonance with something Tsubaki said to Kousei.

“So you won’t lose your way, so you won’t have regrets, I’ll stay by your side forever.”

Still, he should have seen it coming. It shouldn’t have surprised him, considering he was well aware of the cruel shittiness of the world, even if Y/N wasn’t. All this time he’d spent bracing himself with the hints of just how bad Kaori’s illness was, the ominous lines of hers. All the lightheartedness and self-discovery of the past several episodes came crashing down with the emergency with Kaori as, from what Levi could see even though they clearly had far more advanced medicine that Levi knew nothing about, Kaori had some kind of close call, a brush with death, right in front of Kousei. And then with the damn cat getting hit and dying literally moments later, Kousei having to wash the blood off of his hands and breaking down in the wake of everything that was happening. He shouldn’t have been surprised, but it still ached to see it.

And there were two chapters left. Realistically, he doubted that Kaori was going to recover in two chapters after all this time. By now, he was certain that she was going to die by the end of the story.

She wasn’t even gone yet, and Kousei had already given up. Levi had seen plenty of people reach that point. No fight left, no will to move. Kousei was right back in the position he’d been in at the start, the impending loss of Kaori the final nail in his coffin, his breaking point.

“Why does it have to end up this way? I can’t...go on. No more...I can’t try anymore.”

He hadn’t hit his breaking point--he hoped he never reached that point. But he was sure even he had one, even if he wasn’t sure where his limit was.

Levi blinked at the white fluttering from the sky on screen. A novel sight he couldn’t ignore or just accept. Snow, Kaori called it.

So that was what it looked like. One of the many things he’d heard about but hadn’t seen…

“Have you seen snow before, Levi? Since you live Underground,” Y/N suddenly asked from where she was curled up into his side, head turned to look at him curiously. Levi shook his head no, and she hummed. “You’ll have to show up some time in the winter so I can show you all kinds of awesome things you can do when it snows. It’s cold, but it’s fun. And everything looks so clean and pure...my favorite things are the trees encapsulated in ice,” she said with a wistful sigh, eventually quieting down as the scene on the screen continued to develop.

Maybe one day. But he would have to come through not only when it was winter, but on a day that there was snow, and he had no control over when he blipped over into her world.

Blipped, blip...her word for when Levi flickered into and out of her world. Clearly, it had caught on even in his mind.

“The people I care about keep leaving me...I’m going to be left all alone.”

Inwardly, Levi felt himself flinch, and that desire to bolt was trying to rear its head again, the desire for her to shut it off and spare him these comments that kept digging into the darker corners of himself, the weakness he kept hidden away for no one to see.

“But you have me. But you have me.”

For the first time, Levi felt Y/N’s hand give his little squeeze on his knee as Kaori repeated her sentiment to Kousei.

Perhaps the feelings were mutual. Maybe he wasn’t the only one drowning in emotions on the inside and drawing parallels while they watched this show, if she was giving him a little squeeze after those words. After he registered that he had felt it, and he hadn’t imagined it, he gave her shoulder a small squeeze in return.

“I’m going to struggle as hard as I can. Struggle, struggle, struggle, like there’s no tomorrow.”

“You gave me this desire to cling to the time that I spent with you. Aren’t you going to struggle to? We’re so good at struggling.”

Hell if that wasn’t the story of his life so far, right there.

Collectively, the two of them held their breath, watching as, after Kousei declared how useless it was for him to even try to play in the state he was in right now, Kaori got to her feet on her own, and the sound of the violin softly flickered towards them from the screen. It was like the music was from a dream, her imaginary violin ethereal, Kaori lit up by a flurry of snow as she played to a crescendo and smiled at Kousei.

“See, miracles can happen just like that.”

Shaking, legs trembling, sweating, collapsed into Kousei’s arms with a breathless laugh, clinging to him like a source of comfort. It wasn’t her reciting of the things she knew about Kousei, or what she wished she knew, that drew a response from him, but her heartfelt pleas with Kousei as he held her in her arms.

“I’m scared. I’m scared! Don’t leave me all alone!”

That was why it was familiar. That was how Y/N had held him when…

And perhaps the reason he’d lashed out when he’d found out about how fleeting this world was for him had been because…

Levi shifted, and it was only when Y/N started to pull away did he realize he’d been shifting to get up and walk away, to bolt. When she fixed him with that questioning look again, not-yet-spilled tears in her eyes from the emotion of the scene, her hand still fisted in his shirt, it brought him back to what was happening in the present, and he shook his head as if to dismiss the movement as he sat back down, relieved when the scene changed again.

Considering it was going to the competition and Kaori’s surgery at the same time, he doubted he was going to get much of a reprieve before the emotions hit again. Kousei was still a mess, though it was a miracle he’d at least shown up to the competition, but even watching him was worrisome, wondering if he was going to break at the piano again after all this progress he’d made throughout the show, everyone watching in concern in the show and on the couch.

“I made you remember something you don’t want to remember…”

“I won’t forget, even if I die…”

“You can just forget about it all, like you’ve pressed the reset button…”

“I guess maybe we never should've met, huh?”

Levi had to close his eyes for a moment after that one, sucking in a sharp breath. It was like it had come right out of his denial of their entire situation, how angry he’d been, the pain it had caused, how for a few moments, he’d felt like it would have been better if he could forget it all, if they had never met, because then he wouldn’t know about what he could never have. His heart ached painfully, the words reverberating not in his mind, but in his bones as the pain in his throat already seemed to be returning.

He opened his eyes, and on screen, Kousei started to break down again, face in his hands, on the brink of tears seated at the piano, on stage in front of everyone once again.

Tsubaki sneezed, and after a few moments of reflecting, after realizing how many people he knew were there...Kousei finally began to play, the notes reverberating deep inside his chest in a full, resonating sound. Something about it made him nostalgic, but also so...it was so…

“Bursting with such mournful color.”

The chapter suddenly came to an end mid performance, which startled Levi--especially when Y/N darted forward so suddenly to grab the remote and quickly jump to the next one, immediately snapping back into his side, clutching to his clothes like her life depended on it, curled into a ball as he realized for the first time that tissue box was suddenly right in front of her, easily accessible.

The last episode.

Considering the set-up, neither of them were going to get through this last part unscathed emotionally.

It started from the beginning of the piece this time, the commentary being made by the onlookers and Kousei different this time, centered entirely on Kousei after the very beginning. Levi and Y/N were both enraptured by the performance though, holding to one another on the couch with gazes fixed forward, completely still, even their breathing slight as they paid full attention to every word, and let the music pull them in deeper into the emotional symphony Kousei was creating with just the piano.

“I’m so scared...Somebody…”

“But you have me.”

“I’m not alone. From the moment that we meet someone else, none of us can ever be alone. We’re all connected.”

Levi’s grip tightened slightly on Y/N’s shoulder again, and he felt her grip tighten in return.

“Don’t leave me all alone.”

“Dummy, you have me.”

“Inside me...you exist.”

Y/N nuzzled into his side like a cat, and he thought he felt his shirt starting to get damp. He ignored it, keeping his grip on her firm and steady, staying still beneath her as he stared stalwartly at the screen, even as the emotions were starting to stir violently around inside him.

”No way am I going to leave you all alone. Reach her. Reach her. Reach her. Reach her.”

The scenery changed entirely, like Kousei was playing in the sky amid a shower of colors, floating around like leaves that autumn day when he and Y/N had jumped into the piles and sent them scattering into the air. Kaori’s whispered ‘Thank you’ as Kousei carried her back down the stairs sent a shiver down his spine, especially when Kousei of the present reacted, and turned his head to see Kaori materializing beside him, violin in hand.

Beside him, there was suddenly a whine from Y/N, and a rather large sniffle, as well as that damp feeling on his clothes starting to spread. She trembled slightly beneath his arm and hand, and he realized she was starting to cry rather heavily, her face partially buried in his side.

The music was jarring, disorienting, suddenly intense and tragic as Kousei closed his eyes, barely holding back tears.

Oh.

Oh, shit.

And there it was.

Kaori’s rich violin playing joined into Kousei’s suddenly mournful and tragic playing, and Levi realized that they were witnessing the last time the two would get to play together. It couldn’t happen again in body, but at least in spirit. Words weren’t needed for this moment. Nothing was said between the characters on the screen, and not a word was spoken between Levi and Y/N. She was continuing to cry into his side, with Levi starting to semi-awkwardly rub her shoulder to try and comfort her even as his own heart seemed to be pounding painfully at the sight in front of him, every note piercing him deeper than he thought possible with the raw emotion behind and pure weight of this single moment. All there was at this moment in time, was him, Y/N, and the music being created on the stage in front of them between Kaori and Kousei, one last time.

A sob broke past Y/N’s control as the colorful day turned into a rich night, and Kaori stopped playing. Levi held his breath, watching as transfixed on the scene as Kousei was transfixed on Kaori, the music softening for the briefest moment before it started to turn slow, mournful, and tragic again.

”Wait...please don’t go!”

As Kousei started to beg Kaori to do all of these things with him again, good and bad, Levi felt the pressure on his chest return, the burn in his eyes and the clench in his jaw, the pain in his throat. Memories of his own were flickering before his eyes in place of what Kousei begged of Kaori.

A small hand offering a still-warm roll. A splash of cool water to the face with shrieks and giggles filling the air. The security of being able to lean comfortably against a warm back with the sun shining down from above, hands gripping his legs and his arms wrapped around the girl who carried him home on her back. The cool taste of ice cream as they leaned against the brick store. A gentle hand rubbing soft circles on his back as he slipped in and out of lucid thought in his feverish state. The sound of hope amid darkness that they managed to create together despite his crude piano playing. Her hand even now clenched tightly in his shirt seeking comfort, like when he’d led her home in the dark through the desert.

His hand was stretched out before him, pulled along by the girl that suddenly disappeared when he closed his eyes. He tried to reach a little further, as if his fingertips could press past some veil between his world and hers, so he could reach her even for another moment. The warmth and the softness of the comfort she wrapped him in evaporated into smoke between his fingers, disappearing in translucent curls, leaving him with nothing to hold, the weight of her presence suddenly disappearing.

What if one day he didn’t come back?

What if one day it all just...ended? Without any warning? The only sign that he would never return the passage of time and gradual loss of hope?

“Don’t go, don’t go, please don’t go, please don’t leave me behind!”

Y/N was sobbing openly into his side now, but she didn’t move to stop the show--she kept watching it. Levi was unaware of the fact that his hand was shaking against her shoulder, all of his effort on keeping the emotions bottled inside him as he watched Kaori disappear before Kousei’s eyes in a flurry of petals, swept away by an indifferent wind.

The rest of the last chapter seemed to pass by in a blur, Levi spending most of that time trying to work his way down from the emotions that scene had stirred up in him, glancing over at Y/N to see a collection of tissues around her while her gaze remained fixed forward, still a blubbering mess over the events that were unfolding on screen. Shards of Kaori’s letter made it through to Levi, certain fragments sticking with him in the moment, others slowly settling in likely to make an impact on him later.

“I want Kousei to play the piano for me!”

He understood that sentiment. He loved listening to Y/N play for him, it was one of the many reasons why he brought it up so often. Sure, it was nice she was trying to teach him to play, but the true moment of enjoyment for him was when she played for him.

“Isn’t it funny how the most unforgettable scenes can be so trivial?”

“None of it was trivial.”

No, none of it was. From playing card games in her room to playing tag on the playground, or eating frozen treats on the steps while they played simple games with their hands. Every little moment was one Levi kept stored away, a secret trove of memories just for him and her, something bright and...something that the Underground couldn’t corrupt, because it couldn’t reach or touch this world or the girl at his side.

“Was I able to live inside your heart? Do you think you’ll remember me at least a little? You better not hit reset. Don’t forget me, okay? That’s a promise, okay? I’m glad it’s you, after all.”

Like Y/N said, just because the moments were fleeting, didn’t mean they didn’t matter. Even if they stopped one day, for whatever reason...at least he would have everything that had come before, the memories, the moments that nothing could take away. He didn’t think she would want him to try and forget, anyway. And a part of him wouldn’t want her to forget him, either. Unlike everything else in his life so far, he wanted this good thing to last, one way or another.

“Will I reach you? I hope I can reach you.”

This time, when his mind procured the image of his hand outstretched in front of him, trying to catch the disappearing back of the girl in front of him, fingers finding nothing but air, he let his hand squeeze slightly against Y/N’s shoulder once more, reminding himself she was right here in his arms right now, and not to take that for granted. Maybe sometimes she’d be out of reach, but right now, she was right here. She wasn’t always out of reach. He’d just have to make each moment he was here count for something.

Thankfully, she already seemed pretty good at making that happen, so he felt like he wouldn’t have to worry about it too much. She was always taking him by the hand to have him run with her wherever she wanted to go and explore, and so far, she hadn’t made him regret following her on her little adventures.

She made his life colorful.

“Thank you for being my friend, Levi.”

“I’m the one who should be thanking you.”

Next Chapter---->

Levi Tags: @clary-quinn @humanitys-hottestsoldier @whalerus @sunny-flo @thirstyforsometea

Through The Looking Glass Tags: @artist-bby @kaz2y5-pie @tartheyes @super-peace-fangirl @huntersbunker @nefelimalfoy @soft-levi-girl-blog @honeygivemeachainsaw @regalillegal @sugas-daddy7 @cathyannecookie @chaoticshepardplaid @roayaloveslife @sanrioclit

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pla-teau · 3 years

Text

WANDAVISION EPISODE SEVEN THOUGHTS

GIF NOT MINE

SPOILERS AHEAD YOU’VE BEEN WARNED!

BREAKING THE FOURTH WALL MORE LIKE BREAKING MY BRAIN AND HEART

wanda’s mood | as she talks to the camera, she treats her expanding the false world she’s created to having a bad night out. we’re seeing how tired she is from expanding westview - it damn near drained her it seems. the last episode was a lot to take in, keeping up with her torn emotions with pietro, her relationship with vision crumbling, worrying about her kids, expanding the hex — it’s enough to fry out your nerves. wanda also categorizes what happened in the last episode as reckless and decides to stay in to punish herself. even her kids notice that she’s out of it because she doesn’t stop them from fighting and doesn’t say a word as she heads to the kitchen. she’s drained, she’s tired - she doesn’t want to deal with anything today. wanda’s not being the doting mom she’s been since the birth of the twins as when billy talks about his head being too noisy, she ignores his complaints and lounges in bed a little longer. she’s drained and is acting out of character throughout the whole episode.

wanda’s reality is starting to break | right off the bat, we see how the reality in westview is going haywire. the boys mention their game freaking out. it switches to games from different eras. then we see it with wanda’s milk - switching from black and white to color and even changing shape to fit the style of a past era like 50s with the milk being in glass bottle or a milk carton with the ‘missing’ label on the side. we’ve seen the trailer/promo footage of different objects/furniture in the house glitching in this same manner and it seems that wanda’s power is not strong enough to keep everything together - physically or mentally so it seems in this episode.

“thanks for tuning in to W.N.D.A.” | as wanda is in the kitchen making herself some cereal, you can hear the tv from the living room say this. this sets up the opening credits for the show as everything is about wanda. if you turn on the subtitles, you can read exactly what the anchor is saying on the television. he says “not a thing weighing heavily on your conscience. i hope your little ghosts arrived home safe last night. it’s always such a treat to see those creepy kiddos out and about once a year.” it seems as though it’s wanda’s mind we’re hearing. nothing’s weighing heavily on her conscience - kinda is with expanding the hex. the little ghosts is in reference to all the kids that we finally saw come out for halloween in westview. calling them creepy kiddos could mean nothing but i thought about tommy and billy? since the two gained their abilities on halloween and weren’t doing much to conceal their powers (at least tommy wasn’t). i also say it’s wanda’s mind we’re gaining insight to cause when it goes on to the bit about giving tips about resisting temptation of the leftover candy or just eating it all - wanda is skeptical of what’s happening with the milk but still takes a big spoonful of cereal.

opening credits | we don’t have some super catchy lyrics this time around for the opening credits of the show - making me think that this is a nod to the office. but we do get ‘wanda’ splattered in every frame of the credits. the one that stands out to me is the ‘i know what u are doing wanda’ since everything else it seems to be replacing random words on signs like restaurants and other shops. comes off as a tad bit scary/creepy since it’s written with cut out letters from different new articles/magazines. could be a hint to vision knowing that it is all wanda’s doing. or as we later find out, it can be a set up to agnes’ reveal since she plays a more sinister role in all of this. this is the first we’re seeing any sort of credits in the opening sequence. created by wanda maximoff - again driving home the fact that the hex and everything we’ve seen so far has all been wanda’s creation or so we’re forced to believe...

SWORD retreat | we learn that the broadcast has been taken down - all they get is dead air supposedly. maybe that’s just a result of wanda’s expansion of the hex but i think it’s too weak given how har out they are and since they are farther from wanda as she doesn’t live right at the edge of town. we also learn that haydick hayward is planning to launch a missile or some kind of powerful weapon on/in to the hex to stop wanda. let’s hope it fails or if it goes through, wanda can point the missile/weapon back at SWORD and let it go.

“if he doesn’t wanna be here, there’s nothing i can do about it.” | wanda’s comment about vision not being home and response to billy asking if they should go looking for him. this clearly speaks to wanda not having any control over vision anymore. this is the first time we’ve seen the couple apart for the entirety of the episode. he’s gained enough sentience within the hex to not be controlled by wanda as other residents are. she knows she can’t rewrite or edit the scene for him to suddenly come through the door and have everyone be a happy family.

“he is not your uncle.” | wanda confirms to us that the pietro we’ve seen so far is a stranger and not some multiverse version of her dead brother. this to me also shoots down the theory of the multiverse existing at this point and wanda being responsible for it even though evan peters does play pietro in the x-men universe. i think it was a wink to fans about marvel gaining rights to the x-men franchise. i could be wrong but until then, ‘uncle p’ is sus to me.

“i don’t have all the answers” | wanda going on about how despite being their mother, she doesn’t have all the answers. this is the third time wanda’s been asked about the truth and she doesn’t have an answer. first with vision when he asks how all this happened. second with ‘pietro’ also asking how she created westview. now, it’s the twins seeking answers about their not-uncle if she’s claiming he’s an imposter and a liar. if anything, wanda has been consistent in this claim of not knowing anything. she knows she created westview but she doesn’t know how it got to be this way. i still believe she was offered something or was taken advantage of from the get go by someone else to get to her and observe how powerful she is. i personally love the twins’ reaction to her speaking on not having all the answers. hello yes i love them.

hayward’s interest in vision | we learn that project cataract is/was hayward’s plan to bring vision back to life. this man was trying to make vision into a weapon for SWORD and that’s why he’s so focused on vision inside the hex. wanda somehow brought him back to life despite hayward’s various attempts. i hate this man and i’m sorry but i hope monica and/or wanda beat the shit out of him. obviously, hayward was using SWORD’s resources to try and bring vision back to life but it’s a question of whether or not other people within SWORD knew this was happening and what the intentions were. because we also have monica’s contact be another agent working in SWORD. so why do i get the feeling that we’re gonna be dealing with a SHIELD 2.0 in which bad guys operate within the agency and it’s going to eventually fall like 2014?

“do you think maybe this is what you deserve?” | the interviewer asking wanda this question after we see her house starting to glitch like there’s no tomorrow. while later we do find out agnes is behind the mic, it made me think that this was mephisto finally coming out a bit since the question is very pointed at wanda. the interviewer wants to see wanda suffer because why would anyone ask such a thing let alone say that? they’re taking joy in wanda losing touch with her reality. this is the lowest we’ve seen wanda throughout the series. she’s usually put together - has a slight moment of crisis - but gets back on her feet for tomorrow to enjoy her life with her family. slowly it’s been building up to this point in which wanda just...crashes. she’s lost control in this reality so for the interviewer to pose that question, it’s a signal that someone else is in charge and going to come for wanda at her weakest.

the nexus commercial | this commercial is definitely referencing wanda during infinity war/endgame. the world goes on without you? could be talking about how the world keeps spinning after wanda lost the only family she had left or how everyone moved on in endgame despite losing the person she wanted to spend her life with. wanting to be left alone? all wanda wanted was to be with vision and now to be left alone as she lives out her life with vision in westview. i know the word nexus itself has a double meaning in marvel. nexus was first name dropped in aou, with it being the center of the internet located in oslo. in the comics, i know wanda is referred to as a nexus being in which this could definitely set up the multiverse as the commercial does state that the medication ‘anchors you back to your reality. or the reality of your choice.’ i’m guessing this is on purpose since we’re conditioned to see everything marvel puts out or puts emphasis on to have a double meaning. maybe wanda discovering that she is a nexus being in multiverse of madness could be what the side effects are talking about. if she’s confirmed to be this being, she’d feel a lot of feelings, confront her truth (maybe her role in westview and hopefully her trauma), seizing her destiny (taking control of her life and bigger role in the world), and possibly more depression (i don’t think she needs more of it but with her, it’s almost inevitable especially given where these next two weeks might be heading). given that it does hold two meanings for marvel, it could explain the scenes we’ve seen in promo footage of her time in sokovia with the mind stone. we were told that the show would explore more of wanda’s past from aou so maybe it is going to give nexus a double meaning in the mcu: the largest internet hub and wanda’s confirmation as a nexus being.

the twins with agnes | this scene had me anxious. billy commenting about it being quiet heavily hinted at how agnes isn’t like anyone else in westview. again, we’ve never seen her husband ralph and we still don’t see him in this episode. we get another glimpse of señor scratchy with billy holding him but that’s about it. the house is also a big contrast to wanda’s house and westview’s scenery overall. there’s usually a lot of light and warmth in westview but agnes’ interior is toned down and has darker tones throughout our time in it. clearly, a set up for the big reveal that everyone’s been echoing since the show started. this is also the last time we see the twins in the episode.

monica | after the SWORD rover failed to get through, monica goes right in and clearly her passing through a third time has a permanent effect. she’s finally got her powers and is more badass than before. i loved how we got bits and pieces from her, maria, carol and fury in captain marvel. monica has been one of the best characters in this series and i can’t wait to see what happens next with her.

it’s all about vision | monica’s explanation to wanda about hayward. i said this before about the end credits in the show always zooming in on vision’s eye to segway into the crystal sequence. we’ve learned that hayward was trying to bring vision back and somehow wanda managed to do this once she took his body. i wouldn’t be surprised if by the end of the season we see vision being the key to saving everyone in westview since hayward just wants what he believes is his and is willing to blow up a whole town to get it or cover his tracks. while this whole series has been focusing on wanda, this all boils down to vision.

agatha all along | of course the big reveal is agnes being agatha harkness and the mastermind behind a lot of the weird occurrences in westview. what is interesting is that she’s choosing to reveal herself to wanda in this way. it doesn’t seem like it was her plan to do it at the time she did but seeing that monica could’ve swayed wanda to go off script in agatha’s plans, better sooner than later. i think señor scratchy is none other than mephisto and maybe in the next episode we’ll see the other big bad reveal himself to wanda and us. when’s that bop dropping on spotify

snooper’s gonna snoop | finally, we get a post credits scene with uncle p and monica. we’ve learned that agatha was behind the ‘recasting’ of pietro but who is he?! he could be a multiverse!quicksilver we’ve never seen before - which could explain his skewed memories with wanda. right when the camera comes to view with monica, it cuts to the credits. i believe that maybe this pietro shapeshifts into who he really is - who this might be? i don’t think mephisto but possibly agatha’s son nicholas scratch since he seems to be an accomplice of hers?

ugh god so much to unpack and we have another two episodes before shit really hits the fan.

#wandavision #wandavision spoilers #scar’s theories #scar tries to piece together what she can each week #wanda maximoff #vision #agatha harkness #monica rambeau #billy kaplan #tommy shepard #darcy lewis #jimmy woo #pietro maximoff #mcu #marvel

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eyreguide · 4 years

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Reviews of Jane Eyre Adaptations

An overview of my thoughts on all the film and television adaptations I have seen.

Jane Eyre 1934 Virginia Bruce And Colin Clive

This is the first talkie version of “Jane Eyre” and I think has the rather unfortunate timing to have come out during the Great Depression. For that is the only reason I can think of for making the story so cheery and sweet. Gone are moral ambiguities and dilemmas. Adele is Rochester’s niece, and Rochester is in the process of divorcing his mild-mannered and slightly mad first wife. Even Mr. Rochester is charming and affable (and quite obviously in love with Jane from the start); you don’t have to work hard to like him.

Jane herself is quite spunky and has no trouble expressing anything she is feeling. I find it funny how she calls out Mr. Rochester on everything. No wonder he is pretty straightforward with her. And Jane is acknowledged to be young and pretty in the movie- interesting since so many adaptations in later years get beautiful actresses to play Jane and then pretend they are plain.

I think because this version lightens the story so much, one can’t take it too seriously as an adaptation of “Jane Eyre”.

1943 Jane Eyre Joan Fontaine And Orson Welles

There’s a much better attempt to adapt the actual novel in this version (as compared to the 1934 film version) which makes for an interesting transition from light to dark. The 1934 film being a little too happy and this version being a little too dark. Orson Welles plays the role of Rochester with such an intensity that makes him a little intimidating. No wonder Joan Fontaine’s Jane looks like a deer caught in headlights most of the time.

The script has some interesting changes to the story that perpetuates through several movie adaptations to follow. Helen Burns has her hair cut at Lowood instead of Julia Severn in the novel, and Jane heroically demands to have her hair cut as well. Jane is more directly the cause of Mr. Rochester falling off his horse as he looms up on her and she is unfortunately in the way instead of standing quietly by the side of the road. Jane also feels she has to defend Adele and asks Rochester to treat her more kindly- something Jane never does in the novel.

Other interesting innovations to the story include a St. John Rivers who is the Doctor for Lowood, and who provides Jane with lessons of morality instead of Helen Burns. Overall, this film is fantastically moody and quite romantic, and a very good film if you aren’t too concerned about fidelity to the novel.

1949 Jane Eyre Mary Sinclair And Charlton Heston

Studio One produced this hour long episode and it was apparently filmed live, so they had one big set for the whole program. Consequently the script centers on the Thornfield section, although it does show Jane leaving Lowood. The house party consisted of just Blanche (with Jane having to play piano for their amusement!)

Mary Sinclair as Jane does not bring much to the role. She says her lines and acts smitten as needed. Charlton Heston is an aggressive and overly masculine Rochester, and he doesn’t really capture the character very well either. It doesn’t help that he tended to over do the emotion somewhat.

The story is very chopped up, obviously, and everything moves very quickly. There really isn’t much to recommend this, unless you are a big fan of the novel, and you like old movies.

1952 Jane Eyre Katharine Bard And Kevin McCarthy

This episode was also produced by Studio One and is very similar in script and features a similar set. They seemed to have a little more money in the budget though because the staging and sets were a little better. And Mr. Rochester was able to have a larger house party, that reflected the book more.

Katharine Bard was also not very memorable as Jane. She said her lines and was just there. Kevin McCarthy had this interesting nicer vibe to him. He seemed more friendly and sweet, while also being demanding sometimes. It’s still not a great characterization though.

Again, I would not really recommend this version unless you are set on watching all adaptations (and that’s a great idea!)

1956 Jane Eyre Daphne Slater And Stanley Baker

This early six-part British miniseries is available to watch only at the BFI in London. I was pleasantly surprised by how well this version adapted the story. Slater and Baker’s interpretation of the characters is wonderful and the dialogue/script follows the general plot of the novel very well. It does veer off from the actual dialogue of the book, but in this case, I liked the changes. It captured the gist of the scenes and the character’s emotions. The only really odd moments came from some of the more emotional scenes which would have been better with Charlotte’s words.

The childhood part of the story features the actress playing adult Jane, also playing Jane as a child, which is a little jarring, but it actually worked rather well. Slater was good at capturing the essence of a child. Young Jane in this version is also much more outspoken and Helen Burns feels more like an equal to Jane - much less overly religious and self-sacrificing. It made for a different dynamic but I enjoyed how it showed Jane and Helen’s close relationship

Unfortunately feisty, young Jane becomes much more muted and easily frightened as adult Jane. Slater’s Jane is still good though, despirt her timidity and is able to hold her own against Baker’s Rochester. Baker makes an imposing, brusque and rough Rochester, but he brought some nuance and emotional depth to the character. The miniseries also does justice to St. John Rivers and shows him as very formidalbe and controlling - perhaps the most cold and disturbing I have ever seen St. John portrayed. He attempts to read a letter that Jane receives without her knowledge, and also lies to Jane that Rochester has already moved on from her.

This was a wonderful version with many scenes and moments that I did not expect to be included in so early an adaptation.

1957 Jane Eyre Joan Elam And Patrick MacNee

This adaptation is much fun. It’s just… so weird. The interpretation of the novel is so bad, it’s like the writer was making fun of “Jane Eyre.” Jane is preachy and spiritual to the extreme. She doesn’t have a care for herself but just wants to help Mr. Rochester in any way she can. Which Mr. Rochester must be glad of since she excuses his lecherous advances on her because he drinks (alot apparently) and because he has had a troubled past. But after Rochester has tried to take advantage of Jane, he does fall in love with her and it’s cute how much attention he pays to her during his house party. Which gives Blanche a chance to be ridiculously catty.

Mason also gets interesting things to do in this adaptation. He doesn’t get quietly stabbed and bitten on the third floor- no he crashes down some stairs during the house party, bleeding and terrified. A supremely Gothic moment. And when Jane agrees to marry Rochester, Mason sort of slides into view and is all ‘I don’t think so.’ Mason has some attitude. The script for the adaptation is just over the top- down to little Adele scrabbling in the ashes for a toy when Jane finds her in the end after (a really quick) fire.

For an “interesting” way of looking at the story of “Jane Eyre”, this adaptation scores high marks.

1957 Jane Eyre (Italian) Ilaria Occhini And Raf Vallone

This adaptation is in Italian, and the copy I have has no subtitles, so I’m reviewing this with only the acting and the gist of the scenes to go by.

This is a 5 part adaptation (oddly each episode is not quite the same length) and it begins with Jane meeting Mr. Rochester by felling his horse. From there, Jane’s childhood is told through some flashbacks. Some of the more interesting adaptation choices this version makes is to have Jane much older when she finally leaves the Reeds house. And a new sort of character is introduced - by the name of Jack Lloyd. He seems to be a combination of John Reed and St. John, in that he is Jane’s cousin on the Reed’s side (maybe?) and is in love with Jane from the beginning. While the first episode mostly deals with Jane’s childhood, we still get scenes in the next three episodes to what the Reeds are doing and especially Jack Lloyd. Jack also turns up at Thornfield to take Jane away to visit sick Mrs. Reed. I was very entertained by what seemed to be Mr. Rochester’s jealousy over Jack! Another interesting thing about this script is that Mr. Rochester hires a gypsy and listens in on the readings she gives (just like in the 2006 miniseries). And then, he comes out to comfort Jane because she has become distressed.

The feel of this adaptation is very dramatic, there is an emphasis on Gothic elements (forbidden rooms, screams, portentous secretive glances) and the audience sees things from Bertha’s point of view a couple times, as she wanders Thornfield’s halls. Jane and Rochester are smitten with each other very quickly. I found it funny how often they stare at each other as if there was no one else in the room. (Sometimes there was.) Jane can seem a bit moony, and Mr. Rochester has a few mood swings. He can seem really nice one minute and then suddenly speak very sharply. This adaptation is a bit slow, and takes some interesting liberties with the story, but I found it very entertaining and romantic. And Mr. Rochester regains his sight in a dramatic moment in the end during the wedding. A nice dramatic wrap-up.

1961 Jane Eyre Sally Ann Howes And Zachary Scott

This one-hour television production for “Family Classics” was introduced by Joan Fontaine which was a nice surprise. Opening credits start with Grace Poole getting herself some alcohol. Mr. Rochester’s entrance is not quite as dramatic- he is sitting in a chair in the darkened library when Jane goes down to get a book and he startles her when he speaks. I actually really liked this adaptation. Sally Ann Howes was again serviceable as Jane, nothing special in her interpretation. Zachary Scott as Rochester brought something different to the role as compared to the previous American hour-long television productions. His Rochester was more aristocratic in ways, he sometimes- and very vaguely!- put me in mind of Dracula. Not that he was vampiric, just in the way he carried himself. And maybe because he was dark and thin.

The script manages to include a “Rivers” section where Jane actually gets a proposal from St. John- something that hasn’t happened in the previous film adaptations I have seen. And St. John is rather egregious and plump- not very like the Apollo of the book. And if I’m not mistaken, this is also the first time they flash back to Thornfield burning down while Jane is away- breaking up the Rivers section with a scene with Rochester.

If I had to pick the best of the American hour-long productions, I would pick this one. Which is viewable free at the Paley Center in Los Angeles and New York.

1970 Jane Eyre Susannah York And George C. Scott

I feel that this version is the first to approach the story of “Jane Eyre” as it is, rather than as a dramatic rendering. It’s somber and dreamy and pretty straightforward in portraying the scenes. Not that the characterizations are all correct. Susannah York’s Jane is mature- reflective of the actress’s age undoubtedly, and George C. Scott is curiously cold and dry most of the time. St. John Rivers is surprisingly passionate and eager to marry Jane even though he still doesn’t love her.

The production benefits from location shooting (first version to shoot on the moors?), and wonderful music which goes a long way to filling in the passion and romance that is lacking in the actors. Much attention is paid to the character of Helen Burns here which is a plus- the audience really gets to see how Helen helped Jane to grow. The script in itself is okay, until the blundering line of Rochester’s “But I loved her once, as I love you now.” when Rochester has shown Bertha to Jane and the wedding party. I find that line basically undermines Rochester’s love for Jane. It is important to understand that Rochester did not love Bertha at all so then Rochester doesn’t seem so much like a jerk.

Well. This version has some issues, but to see it after the previous versions, it is a breath of fresh air because it comes closer to recreating the novel proper.

1972 Jane Eyre (Czech) Marta Vancurova And Jan Kačer

I have not re-watched this version in a long time, so this review is very brief:

A friend was able to find this rather obscure adaptation made in 1972 Czechoslovakia. The copy she found is in Czech with no subtitles, so I can’t understand a word of it. However, I will comment on the overall tone that I received from the four hour adaptation- melancholy and artsy (perhaps reflective of a low budget). Not as much passion to certain scenes as one would expect, but I did enjoy this adaptation and they did a good job with condensing the material. Except for the Lowood portion of the story, which they cut out.

1973 Jane Eyre Sorcha Cusack And Michael Jayston

This is the best version of Jane Eyre to date. I wouldn’t say there was an overall tone for the miniseries- it comes off as a straightforward interpretation of the novel. Production values are lacking in that set design and blocking are less than inspired, but it does have great costumes and outdoor sets. There are really just two reasons why this is the best version in my opinion. Script and characterization. The script uses much of the novel’s dialogue (finally!!), and sometimes brings out interesting elements of humor that one might not have noticed before. And I feel like Jane Eyre has many funny moments or comments that are mostly overlooked in other adaptations. And in condensing the material they kept so much of the story intact it’s surprising. I am only disappointed by how they shortened the Gypsy scene by having Jane discover Rochester too quickly. But every other important scene is done beautifully.

As for the actors, I am only disappointed in Juliet Whaley’s Young Jane, whose acting is stilted sometimes, but she was young. Sorcha Cusack portrays a nice blend of shyness and independence and Michael Jayston is superb as Rochester. His performance is nuanced and mesmerizing. Stephanie Beacham is probably the best Blanche I have ever seen as well- she comes off as snobbish and selfish but I can see how she might be captivating and charming to men.

There is not much else I can say about this, my favorite adaptation. I think every one who is a fan of the novel should see this version.

1983 Jane Eyre Zelah Clarke And Timothy Dalton

Another mini-series adaptation, this version had a bigger budget it seems than the 1973 version. Set design and lighting are improved, and the show even got it’s own theme! The show was also 30 minutes long per episode which gave a different, more leisurely pace to the scenes. It seems like they wanted to make sure each episode ended on a little cliff-hanger. But with the pace slower, it sometimes felt like the actors were speaking too slow. There were long (introspective?) pauses and they even broke up scenes with time lapses and set changes. The proposal scene for instance starts in the library and Jane runs out to be alone in the garden.

As an adaptation of the novel, this is the second best film version because it has so much time to give to telling the story. Zelah Clarke as Jane is a little monotone sometimes, but she does a good job showing Jane’s spirited side. Timothy Dalton’s Rochester is imperious and masterly, and very charming. The script has a proper charades scene and Rosamond Oliver makes her first appearance in this adaptation. They also show an older Eliza and Georgiana which is another first.

Overall, this version is very good and is only ranked behind Jane Eyre 1973 because of dialogue/script changes and characterization.

1996 Jane Eyre Charlotte Gainsboroug And William Hurt

This version takes a fresh look at the novel. The flow of the narrative is different- much faster in pace, so that some scenes happen quickly right after the other- giving time no doubt to show the more leisurely and melancholy scenes of Jane and Rochester alone. During Brocklehurt’s first visit to the Reeds, he immediately takes Jane away to Lowood, and there is a quick transition from Helen Burns dying to older Jane by her graveside then walking to take the coach to Thornfield. And as soon as Jane flees from Rochester and a bigamous marriage, Thornfield is on fire and the audience knows that Rochester has been injured before we know what has happened to Jane.

The overall tone of the movie emphasizes Jane and Rochester’s loneliness, which makes the film very poignant. Any “supernatural” elements to the story is minimized- Mr. Rochester does not loom up on Jane, but passes her by and then slips on ice (like in the book), and Bertha’s madness has a touch more realism and sympathy when she pushes Grace Poole to her death and then jumps after her. And again, Jane does not hear Mr. Rochester’s voice calling to her (though there is that one instance where maybe you could hear him whispering her name on the winds?) but instead she looks into her heart and knows she must go back and find out what happened to him. Even the Rivers aren’t her cousins, but just happened to be taking care of Mrs. Reed, and eventually of her effects.

This is a beautiful film- great sets, locations, vistas. The music is beautiful and haunting. Despite the truncated adaptation and the one-sided portrayal of Rochester, I really enjoyed this film. Especially for the pathos of Jane and Rochester’s romance.

1997 Jane Eyre Samantha Morton And Ciaran Hinds

Truthfully, I dislike this version. It makes me laugh though, because I don’t understand how they could have gotten so many things wrong. The script is awful, Ciaran Hinds is horrible as Rochester, and Samantha Morton is a little annoying. Though that is probably the script. So let’s start there. We have your average truncated adaptation which makes sense- they cut things that most shorter film adaptations cut, but the dialogue! It’s too modern and direct. Jane addresses Rochester in a way that is not in keeping with her sense of propriety. Of course Rochester doesn’t hold much with formal conversations with Jane in the book, but his conversation in this film has none of the poetic prose of the novel. It’s all very cliched and off-putting.

Since Grace Poole is made a much bigger mystery in this version than in previous ones- Jane’s eagerness to rehabilitate her make sense, but is an unnecessary addition to the plot. Especially as Jane keeps harping on what Grace Poole is doing. Ciaran Hinds as Rochester is shouty and brutish and especially distasteful after the failed wedding. He throws Jane’s luggage down to the first floor and drags her to the garden, blaming her for not loving him enough to be his mistress. The only time I liked Samantha and Ciaran’s chemistry was after the fire in Rochester’s bedroom, when he took her hand. After that it was too much panting and open-mouthed kissing. Yikes.

The only scene that was enjoyable was when Jane comes back from visiting Mrs. Reed (curious how they lead up to that scene, but did not show her with Mrs. Reed at all) and Mr. Rochester is happy/annoyed at seeing Jane walking into Thornfield. It was a cute scene. Other than that, I wouldn’t really recommend this if you wanted a romantic version.

2006 Jane Eyre Ruth Wilson And Toby Stephens

Another BBC mini-series of which I always expect alot. In some ways this adaptation delivered and in others it fell short. Production values were excellent of course. Ruth Wilson as Jane was a revelation. I’ve always thought it was hard to portray Jane’s inner emotions as detailed in the novel but Ruth manages to make her thoughts visible facially. Voiceovers were really not necessary. She’s just so good and so nuanced, well-rounded, I loved her portrayal of Jane. There are a couple of scenes in this version that have never been previously adapted. Namely the “carriage scene” when Rochester takes Jane to Millcote to buy dresses. The carriage scene dialogue with Adele in tow is so cute and playful and shows a wonderful side to all three characters. There is also the scene where Jane runs out in the rain to catch up to Mr. Rochester the night before their wedding. The dream sequence also makes it in- with Jane holding a baby while being kept away from Rochester. All scenes that I very much enjoyed watching.

Disappointingly, the script in general didn’t quite capture “Jane Eyre” in my opinion. The dialogue and changes to Mr. Rochester’s character specifically did not feel right. And of course there is THAT scene on the bed that really felt out of place for the story and for Jane’s principles. And why does Mr. Rochester hire a gypsy to trick Jane? It seems like there’s an attempt to minimize some theatrical elements (Rochester cross-dressing, the voice across the moors- now scientifically explained!) to maximize on other theatrical elements (dream sequences, Rochester’s bed on fire- which looked like a pyre, and the terrifying secret in the attic). There really doesn’t seem to be much point to emphasizing one and not the other.

Mr. Rochester often seemed a little immature, too boyish maybe, in his eagerness to collect dead insects maybe? I never really felt that Toby Stephens captured Mr. Rochester’s sophistication. The efforts to increase the sexual tension did not improve my opinion of Rochester, because Rochester getting Jane into bed was just a low blow. For the most part, I’d watch this version for Ruth Wilson and some of the humor and playfulness they put into the story.

2011 Jane Eyre Mia Wasikowska And Michael Fassbender

This version is a complete and refreshing surprise. Judging from the trailer, I thought it would be melodramatic in the extreme with an emphasis on the darker Gothic elements, but nothing could be further from the truth. The set design, lighting, and camera choices could be seen as dark, but they are also realistic to the times and what seems to be the vision of the director, Cary Fukunaga. Which appears to be to present the story of Jane as she lived it, completely tuned in to her thoughts and feelings. A very refreshing idea. Many versions have added or filmed sequences of the story in which Jane did not participate- for example, Thornfield burning down or scenes between Blanche and Rochester, but the story stays with Jane practically the whole way through, with camera angles highlighting that the audience is experiencing everything through Jane. This really changed the experience of viewing the movie- it felt real and not like a spectacle.

The script helps alot in this, it condenses the story but stays true to every part of it. Even with the narrative structure changed, it still hit all the important scenes, and stayed true to even the lesser characters in the story. It is surprising what scenes are not included in the movie- for instance the tearing of the veil- so that the focus of the story is more on Jane and Rochester’s relationship but even with that the more Gothic elements are not completely marginalized. There is still a sense of things not being quite right.

Mia Wasikowska as Jane is excellent; strong and intelligent, and fantastic at conveying her inner emotions through body language. One of the many things I loved in this version are all the shots of Jane walking/pacing restlessly. Mia somehow conveys that there is “a vivid, restless, resolute captive” inside of her. Michael Fassbender is commanding and sardonic and tender and teasing, sometimes all at once and sometimes flipping between the emotions at will- quite amazing to watch. He can be so intense that you are a little afraid of him and then so pleading and desperate that your heart breaks for him.

The movie was understated and simple and more powerfully emotional because of it. Personally, this would be my second favorite adaptation after the 1973 mini-series. Despite the inevitable condensing of the story, and an ending that felt a bit abrupt, it was so refreshing to watch a version that did not overplay the story and kept the focus on Jane.

2013-14 The Autobiography of Jane Eyre Alysson Hall And Adam J. Wright

This web series has Jane, a 21 year old university student, working as a nanny for Mr. Rochester’s daughter Adele. She vlogs about her life, and through the videos we get to meet all the people in her life.

I was really impressed by how close they stuck to the novel - adapting scenes that are often disregarded in other adaptations (granted they have a lot more time with this series) but also to make some scenes from the book modern must have been a great challenge. And I was really mostly happy with how they managed to make everything fit in their world.

I do have some issues with this as an adaptation though. Sometimes I lose focus on what some episodes are trying to adapt from the novel - it doesn’t always flow well for me, and I had an issue with Jane taping people in the beginning without their consent. I mean she can accidentally leave the camera on, but she doesn’t have to post it. But the reason why that bothers me is because Jane is supposed to have better sense than that. She can be a bit naive, but she always knows what’s right and wrong. But then again, it is difficult to adapt this kind of story! The audience would want to see these people!

The actors were all really excellent in their parts. Jane of course was so endearing and quirky - definitely different from Jane in the book, but believably the modern version. Mr. Rochester had a wonderful sense of humor and it was evident from the beginning how much he cared about Jane. Their romance was so sweet and developed very well throughout the videos. The Rivers were also believable surprisingly - I mean especially when it came to the St. John character - now called Simon. St. John in the book would be very difficult to modernize I think - because he’s so zealous and religious, selfless but selfish. They made Simon a little bit too dorky and cute, but he was also stubborn and unsympathetic to others which fit. There were some changes made when it comes to Grace that made the story work very well, and a new character - Suzana - would often steal the show with her sassiness.

It is disappointing that towards the end they had to recast the actor who played Rochester which leads to a sort of rushed and incomplete ending. I think they did the best they could, but for a series that has done such a wonderful job bringing so much of Jane Eyre to life, it’s unfortunate they left out so much of the ending.

This adaptation had it’s ups and downs for me, but I always felt there was a lot of love for this book in every episode, and the writing and the story planning was often exceptional in adapting the book. I was always happy to get a new episode and it was such a great experience getting a little dose of Jane’s story every week.

2000 Jane Eyre the Musical Marla Schaffel And James Barbour

Okay, the musical. This is the Paul Gordon version. I’ve seen SO MANY comments bashing the musical by people who have never really listened to it just because it’s “Jane Eyre” with singing, and “Jane Eyre” shouldn’t be a musical (OMG!). I have to say I was never a fan of musicals before listening to this version. (Except for “The Sound of Music” which…is a little bit like “Jane Eyre” isn’t it?) At any rate, it took awhile for me to come to grips with all the singing, so I can understand where people may come from but I hope that at least some of the people who turn their backs on this musical might actually like it if they really listened to it.

I do love this musical. I think adding music to the already lyrical text heightens the emotion of the story and can very easily put you into the mindset of each of the characters. The ability of Paul Gordon to work in actual text from the novel into the lyrics is amazing as well (something I come to realize even more as I listen to other Jane Eyre muscials). In terms of condensing the story, all the major scenes are there for the most part, and without too many additions. I love that they even have Rochester as the Gypsy which is rarely done in Janian adaptations. The tone of the whole show is somber- in set design and music, but there are moments of humour- with Mrs. Fairfax most often bringing in the comic relief.

Marla Schaffel is marvelously grounded as Jane- her characterization is balanced between propriety and passion- something that is hard to do in a straight production, but when Jane can sing in privacy, it can all come out. :) James Barbour is commanding as Rochester (and not only because of his voice, which is a glorious baritone). His performance is more layered than many Rochesters I have seen, having a certain finesse or gracefulness while also being gruff and abrupt. The other characters are mostly spot on with the exception of Mrs. Fairfax (played by Mary Stout) who plays her good-natured but a bit doddering. And St. John Rivers is not quite the jerk he is in the novel. Though he still doesn’t love Jane when he asks her to marry him.

1952 Sangdil Madhubala And Dilip Kumar

I have not re-watched this version in a long time, so this review is very brief: An Indian film released in 1952. Whether or not this film is an adaptation of the novel is perhaps debatable. The setting is completely changed to India and there are changes to the story reflecting Indian culture. Yet, the basic story of Jane Eyre is there and many scenes are taken from the novel- notably the Gypsy scene (with Shakur impersonating a male astrologer) In my opinion this is a very enjoyable representation of the novel. Kamal is played with a strong moral sense, shyness and innocence. Shankar is admirably played with much angst and playfulness.

#Jane Eyre #Charlotte Bronte #Jane Eyre 1943 #Jane Eyre 1970 #Jane Eyre 1973 #Jane Eyre 1983 #Jane Eyre 1996 #Jane Eyre 1997 #Jane Eyre 2006 #Jane Eyre 2011 #Literary Adaptations

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daresplaining · 4 years

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So, in one of your posts you mentioned that you could write a lot about the different contexts in which Danny introduces himself as Danny vs. the Iron Fist. Is there any chance we could ever read those thoughts. Thank you so much for running such an amazing blog; I love it.

I want to preface this with a general statement and apology:

This blog has slowed down a bit in the last… year? Ish? Possibly longer? And this is because life has gotten much more hectic for a variety of reasons. My wonderful co-blogger has been busy enough that she doesn’t really have time to blog anymore, and my life has been fairly chaotic as well. There are messages in the inbox that have been there for a really long time (this one included), and I want to assure you that they will be answered, and that this blog does, in fact, still welcome questions! Thank you all so much for your patience, hello to any new followers, keep on Daredevilling, wash your hands… and now, let’s talk about our boy Danny!

(Context: The post being referenced is this one.)

MCU Danny’s overall story arc orbited around concepts of identity. The entire first season of Iron Fist is an identity quest– Danny returns to Earth, has his identity as Danny Rand stripped away and fights to reclaim it, has his identity as the Iron Fist challenged and fights to defend that, and then is faced with the question of how to balance both of those identities– his adherence to the honor and duties of being the Iron Fist, but informed by his sensibilities and past life as Danny Rand. At the end of the season, he makes the wise choice to return to K’un-Lun to continue his training, to focus more on his role as an Immortal Weapon, only to discover that… something horrible has happened to his home. The truth of what actually happened to K’un-Lun was a mystery that was never answered, and remains for me one of these shows’ most frustrating cliffhangers. But regardless, this discovery is a bomb dropped in the middle of his identity quest. He believes his home was invaded, and it’s notable that his traumatic nightmares of his parents’ deaths are replaced by nightmares of K’un-Lun’s destruction. He feels he cannot fully claim the title of Iron Fist anymore because he has failed in his duties. He has failed his family, his home, the people he was supposed to protect. But he also clings to that identity more tightly than ever as he commits every moment of his life to righting that wrong, to fixing this unforgivable mistake. He is angry and grieving when we see him in The Defenders, his identity a painful, mixed-up thing, and this fact has to be taken into account as we look at the ways Danny introduces himself in that show.

Overall, my feeling is that I’m thinking a lot more about this than the writers were, but hey, it’s still fun to examine. Let’s take a look…

[ID: A screenshot of Danny Rand and Colleen Wing in a dark, green-tinged tunnel, kneeling next to an injured man (Shaft, a member of the Chaste).]

Danny (subtitle): “My name is Danny. I’m hunting members of the Hand.”

This, his first introduction in the show, is a telling one. He is here in a professional capacity as the Iron Fist, doing strictly Iron Fist business (hunting the Hand), fully embodying that identity, yet he doesn’t introduce himself as such. Instead, he’s just “Danny”. (Note: not “Danny Rand”. Danny’s association with the name Rand is another complicated topic that I’ll get back to later.) This is in spite of the fact that he has reason to assume, given that Shaft knows about the Hand, that he would know about the Iron Fist legacy as well.

This can be taken a few different ways. It’s possible that he’s using Danny as just as shorthand; it’s more personal, and he may want to put Shaft at ease by using his civilian name. Or, at this early stage, having now suffered yet another failure of being unable to protect Shaft, it could be reflective of the fact that he doesn’t feel worthy of the title. He is shocked when Shaft recognizes him as the Iron Fist– maybe because he didn’t think Shaft would be so informed, maybe because he is embarrassed and ashamed to be addressed as such.

[ID: Screenshot of Danny standing in Colleen’s dojo, arms folded, looking intensely sincere. He is speaking to Luke Cage (off-screen).]

Danny: “I’m the Immortal Iron Fist.”

And here we have the exact opposite. The above scene with Shaft is very intimate, personal, emotional. Danny is avoiding his Iron Fist identity, downplaying himself. Everything is very quiet and desperate and genuine.

Here, though… Danny is wearing a mask. He is introducing himself in a succinct, summarizing way; projecting an image, providing information. His personal feelings about his identity are completely absent from this scene, because no way in hell is he going to reveal that vulnerable side of himself to someone he barely knows and doesn’t trust (yet). He is also reacting to Luke’s behavior, which up until this point has been dismissive at best, violent at worst. Luke is a sore spot here: a person who Danny initially thought was working with the Hand, and who he struggled to beat in a fight. If Danny was ashamed before, he is extra humiliated now, standing in front of Luke and being scoffed at (“Oh, this is a joke. Come on”).

And so he presents himself as the powerful, in-control Iron Fist he doesn’t actually believe himself to be (“I can answer myself” etc.), throws down a Clif-Notes version of his backstory so Luke can understand who he is, what he was doing when they first met, and why he is a trustworthy ally/asset, and introduces himself with the most formal, intimidating version of his title. Danny is recovering from a bruised ego, and wants the unpleasantness out of the way so that he can continue with his mission– and if Luke is capable of helping, then he wants to make that connection with as little angst and fuss as possible. He needs Luke to know that he is the Iron Fist, even if he doesn’t feel like he actually is.

[ID: Screenshot of Danny strolling into the lobby of Midland Circle, wearing a business suit.]

Receptionist: “Name, please.”

Danny: “Daniel Rand, of Rand Enterprises.”

Having seen one mask, we now get to see the other– this one much more fabricated, though he pulls it off with STYLE. (That swagger! I love this scene.) This is Business Danny at his Business Danny-est: Daniel Rand of Rand Enterprises, wearing a tie and everything. Danny is not a businessperson, as he himself says. He has never been a businessperson. He has never wanted to be a businessperson. And, as he also readily admits, he is not a very good businessperson. But it’s a mask he tried on in IF Season One for identity quest purposes– to tether himself to the Rand name, his civilian identity, which was his sole remaining connection to Earth and which the Meachums were trying to rip away from him– and it’s a mask he now dons again, this time as a weapon against the Hand. His introduction here is just as much of a necessary facade as his introduction to Luke was in the previous example, but this one lacks the emotional baggage.

[ID: The same scene as previous; Danny is smirking coldly at the Midland Circle receptionist.]

Receptionist: “Are they expecting you?”

Danny: “[Chuckles softly] Not like this.”

Okay, sorry, I always say this when discussing this scene, but… DANG. Get ‘em.

[ID: Screenshot of Danny standing in a white-walled Midland Circle conference room, hands folded in front of him, his back to an open door. A whole bunch of people in suits are sitting at a long conference table in front of him, watching him speak.”

Danny: “My name is Danny Rand.”

The charade continues (though note the switch from “Daniel” to “Danny”. He is being just as formal and fake here, but he’s never really been a “Daniel” and it’s possible he says it without thinking). I talked about this moment in detail in the original post, regarding Danny’s strategy and the challenges he faces as his plan starts to go awry, so I won’t repeat myself here, but I will point out that Danny keeps this mask on for as long as he can, even after revealing that he knows they are the Hand, even after Alexandra shows up and starts behaving condescendingly toward him. He embodies the Danny Rand of Rand Enterprises identity for as long as possible, so that they don’t see him as a physical threat until he wants them to, and so that when the moment arrives, it can be as impactful as it needs to be. He wants them off their guard, unsettled, frightened.

[ID: A close-up of Danny from the shoulders up, same scene as above. He is resolute.]

Danny: “I am the Immortal Iron Fist, weapon of K’un-Lun.”

I think this is genuine. Yes, it’s a shock-and-awe tactic to tell the Hand who they’re really dealing with, but I also think that in this moment, Danny rediscovers some of his confidence. He believes that, after all of his shame and failures, he has found a plan that will work. He has finally tracked down the Hand, he has breached their defenses in a way they were not expecting, and he believes that he can now destroy them. And then he gets emotional. This is about honor and vengeance, and they need to know who it’s coming from and what they are paying for. “I am the Immortal Iron Fist, weapon of K’un-Lun”– he is retaking his ownership as defender of his city, because he needs to, because he believes he finally can. He has conviction in his identity as the Iron Fist for the first time since the last few episodes of his solo show. And man, it hurts so much to find out that he is wrong.

[ID: Screenshot of Danny, Luke Cage, Jessica Jones, and Matt Murdock (in civvies with a grey scarf tied over his face), standing in a tight circle in a dimly-lit room (a restaurant). Danny is talking to Jessica.]

Danny: “Hey, I’m, uh… I’m Danny.”

Jessica: “Jessica.”

Here is our final scene of Danny introductions: the team dinner, in which he introduces himself to Jessica, and tries to do the same to Matt (who is being grumpy and incognito and therefore is unreceptive to introductions). This one doesn’t have the emotional complexity of the previous examples– Danny is super cheerful and endearing here, delighted to meet these other superheroes and to have found more allies, and he introduces himself with a healthy, informal “Danny”. The beginning of the team-up is the start of the breakdown of his character arc, but it’s a very cute scene regardless– a glimpse of the happy, well-adjusted (or at least adequately repressed) Danny that we had not seen in the MCU at this point since the beginning of IF Season One.

[ID: The same scene. The four of them are standing around a plate-laden table. Matt is leaning intently toward Danny with his hands on his hips, listening to him speak.]

Danny: “Sworn protector of K’un-Lun.”

Part of Danny’s relaxed-ness comes from his belief, again, that with these new allies, his revenge quest is achievable. He is also clearly relieved to have help. He introduces himself as just “Danny” initially– using the most informal and least baggage-laden version of his identity, forming a personal connection with them– and then introduces himself as the Immortal Iron Fist, “sworn protector of K’un-Lun” later, when he starts explaining his role in the fight against the Hand. He is very relaxed about referring to himself in this way here, partly because– again– his sense of self and security has been bolstered, he is feeling good and hopeful, and also, it’s just necessary context that he knows he needs to provide. Specifically, he refers to himself as such to Matt, because he has gathered at this point that Matt has Chaste connections, and therefore assumes that he knows about the Iron Fist legacy. Little does he suspect that overly-emotional Matt failed out of Chaste School before learning any of the important backstory, and is therefore clueless.

[ID: Screenshot of Misty Knight looking over Luke’s shoulder at something that clearly upsets her.]

Danny (off-screen): “You got a chair?”

Please indulge me for just a second: Am I bitter that we didn’t see Danny properly introduce himself to Misty? Am I bitter that their relationship was almost entirely neglected in these shows? Yes, just a little.

Anyway…

Overall, Danny’s emotional arc in this show suffered for the sake of the team-up, and I feel like there is not as much significance in these introductions– these shorthands for Danny’s identity struggles– as there should have been/would have been if this were his show. That said, I do think they are important, and I loved digging into this. Danny’s journey is one of my favorites out of all of the Netflix Marvel protagonists, and I love taking it apart and examining it.

Again, I’m sorry this post was so long delayed, and thank you for the question!

#apple-grass-and-smiles #Netflix Defenders #Iron Fist #Danny Rand #Asks #Commentary

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daleisgreat · 4 years

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Star Trek: The Next Generation: Season Five

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-Greetings and thanks for joining me for my semi-annual coverage of marching through Star Trek: The Next Generation. Today I am covering season five (trailer) of the BluRay collection that I continue to ever-so-slowly progress through at one or two episodes a week. I started season five off in February and wrapped it up a couple days ago by watching at this rate. Part of the side effect of that was taking advantage of extended free trials of CBS All Access and binging through all of Picard and the first two seasons of Discovery within two months while keeping up with an episode or two a week of season five of TNG. There happens to be a couple episodes of this season of TNG that play a notable role in Picard, so the timing of it all gelling together was a lucky coincidence. I gave brief recaps of both Picard and Discovery in my annual TV season recap blog that can be found by click or pressing here. I apologize in advance for the questionable-in-quality pics in this entry from my ancient Samsung Galaxy S7 which makes it worth it to grab so many subtitle moments from this season! -The only notable cast change this season is the addition of Ro Laren (Michelle Forbes). She becomes a recurring character this season as someone who is essentially introduced as coming off work release after a court martial and working her way back into Starfleet in the lowest rack of Ensign and serves primarily at the helm of the bridge. Forbes is fantastic as Ro and she has a few landmark episodes this season with my favorite of hers being “The Next Phase” where Ro and Geordi (LeVar Burton) are de-moleculed and appear as ghosts to the rest of the ship who responds by throwing a funeral for them in the form of a Mardi Gras-esque party at Ten Forward. Forbes is absolutely sublime here in Ro’s pining curiosity at how Riker (Jonathon Frakes) will eulogize her.

-This was a big episode for other recurring characters this season too. That is kind of a big deal considering season five is the only season of the series without a Q (John de Lancie) episode. I like how they find new ways to bring back Denise Crosby, who was shown as a mysterious cliffhanger to the end of the two-part arc of “Redemption” that finished off season four. It picks up in a big way with how Denise Crosby’s new character is connected to Tasha, and how the Romulans get involved in the never-ending civil war of the Klingons that eventually has the gratifying conclusion of Worf winning back his honor among Klingons. Guinan (Whoopi Goldberg) has her biggest role yet in the series this season in the two-parter “Time’s Arrow” that has the first part wrap-up season five where we discover the origin of Guinan in the 1890s as the Enterprise crew time travels back then and also encounters an antagonistic Mark Twain in an intriguing episode. Wesley Crusher (Wil Wheaton) returns for two episodes this season. One is an oddball episode where all on the Enterprise but Wesley and Ensign Lefler (Ashley Judd) are mind controlled by a mysterious augmented reality game. The other episode is much better as Wesley and a few of his squad mates deliver prepared depositions as they are ruthlessly interrogated on the death of one of their peers. The annual Lwaxana (Majel Barrett) episode is about the expected chore to get through in her continued struggles to find a partner where she sets up an arranged marriage that is doomed from the beginning. Props to Chief O’Brien (Colm Meaney) having a kid this season! -Season five marks the addition of two major personal belongings to one Captain Jean-Luc Picard (Patrick Stewart). One is the iconic jacket he dons throughout most of the season. I have no idea yet if he wears it in the remaining seasons, but it is a slick jacket and gives him a space cowboy type of vibe to him! I bet it sold boatloads in merchandise! The other item is a special flute that is gifted to him in “The Inner Light” when Picard’s mind engages in a Inception-like lifetime of memories in the span of under a half hour where he experiences an all new culture and life. It is a delight of an episode I appreciate the more I reflect upon it. I later learned in the bonus interviews that this flute melody became a common occurrence at weddings.

-I want to make sure to give kudos to some of my other favorite episodes this season. I loved seeing Spock (Leonard Nimoy) finally make an appearance on TNG. At this point of the show, appearances from the core Original Series crew has been extremely rare and limited, but TNG gets the most out of Nimoy with him playing a major role in another two-part arc where Spock tries to reunite the Romulans back into the Federation of Planets. One of the top episodes this season is “Ethics” where an accident leaves Worf (Michael Dorn) paralyzed and according Klingon ritual must self-sacrifice himself for the greater good. This results in some of the best speeches of the season where Riker and Picard implore Worf to reconsider before Dr. Crusher (Gates McFadden) impresses with her surprisingly improving doctor skillset to resolve Worf’s paralysis. An episode that initially appears to have a silly premise, but I outright loved by the end is “Darmok.” Picard winds up stuck on an island with an individual of an undiscovered species that only speaks in metaphors. Picard is as baffled as me trying to decipher the metaphors at first, but gradually picks up on it and by the episode’s end forms a kindship with him as the duo team up against a new threat. “I, Borg” is an episode that plays into Picard later on that sees the Enterprise take in an injured Borg and give it the ability to have independent thought again.

A guilty pleasure TV theme of mine in recent years is the time loop episode theme in the form of Groundhog’s Day. Discovery had a terrific rendition of it in its second season. I was thrilled to see TNG do their version of a time loop episode in “Cause and Effect.” It has a banger of an opening that sees that Enterprise exploding and eventually the scenes start to repeat that sees the crew start to recognize their situation and attempt to find a way out of the time loop. I came to discover in the bonus interviews that this episode preceded Groundhog’s Day by nearly two years, and unlike that film and all the TV shows that have pay homage to it over the years, TNG plays it in a serious manner and not as a comedy, but the writing for it is so well done that it works and is pulled off in a way that had me invested until the end! -While there were a fair amount of standout episodes this season, I would be remiss if I were not to go this far and fail to mention there were several clunkers. Some of the ones I recommend skipping is where Riker falls for an androgynous being that has a non-committal ending and the episode plays out totally differently today than it was intended then. Another dud is where them dang Ferangi are up to no good again in failing to kidnap a seductive being that has a strong desire for Picard. The biggest abnormality this season is where according to my notes I surmised the episode as ‘imaginary friend comes to life, blargh!’ Trust me on that being all you need to know on the astutely titled episode, “Imaginary Friend.”

-I want to once again give a shoutout to the podcast, Star Trek: The Next Conversation. Hosts Andrew Secunda and Matt Mira breakdown every episode of TNG and help provide ample background, facts and insight with their analysis of each episode. Because of re-watching TNG and combined with their podcast I have been able to better pickup on countless TNG references in other TV shows and podcasts over these past couple years. Click or press here to give them a listen if you have not already. -There are nearly four and a half hours of extra features that are nicely spread out across all six discs. In addition, there are also four episodes that have commentary from cast and crew with one noteworthy highlight being Orville creator, Seth McFarlane guesting on the commentary for “Cause and Effect.” A lot of the bonus extra are carried over from the original DVDs, but like previous seasons there are a couple of new HD bonuses for the BluRay. Mission Overview deep dives into the production of a couple of my favorite episodes of the season, “Darmok” and Spok’s return in “Unification.” Tribute to Gene Roddenbury has clips of speeches from various Star Trek luminaries at a building dedication to Gene and has fond memories from the cast and crew of Gene. Intergalactic Guest Stars interviews many of the aforementioned recurring characters on why they keep coming back on.

These next two are new HD bonuses for the BluRay. The Music of TNG is an in-depth 75 minute discussion with three composers from the series that I truly appreciated hearing the composers dissect some of the most memorable scores and melodies of TNG history. Finally, Requiem is a two part, hour long look about writing the controversial conflicts that have been touched on throughout the run of TNG, and also has additional tributes and testimonials on Gene Roddenbury. Both are excellent thorough takes on both subject matters, and if you dig bonus features as much as I do, then I highly recommend both of them! -Season five of The Next Generation continues the success of seasons three and four. I would only mark it a notch under those two strong seasons because there seems to be a few weaker episodes this season than in the previous two. I gathered from the bonus interviews that it seemed that this season tried to go all out exploring new conflicts and themes, and sometimes it worked exceptionally well in the cause of “Cause and Effect” but other times it worked against them a few more times than usual this season. Overall though I would still rank this in the upper tier of TNG season and hope to see the final two season keep up this high bar of quality.

Past TV/Web Series Blogs 2013-14 TV Season Recap 2014-15 TV Season Recap 2015-16 TV Season Recap 2016-17 TV Season Recap 2017-18 TV Season Recap 2018-19 TV Season Recap 2019-20 TV Season Recap Adventures of Briscoe County Jr: The Complete Series Baseball: A Ken Burns series Angry Videogame Nerd Home Video Collections Cobra Kai – Seasons 1-2 Mortal Kombat: Legacy - Season 1 | Season 2 OJ: Made in America: 30 for 30 RedvsBlue - Seasons 1-13 Roseanne – Seasons 1-9 Seinfeld - Final Season Star Trek: Next Generation – Seasons 1-7 Superheroes: A Never-Ending Battle Superheroes: Pioneers of Television The Vietnam War: A Ken Burns series X-Men – The Animated Series: Volumes 4-5

#star trek #star trek the next generation #Patrick Stewart #jonathan frakes #gates mcfadden #Marina Sirtis #levar burton #Wil Wheaton #Leonard Nimoy #whoopi goldberg #Michael Dorn #Ashley Judd

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butterflydm · 5 years

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The Untamed Rewatch (ep 1)

Series Overview | Index | Next Episode

Oh, yes, I was very correct about this all hitting me a lot harder after I’d seen the whole show. I am also watching it on viki.com this time and the subtitled translations are already a lot better than the ones on the tencent youtube channel. They flow much more naturally as lines of dialogue (there’s a new set of translated videos popping up, too, that I might check out on my… third viewing… that will probably happen after this one… I really like this story y’all).

Things that stood out to me on this viewing (note: I am going to be spoiling the rest of the story as well when talking about things, including the twists):

Okay, so in the drama, when Wei WuXian is brought back to life, it seems like he definitely does look like himself again from the start —he specifically questions Mo XuanYu’s cousin to see if the Mo family would recognize him and learns that they haven’t seen him without mask or heavy makeup since he left home for a while at thirteen. What I infer from the conversations is that their looks were similar enough that when Mo XuanYu called Wei WuXian’s spirit into his body and the magic reshaped it, his general shape didn’t change enough to be noticeable, plus the family didn’t really look at him much in any case. And Wei WuXian worries that the “Lans of Gusu” might know enough about how he looks to recognize him, even if they aren’t “him”. I mean, obviously the doylist/meta reason is that they hired Xiao Zhan for a reason and they’re gonna have him play the part, but yeah, thinking about it is interesting.

Wei WuXian playing wangxian on the piece of grass: fucked me up so much more now. This show does such an excellent job with this entire romance. The whole way they set up Wei WuXian both wanting and not wanting to see Lan WangJi again is a lovely representation of their push-pull dynamic in the drama as a whole.

Which brings me to how much I love that song. The wangxian love theme is absolutely beautiful, enough that even when they play it like ten times in one of the later episodes, I’m still like “aaaah, so pretty! <3”. The first time we hear it is when Wei Ying has the flashback to Lan Zhan in his Gusu robes when he’s talking to Lan SiZhui and it’s so subtle there but it starts building up the mood of their romance, piece by piece. And WWX is so overcome by the memory that he literally sinks down and sits on his heels.

I also really love Lan Zhan’s theme song, as well. Lan Zhan’s introduction is… a lot. I love that we don’t see his face until it’s WWX seeing his face again, too. And he’s just this floating ethereal being and WWX stares for a long while, transfixed… and then makes fun of the way he’s dressed, with a fond smile. There’s such a good job there of putting in a sense of familiarity and history with how Wei Ying reacts to seeing Lan Zhan again.

The set-up of the sixteen years ago, seeing that moment, and then when we come back to it 30+ episodes later as we see both that there was so much we didn’t know but also that the show didn’t at all ‘cheat’ about the emotions of the scene — the backstory information we get complicates the picture of that day that we start with but doesn’t undermine it.

Wei WuXian also comes back in a much better emotional place? Given the way resentful energy is presented in the drama as a corrupting force, I wonder if part of that is attributable to getting a ‘new start’ in Mo XuanYu’s body — his own original body had been put through so much physical trauma in addition to the emotional trauma. The removal of his golden core. Being thrown down into the burial mounds. Then years of resentful energy being held inside his body and built up over time. Even just getting a chance to wipe that out and start again in a body that hasn’t been through that trauma might be helpful. This fey, trickster Wei WuXian is reminiscent of how we meet him in the flashback.

Though, in the drama (as I understand it, his death happens differently in the novel), another element might be that we did see him reach a moment of peace right before he died — he saved Lan Zhan’s life. He was already able to break out of the stranglehold of his grief and pain long enough to do that before he died, so his mind already started the healing process (but then he died, so it was short-circuited — sort of? Wei Ying does make it clear he was aware of being dead and he even knows how long he’s been dead without anyone telling him). I’m not sure how much of that applies to the novel’s version of WWX, but that’s what I got out of the drama’s version.

I really love Wei Ying’s casual displays of power. Snapping his fingers to freeze Mo XuanYu’s cousin in place… it just comes so naturally to him. He just has this very spontaneous-feel to when he uses magic (is it still called cultivation in this context?) that makes it just part of who he is and it’s very charming.

We see the hints of Nie HuaiSang’s hand behind everything — he paid the storyteller to talk about the YiLing Patriarch for three solid days, probably to influence the timing of Mo XuanYu’s ritual. He makes sure he stays there to see the initial results through — which he does again in the final act of the story. I have much genuine love for Nie HuaiSang tbh. He gets his revenge thoroughly but doesn’t go incredibly overboard the way most of the revenge-based characters do in the series (though he is ruthless about it). He knows his own strengths and weaknesses — he’s not a fighter, but he knows where he can find one. He doesn’t have overweening ambition beyond what he can handle. If his big brother had never been murdered, I get the sense he would have happily stayed a decorative baby brother all his life.

The Lan juniors are the cutest lil beans in creation. I love the contrast between them, because we see that Lan SiZhui is much more polite and formal than Lan JingYi, but he’s also incredibly compassionate and his heart is very much present on his face at all times. He’s respectful but openly kind. The moments when his memory is getting tickled by the way Wei Ying is behaving is also… it means so much after having seeing the drama all the way through once. And I love Lan JingYi for many reasons, but also because I think his (tbh kind of straight-up bratty) attitude implies that the Cloud Recesses have calmed the fuck down a bit about their strictness in the past decade-plus. And he finds Wei Ying’s dramatics amusing for the most part, which is cute.

Lan SiZhui recognizing wangxian — I suspect he’s remembering Wei Ying playing it rather than it being a post-death memory of LWJ playing it, since Lan JingYi doesn’t remember it at all. And because if Lan WangJi played it for anyone after Wei Ying died, then I’m not sure he would have been so certain from the start that the person playing it had to be Wei Ying. Meanwhile, Wei Ying isn’t aware of the full emotional importance of the song to Lan Zhan, and he seems to play it a couple of times as a soothing action (self-soothing here, and then to calm down Wen Ning’s corpse in episode 2)? Likely because it reminds him of being cared for by someone (in this case, of course, Lan Zhan). Wei Ying keeps precious hold of things like this and is very sentimental from what we see, and it makes sense that he associates this song with affection in the same way that he associates lotus root and sparerib soup with affection.

I am… honestly not at all surprised that people (even apart from the Lans) are using all the cool shit that Wei WuXian created even while most of the cultivation world still condemns him. That was the way they behaved when he was alive, too. They wanted his cool shit but judged him for making it.

Wei WuXian standing up for Lan SiZhui and the rest of the juniors when Madame Mo is yelling at them: he’s such a natural defender, tbh (which, of course, ends up being a big part of why he and Jiang Cheng end up at odds because WWX doesn’t limit his caretaking nature to his family but extends it to literally anyone who needs it no matter the cost). He’s nurturing in a careless/teasing way at times but he’s also very protective. And that impulse to jump in to help other people is such a big moral thing that he shares with Lan Zhan.

Okay, so, thoughts on grief as presented in the drama: Lan WangJi is well-known and beloved by the young Lan disciples. His reputation is back to being spotless, because it’s been over a decade since he did anything wrong. so, I don’t think he was publicly still grieving, though I will note that the Lan junior disciples seem relatively open to the idea that the YiLing Patriarch was probably not the worst person ever and it wouldn’t suck if he really weren’t dead after all, kind of reminiscent of MianMian’s daughter talking about how the YiLing Patriarch only goes after bad people (Lan JingYi honestly sounds hilariously excited about the idea that the YiLing Patriarch might still be alive, tbh - what have you been telling these children, Lan Zhan? lol).

So while I don’t get the impression LWJ spent most of those years openly pining, I’m sure the subject of WWX has come up, as he’s still a popular monster-in-the-night for a lot of people, and LWJ probably did defend his memory, in his own quiet but solid way. But I also get the impression overall that LWJ put his deep grief for Wei Ying in the same box as his deep grief over his mother, and he did his duty.

Then, he realizes Wei Ying might be alive and everything changes. I love that they both instinctively think of each other by their given names, too. Even when Wei Ying isn’t sure whether or not he wants to see Lan Zhan, that’s still how he thinks of him first — as Lan Zhan. And Lan Zhan just stares at the sword while it’s giving off those black smoke trails, transfixed, and when he first wonders if Wei Ying is alive and there, it’s just... Peak Romance, y’all. Peak Romance.

It does crack me up that the second Wei Ying gets the chance, he dresses himself in his own colors of black & red and doesn’t stick with Mo XuanYu’s colors. The only effort he puts into his ‘undercover’ disguise is the mask. He deserves a “I don’t think you even tried at all” star tbh.

Series Overview | Index | Next Episode

#mdzs meta #the untamed | chen qing ling #wangxian #mdzs #mo dao zu shi #wei wuxian | wei ying #lan wangji | lan zhan #long post #text post #cql rewatch

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crisisengine · 4 years

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review: TEENS OF STYLE

Teens of Style was Will Toledo (aka Car Seat Headrest)’s 2015 major label debut. However, rather than being a paradigm shift into new, polished studio-recorded material (which would come on the next record, Teens of Denial), it was instead a laptop-recorded look back at the Will’s lo-fi Bandcamp days, compiling together older songs from different projects (mainly his first non-numbered album My Back is Killing Me Baby and the relentless but captivating breakup record Monomania). Now that Will has a firmly established musical reputation outside of the world of Bandcamp and people are enjoying all his work, both new and old, I thought it would be a good time to explore whether this record holds up in its own right. It is more than just a greatest hits compilation? (short answer: ABSOLUTELY YES!)

I like how the refrain from SUNBURNED SHIRTS closes and opens Car Seat Headrest’s first trilogy of major label albums. It’s cool to see how, on this song and on ‘Twin Fantasy (Those Boys)’, the same words and melodies are used in totally different contexts (though, here, we also get the eargasmic “People here bang on the walls late at night…” part). This one oozes dreamlike, summery vibes. I love the psychedelic sound collage at the start and, from there, it’s a pleasure to watch the song build up into the final rock-out ending.

The opening riff of THE DRUM is perfectly produced. Whenever it appears, sometimes without warning, I get total chills. The guitar tone cuts through like an ice pick. The verses build on this in a muddier fashion but, by the time the vocals come to a head (“The Drum’s in debt!!) I am absolutely won over. Andrew Katz’s spritely drum fills add a fitting contrast to the breakdown and final verse really does give off a bizarre sense of triumph (“he’s got his flag unfurled or something”). I enjoy how, after the opener has gradually drawn us in, this song feels like a decisive overture, a setting of the scene for the album.

SOMETHING SOON is a brilliantly put-together pop song. The verses’ lyrical vignettes of cabin-fever turn into outright desperation in the chorus. It pinpoints these feelings really accurately. The skittering breaks in the verses release themselves into the crashing choruses and outro. Each section is bookended by the same repeating electric piano chord. The explosion from this pared down moment into the final burst of energy just seems so right.

Like ‘The Drum,’ NO PASSION also rests on an exquisite moment of production. In the final chorus when Will sings “I” in his high register, it’s like a shot through the heart. The sarcastic image of failure in the verses compliments this so well – a succession of half-formed images that seem to suck away all feeling. The comparative earnestness of “I just needed more money, more time, more love” hits home. Our generation often try to rationalise things through sarcasm when really there is something more deeply lacking in our lives. The line “All my desires are so poorly drawn” also really resonates with me.

TIMES TO DIE adds to this album’s incredibly strong selection of opening moments of tracks. The wandering bassline interlocks with the chug of a delayed guitar followed by a single note. There’s something incredibly satisfying about it, especially when you are aware of the sound bath you are about to enter. The psychedelic vocal and guitar interplay in the verses is a highlight – in the first, they mirror each other but, in the second, the guitar skirts around the vocals, carving out new crevices. Their two melodies collide at the end of said verse, in a really affecting way (“but he just keeps singing this song”). The use of horns and cut-up vocals enlivens the sound palette. It feels like a series of ancient rooms with each section or lyrics (“and when they took him to the temple…”) leading somewhere new. A light seems to shine through as the melodies cascade upwards. The “most of the time” section provides nice segue into the “divine council” part which feels like an explosion, with the “is it harder to speak?” section as its fallout. The intermingling of imagery or religion and the music business (“got to believe in the one above me, got to believe that [Vince]Lombardi [head of Matador records] loves me”) is playful and dreamlike.

PSST TEENAGERS is a fun interlude that adds some more immediate energy into a generally fairly meditative album.

The opening verses of STRANGERS leave you inquisitive as to where the song is heading. All becomes clear when the tension of the exclamatory chorus is released in the lovely, picked instrumental break that follows (again enhanced by some inventive drum rhythms). The second section is the real stunner though, starting off cocoon-like and vulnerable but leading into a volatile crescendo. The line “I won’t last too much longer” and its raw delivery convey a sense of enigmatic fragility that I find very affecting.

The keyboard riff in MAUD GONE swamps the mix in the best way possible. I love its distorted, wet tones. The sax solo at the song’s crescendo provides the perfect counterpoint to it, too. Its muscular, sinewy texture cuts through emphatically in the context of the album’s drenched sound palette. As the notes reach up, the instrument seems to become an incredible, cathartic pressure valve, leeching out a lot of confused unspoken feelings as the notes reach up. The metaphor of “a full moon every night” is enticingly simple but also utterly apt for the feelings it describes.

LOS BARRACHOS has an infectious opening synth lick. As it bubbles under the verses, I’m just waiting for it to return with its full force. The wry but combative tone of the song’s opening (“let’s […] crush the grapes beneath our feet/ like some heartbroken Bacchus”) reflects Will’s desperate attempt to rekindle this relationship, to change his situation, to turn sadness into hedonism. These illusions can’t last, however. The riff does not return. Instead the song melts into a kind of broken, abject despair. “I miss you.” The disintegration of the song’s subtitle to just “Don’t have any hope left” is heart-breaking. It’s the most visceral portrait of a breakdown I’ve ever heard.

BAD ROLE MODELS, OLD IDOLS EXHUMED is my favourite song title ever. The track (the only new song written for Teens of Style) feels like a self-aware reflection on the nature of this album. The images of a figure from the past who once meant a lot but is now insignificant in the life of the narrator seem to tally somewhat with the way in which the album is made up of songs taken from previous projects. Past relationships, and the hurt they have caused, are dismissed and rationalised into triviality and insignificance. The horns and the final refrain make for a strangely celebratory ending, like a forced annulment of regrets (“You probably looked like an idiot in that hat!”) in the face of a resolve to move forward. This forced, performative break with the past, however, seems only to emphasise how the wounds are still very much open, just as the songs here, despite their pre-dating of the album itself, lose none of their emotional potency.

The chorus of OH, STARVING! is deliberately contradictory but also feels very comprehensible. The boredom of a life that seems superficially better as, opposed to a past delineated by clear highs and lows, is a recognisable feeling. Sometimes things being superficially ‘ok’ just makes you painfully aware of how far away you are from the things you really want in life, while impending pressures can obscure this, making any brief moments of solace much sweeter. In the context of the album, this also seems to imply a sense of nostalgia with regard to the events and feelings laid out in these songs. Even though this album deals with confusion, depression and heartbreak, in hindsight, the potency and simplicity of these feelings (given the separation of time between the writing and re-recording of these tracks) could almost seem preferable to the confused present. Yet, by the end of the song, Will seems to finally be able to let go. Saying “goodbye” to all his “secret files” seems almost ritualistic, like he is purging himself of the confusions of the past and moving on. I like this version of the song best because of the moment, at the very end, when the delicate piano chords and doo-wop harmonies are replaced by raw, shredding guitars and a single voice singing “goodbye” so distortedly the word is almost incomprehensible. The raw power of this moment seems to work up a head of steam, like an exorcism of the kinks and bruises of the past, in favour of something.

There isn’t Car Seat Headrest album I’ve heard that I don’t love. However, I think Teens of Style undoubtedly ranks among the best of them. It might just be one of my favourite albums of all time. It does lack the conceptual charge that powers Twin Fantasy, Monomania, Teens of Denial and even, to some extent, How to Leave Town. However, despite their lack of a heavy overarching theme, these songs flow together really well. The album feels cohesive thanks to its spring-reverbed production aesthetic (which reminds me of being indoors on a hot summer day) and the smaller themes that recur throughout (resentment of the past, confusion in the present, getting signed to a major indie label). The tweaks to the lyrics of many of these songs make the creative intent yet more apparent.

I also think this album definitely does not negate the albums from which these songs are taken. I love Monomania and My Back is Killing Me Baby and, if you haven’t listened to them you should definitely do so right now! There are bunch of essential songs on both albums that are not on this one (‘father, flesh in rags,’ ‘Souls,’ ‘happy news for sadness,’ ‘Sleeping with Strangers,’ I could go on…). However, for me, the songs on this album benefit from being recontextualised and, in certain cases, from being rerecorded. It’s great to be able to experience the stronger standalone songs from these previous records in the context of album that lets them breathe a little more, outside of context.

The most obvious example is ‘Los Barrachos’ which I think works amazingly well as the climactic track for this album. On Monomania, placed somewhere in the middle, it felt more like a just another rung in the downward spiral of heartbreak. On Teens of Style, it has room to breathe and can finally reach its full potential. Similarly, ‘Maud Gone’ benefits hugely from its re-recording. The crisp yet bedraggled sound palette of the new version feels much more fitting than the original and, in the context of a more emotionally diverse album, the catharsis it brings is more powerful (especially coming after ‘Strangers’).

Teens of Style might be made up moments from the past, but it more than proves its worth as a cohesive album that is great in its own right.

#car seat headrest #teens of style #review #will toledo #Andrew katz #1 trait danger #sunburned shirts #the drum #something soon #no passion #times to die #strangers #Maud gone #los barrachos #oh starving!#Jacob bloom #monomania #my back is killing me baby #starving while living

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lunawings · 5 years

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King of Prism SSS Episode 10 (LOUIS)

So I think one of the main reasons a lot of people were confused by this episode (well other than misleading subtitles......) was because a lot of us had our own long-time theories/assumptions about what Louis is or what a Rinne is, and this episode turned out a bit different from what we were all expecting. (I got a lot of messages that were like “But I always thought that...”) I think you have to let your past assumptions go in order to take this episode in. A few of my long-time assumptions were proved wrong by this episode as well.

Although, given this post does still include statements that are my own interpretations, if you think I’m wrong about something please feel free to speak up. (But also please include evidence from Rainbow Live if applicable, etc.) I’m afraid I may have to go back and edit this post several times, especially after whenever the director starts releasing interviews about all this.

There is a tl;dr at the end, but I really hope most of you guys read all of this. I know it’s long, but the Crunchyroll subs for this episode are just....... so bad...... by far the worst....

I wasn’t really able to keep track of the the scores when I was watching this in theaters, so I actually didn’t realize what a big deal Joji’s score was until this scene at this moment. It’s why I tried to start a dialogue about it earlier.

Kinda funny how Kokoro, Mondo, Mitsuba, and Tsurugi’s scores are almost exactly the same. It makes them feel all the more like manufactured prism stars.... (not really their fault, it’s how Schwarz Rose does things....)

I’m going to skip over talking about the scene with Jin and Sanada because I think it’s best saved to discuss in a future episode. Don’t worry, we’ll deal with Jin later.

HE’S SO HAPPY AND CONFIDENT AND EVERYONE BELIEVES IN HIM........................................................................................

The translator doesn’t really understand prism sparkle, causing a lot of confusing dialogue in the subs, but I suppose that’s kind of to be expected for anyone that didn’t watch Rainbow Live.

I’m pretty sure the intended meaning here was: If they can’t fix Rinne then the prism sparkle will disappear, which would mean the end of the prism world, and the prism gods, etc.

Um no, I think they said F-type here. Rinne keeps falling in love with male stars because she’s “F-type”.

My understanding of the scene is: the Rinnes keep falling in love, which is keeping them from spreading the prism sparkle and leading to destruction of the prism world. But the gods hesitate to make an M-type prism messenger since there is a “dark history” with that. So they just change the basics (like appearance) of Rinne to be male, while keeping the rest of the coding the same, and.....

....Also restore the memory to hopefully “avoid problems”.

(The subs say “back up” here which isn’t so off, but a bit misleading. I believe the Japanese is 復原 or 復元 = restore and they do say lit: “memory”, not data. I guess the translator was thinking in computery terms.)

So this explains why Louis is male and has memories of the past, even though they say Rinnes lose their memory in Rainbow Live.

He’s a Rinne, just a different version.

And because he has those memories, he immediately begins looking for....

Turned? What do the subs mean by “turned”?

The word used here was 復活 = to be revived/resurrected.

I guess the translator thought Shine went to the dark side or something, but he went to the dark side long ago. (Either that or this was supposed to be “returned” and that was a typo.)

This scene is taking place in the Pride the Hero-ish era and the prism gods are asking Louis WTF he’s doing awakening Shine (by giving Shin the pendant and whatnot).

So. I read a while back in a director interview in the “Ready Sparking” fanbook that Louis’ mission was “to kill Shin”.

Which didn’t make any sense to me. Rinne in the flashback in Pride the Hero says she’ll find Shine again, so why would she find him just to kill him again? Why would Louis go to all the trouble of giving Shin the pendant and awakening his powers JUST TO KILL HIM?

But now in this scene it makes sense. Louis’ mission was not to kill Shin(e) to begin with. He was intended to be just a regular prism messenger trying to spread the prism sparkle UNTIL THIS SCENE when his mission changed, because he decided to divert from his mission and awaken Shine without permission.

So the spoiler I read was technically true, but not in the way it seemed. He did not specifically come like an angel of death to kill Shin(e). (A huge load off my mind.) But in between the ending of the first movie and Crazy Gonna Crazy, things changed.

Once again, misunderstanding of prism sparkle. The way they subbed this, it sounds like he was told not to expand the brilliance of Shine because what “its” refers to is not clear............ It should have been more like: “Your mission now is the elimination of Shine. There is no need to worry about spreading the prism radiance anymore.”

None of this is readable in the theater ahah... Every time I saw Part 4, I always thought I’d be able to read a bit more of it and I never did.

But yeah, I’m not sure if we knew before that Hijiri’s mother was deceased....? (Did we?)

Edit: Lol nevermind we did.

I heard some people saying that Shin(e) was a Rinne, so I just want to take a second to clarify this.

Shine is not a Rinne. Shine is a Shine: A now defunct male prism messenger program. He’s a separate program from Rinne, and they were meant to exist together. (Unlike Rinne and June, who were both Rinnes and thus caused an error by existing at the same time in the same world in Rainbow Live.)

Woah. I’m not sure, but I think they cleared up his face here to make it more obvious how much he looks like Shin...... I think I remember it being too dark to see his eyes well in the theatrical version...? ??

But anyway, the rule for prism messengers not being allowed to perform before an audience (and also the reason why) is something that was previously established in Rainbow Live.

So I think the subs were absolutely fine for this part. My understanding of it was that after erasing Shine, Rinne gets stuck in a loop where she keeps self destructing because she’s trying to find Shine.

This makes the prism gods decide to delete her memory. They also task her with guiding male stars as well, since Shine cannot fill that role anymore. This is why the Rinnes in the Rainbow Live era have their memory deleted, and what also unintentionally laid the groundwork for June to fall in love with Hijiri I believe.

And because the Rinnes kept falling in love like June is why they re-wrote the program to be Louis to try and prevent this and also gave him the memories of the past Rinnes so he will supposedly know what not to do. (But the unintended effect of this is that the memories of the past Rinnes also gave him the memory of Shine, causing Louis to search for Shine again.)

Which is why I’m confused as to why the very next scene is Louis staring at the pendant looking confused like he doesn’t recognize it or something? Because I thought from the earlier scene where Louis was created, he immediately set off looking for Shine after the Rinne -> Louis update? Am I just misreading his expression here or did I miss something? I don’t know.

Edit: OMFG IM AN IDIOT. THE SCARF. This scene isn’t taking place right after Louis was created. It’s taking place right after Crazy Gonna Crazy. He’s looking at the pendant which fell from Shin after their show. It’s meant to transition into the events which happen after Louis re-seals Shine I guess. They could have made this a bit more clear.

If you thought why the F is Kokoro here well WHY YES. YES THAT IS SUPPOSED TO BE OTOHA

but putting that aside

I believe this scene was supposed to establish that Louis knows the Rainbow Live girls. He has the past memory of Rainbow Live era Rinne, but he can’t really do anything about it........... (It’s not like he can just go talk to them as Louis.....)

But his expression is so unreadable it’s hard to tell.

He gives Shin back his powers to jump geez Crunchyroll.

(But for anyone wondering how mix-ups like this can even occur in the first place, a lot of sentences in Japanese don’t have subjects in them. Therefore, if you don’t know.... the context.............................)

Maybe the translator chose this wording in the context of prism messengers being forbidden to be seen on stage. But as much as I appreciate that, it’s wrong. In this scene Louis is saying that he physically cannot perform. (He’s a fallen prism messenger now, so the rules don’t matter.)

Okay, I’ll take a moment to explain this just in case, since it is not explained outright:

When Louis broke his connection with the prism world and lost his rainbow feathers in Pride the Hero, he made the same decision June did when she ripped off her wings in Rainbow Live. He chose Shin(e) over his mission. He disobeyed orders and cut himself off from the prism gods in order to do things in his own way.

But whenever a prism messenger makes this decision, their rainbow feathers are replaced by the night dream feathers. The night dream feathers take life away.

(Screencap from Rainbow Live episode 43.)

In other words, ever since Louis pulled out his earring in Pride the Hero he has slowly began to die.....

Although this is never stated clearly within the main King of Prism series, there are several ways you could have picked up on it before this episode.

First of all, like I said before we have already been through this with June in Rainbow Live.

Second, across the Road to SSS events on Prism Rush we have steadily seen Louis getting weaker and weaker. At first he was just tired and fell asleep after the Schwarz Rose opening ceremony in Road to SSS 1, but then his deteriorating condition was made crystal clear in his Queen of Glass PR story from Road to SSS 4, in which Louis plans a date with Shin only to collapse and unwittingly stand him up.

And then eventually by the time we get to Road to SSS 9, Louis cannot even gather the energy to perform at all unless it’s with Shin. And we got this whole scene with a weakened Louis begging Shin to perform with him.

But even after their performance is a success and they win the Tokyo Kizuna Beat Climax, by the time we get to Road to SSS 10 Louis is so weak they miss the finals.

Finally, Louis being a fallen prism messenger is directly confirmed in literally the opening scene of King of Prism SSS.

So if you saw this scene and your reaction was something more like “Oh look it’s Louis... are his wings different?” and not “LOUIS IS DYING” then well.... That’s exactly why I’m always telling you guys to watch Rainbow Live.......................

Although, there was a bit of confusion over these feathers even for people who watched Rainbow Live so don’t feel too bad if that’s you. Some people thought Shin had the night dream feathers in Pride the Hero, or that Rinne had them in the end of Rainbow Live.

But no. The regular star-type feathers are dark blue too. (Generic, lower level feathers than the rainbow ones.(?))

There are only two characters to have the night dream feathers. And they are: June in Rainbow Live and Louis in SSS. Both fallen prism messengers.

And buried in the midst of all this Louis drama and deep lore is my probably favorite Joji line of all time. Seriously the Joji in this scene is best Joji and I cannot not laugh no matter how much I’m suffering.

Okay so. Here is what I do not understand about this episode and would be thrilled if someone could explain it to me. If Yamada-san knew Wataru Hibiki, then Shine could not have been sealed that long ago. I actually searched my fanbooks/magazine collection until I found one which listed Yamada-san’s age as 24. So he’s probably 25 now. So this scene could not have taken place more than 20 years ago (and even that is generous).

So what the heck was all that 1,000 years thing about? Is that just the amount of time Rinne and Shine knew each other? Or does time just not flow in a straight line for prism messengers when they are skipping in and out of different worlds?

WOAH

WOAAAAAAAAAHHHHHHHHHHHHHHHHHHH

SHIN’S PHONE BACKGROUND IS DIFFERENT

Okay you’re just going to have to believe me on this, BUT I SWEAR Shin’s phone background in the theatrical version is a photo of his hand holding the pendant. Which seems like a weird choice for a background right? But I had a theory on it that I was gonna discuss here. And that theory is that Shin wanted some kind of a background that reminded him of Louis, and that was all he had. (He couldn’t straight up use a picture of Louis because he didn’t want the other boys to question it.)

But TV version Shin, HE JUST WENT FOR IT. NO SHAME. DAMN BOY.

I can’t help but wonder why Shin still feels like he has to hide his relationship with Louis here, considering if Road to SSS is canon like it seems to be then they all saw Shin and Louis perform together at the Kizuna Beat Climax a few months ago.

But I guess in between the Prism King Cup and the start of the Prism One tensions rose with Schwarz Rose again, so maybe he’s worried about that?

Or maybe there is a possibility that maybe he would talk about it if it was anyone but Leo asking. What with how Leo is.

(I know the real reason is probably just because for plot convenience/the casual viewer hasn’t read Road To SSS but shhhhhhhhhhhh.)

I’m sorry but, man I do not like this outfit. And not because it’s basically girls clothing. If Naru wore it I would hate it too. It’s just kinda ugly IMHO. (It’s not an existing Pretty Rhythm coord is it?)

Original brand glasses Shin is cute as heck though.

I like how he just keeps his same damn clothes he’s been wearing the entire time in SSS and just glasses + hat = done. Pfft.

Shin and Louis saw a PriPara movie together.

(Prism Tours is the name of the first PriPara movie, which included different courses of Pretty Rhythm shows/flashbacks shown on different weeks in theaters back in 2015. The “flavor” Over the Rainbow animation seen in the first King of Prism movie was actually reused from Prism Tours, and increased attendance to the prism boys course of that movie including that scene was one of the main reasons King of Prism was greenlit in the first place. So I wonder if this is actually a reference to that.)

This crazy umbrella street is apparently based on a real place in Nagasaki (nowhere near Tokyo).

I just happened to catch a Tweet about it right after Part 4 came out.

So..... I actually wasn’t as excited for Shin and Louis’ date as you would think I’d be. I spent a while thinking about it and I came up with a couple reasons. First of all, even though this is the first date they have had in the main series, in the side materials.... they date all the time. Like seriously! In my mind they have already been dating for years so this was like just another date.

Second.... honestly...... I don’t really ship Shin and Louis all that much anymore. Or at least not in the way I used to. My feelings about them peaked somewhere in the Pride the Hero era, and have been quietly declining since. And this scene basically sealed it. Their relationship just isn’t what I thought it was. I know in this episode Louis realizes he loves Shin and not Shine, but he took such a long time to reach that conclusion and I’m just so uncomfortable about their relationship being originally based on Rinne’s relationship with Shine. Which was not a healthy relationship.

Also! It wasn’t 1,000 years since they have seen each other dammit! It was like 20! AT MOST! Right????? Yeah that’s a long time for mortals, but not for a being like Louis that lives for thousands of years.

Anyway before you send me hate, just know that I’m definitely not saying Shin and Louis shouldn’t be together and I’m certainly not saying that you should agree with me. Both of them deserve happiness, especially Louis. I’m just saying I personally am not as passionate about them the way I used to be.

But even so....

That didn’t stop me from going to find the location of this scene when I was in Tokyo last week!

So did Shin pass the smell test or not? Because Louis.... I guess technically........... (nevermind..... not gonna open up that can of worms right now...........)

EVERYTHING ABOUT THIS SHOW MAKES ME SO SAD

(Especially thinking about what happens next.)

Louis is not at his peak performance condition here. He’s not performing a serious competitive show. Heck, he’s just wearing casual clothing.

He’s finally realized he loves Shin and not Shine................ All he wants to do is just relive his date with Shin................ THATS ALL.....................

WTF THERE IS NO EXCUSE FOR THIS ONE

THIS IS THE MOST BLATANT MISTRANSLATION YET

He says 君は僕を殺すことができない = You cannot kill me

Shine tells Rinne (Louis) that she cannot kill him because that would erase Shin’s memories too. He knows Louis cannot stand to lose Shin.

NOOOOOOOOOOOOOOOOO

HE JUST WANTED TO RECREATE HIS DATE WITH SHIN

HE JUST WANTED TO DO A FUN LITTLE SHOW ABOUT HOW HE LOVES SHIN

THAT’S ALL

WHY

WHYYYYYYYYYYYYYYYYY

It took me a long time to appreciate it considering WHAT JUST HAPPENED but this YABEEEEEEEE from Sanada is pretty hilarious.

This is unfortunately (?) another moment ruined by the new ending music.

In the theatrical version, this moment is dead silent and it makes it all the more apparent the.... change which has just taken place. It is terrifying.

But regardless. Now you can probably guess why episode 11 is so painful for me and any fans of Shin..................................

*deep breath*

Okay so. Let’s review.

Here is my tl;dr of the timeline, from my understanding:

The Rinne/Shine program is created with Rinne for female stars and Shine for male -> Shine breaks the rules and so Rinne has to erase him -> But Rinne doesn’t erase him completely and promises to find him again -> The Rinne program gets stuck in a loop where she keeps freezing/self destructing because she's trying to find Shine -> The gods decide to start erasing the memory of the Rinnes -> Rinne keeps falling in love with male stars since she's in charge of male stars now too -> The events of Rainbow Live happen -> The gods decide to alter the Rinne program to make the body male and restore the memory of the past Rinnes to fix this, creating Louis -> Since Louis has the memory of the past Rinnes he goes to find Shine again -> The events of King of Prism : Louis begins the process of resurrecting Shine in Shin -> The gods find out and order him to delete Shine again -> Louis still cannot finish the job and cuts himself off from the prism gods, becoming like June -> Louis realizes he loves Shin not Shine but.... -> Louis’ weakened state allows Shine to fully resurrect, and.....

So. There is more to this. But if you would like to come to your own conclusions about what just happened in that final scene and go into the next episode blind, this post is over. Thanks for joining me this far!!

But if you would like me to explain some more things using spoilers not revealed until the next episode, keep scrolling.

Obviously you don’t have to!

It’s up to you!

I just kinda feel like I owe it to you guys.

(Since I was lucky enough to get my major questions answered right away and not have to wait a week like you guys do.)

.......................................

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Ready?

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Episode 11 spoilers start here

So I first saw Part 4 on like, 3 hours sleep. So as you can imagine I was having a really hard time taking all this in. And when that last scene happened I was basically plunged into the darkest depths of absolute horror. To think all this time I had been worried about Louis hurting Shin. The opposite had never ever crossed my mind.

In my first viewing what I thought happened was that Shin had just regained his memories and killed Louis. And for 30 seconds or so, I seriously considered walking out of the theater. Not that I didn’t plan to ever finish watching it, but I just felt I was not ready and needed time to cry and take this all in before continuing to the next episode at the next showing. I was so close and literally the only reason I didn’t leave was because I just didn’t want other people to see me walking out. So I stuck with it and forced myself through the next two episodes.

And I’m glad I did. Because that’s not what happened.

The next episode makes it very clear that Shin and Shine are two different people. Shin did not get any memories back in the final scene. Shin is Shin, and Shine is Shine.

From what I can gather, Shin was born with Shine sealed inside him. He’s like the host. (Whether this technically makes him a reincarnation or not, I’m not sure.) Shin has never had any contact with Shine, but Shine has always been watching life through Shin’s eyes.

The Shin we see walking off at the end of episode 10 is Shine controlling Shin’s body. From the moment he says “Rinne.....” Shine is in control, and Shin as we know him is unconscious. Shin has no memory of the things he does while Shine is controlling him.

Also, the act of Shine destroying Rinne’s feathers did not kill Louis back there. But as you can imagine, he’s in bad, BAD shape right now.....

#king of prism #king of prism sss #king of prism shiny seven stars #kinpri #shiny seven stars #louis kisaragi #shin ichijo

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calmevetlgreen-blog · 4 years

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lightsandlostbells · 5 years

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Skam France season 3, episode 3 reaction

Alexia was the MVP of the episode. Daphne needs a restraining order.

Episode 3

Clip 1 - Three men and an obnoxious whiny baby they inexplicably let hang around with them

Lucas at his locker Monday morning. The locker next to him is #24, the words Amor Amor and #instalove are written on it. #24 is also the slot for the choco bars that Eliott got for them in episode 1. Is that going to be Lucas and Eliott’s version of 21? What’s the significance of 24 - maybe 24 hours in a day, a day meaning a full period of both light and darkness? If we want to get Biblical, Luke 24 is the last chapter in the gospel of Luke and describes Jesus’ resurrection and ascension, although I don’t know if they’re going to go heavily into the Biblical/rebirth metaphors in Skam France (they’re going with light and dark). Anyway, any significance will become more obvious later in the season.

The boy squad shows up. Basile starts talking and when I first watched this without subtitles, my notes were “I don’t know what he’s saying but he needs to shut up.”

Watching with subtitles? I was right, Basile can fucking chill. He blows up at Lucas because he missed the party and he could’ve gotten laid. Even Arthur and Yann, who weren’t overly warm with Lucas when they entered, are telling Basile to calm down. Arthur tells Basile it wasn’t the party of the year. Yann, upon hearing the excuse that something’s up with Lucas’ mom, says who cares, the party’s in the past, diffusing the situation. Basile shuts up seemingly because the other two are chill.

I get that people aren’t perfect and that Lucas did something snaky on them, but Basile is so fucking creepy, Jesus. He’s not just peeved, he’s like ... seriously angry that he missed a chance to get laid, and he keeps up his tantrum after Lucas starts mentioning a problem at home, with his mom. Glad to know his priorities are fully aligned with his dick? It gives me the nastiest, skeeviest vibes, like this dude is going to end up frequenting incel forums in a year or two (if not sooner) and after his friends finally get sick of his shit and ditch him he’ll be railing against Lucas and Yann and calling them Chads or whatever.

The one good thing about Basile being terrible is that I think it made Yann and Arthur chill out, like they must have thought, “Holy shit, I need to not be like this guy.” Lucas explaining about his mom seemed to dial down their annoyance because they’re, you know, normal human beings with empathy that extends outside of their penile excursions. When Lucas hands back the weed to Arthur and offers to pay for it later, Arthur says not to worry about it. Man, this season is a lot better than the first two but I kind of hate Skam France for deciding that Basile was going to be the boy squad breakout and not Arthur.

Yann checks in with Lucas after the others leave and asks whether his mom is at the clinic, so I’m assuming that’s something that has happened in the past. I don’t remember hearing about Isak’s mom being in a clinic or psychiatric hospital. I mean, it actually might be a good thing, in that Lucas’ mom is willing and able to seek treatment - or it might be something else that’s concerning, like she’s a danger to herself or unable to take care of herself. I’m sure we’ll learn more about her condition later. Lucas tells Yann he doesn’t want to talk about it and Yann is a total pal and says the important thing is to be there for her. God, can we please get more Yann content? I know it’s coming later, I know Lucas has to go through some serious heartache and isolation first, but I need Yann’s presence like I need a cool drink of water.

Yann must have triggered Lucas’ guilt over not being there for his mom, because Lucas writes a text to her, saying he’s sorry for not answering her previous texts and that he’s been busy, but he’s thinking of her. Nice little moment of cause-and-effect, though I wonder how Lucas’ relationship is going to be with her later on and how he’ll describe it to Eliott. Because he doesn’t seem to be as totally alienated from her as Isak, though it’s still a rocky and distant relationship.

Clip 2 - Alexia loves unicorns

I see the Raptors’ logo on the wall so you know, nice that they still exist.

Lucas sees Chloé and Maria coming and runs away into the common room, lmao. Daphne, Alexia, and Emma are in there, and I have no idea why Daphne hides the broom behind her, like … you’re just sweeping the floor, girl, you ain’t pulling off a jewel heist. Although Lucas does suggest they’re burgling the room, heh. (I love Daphne’s rubber gloves, btw. She is taking this cleanup seriously.)

Lucas lies that he’s here to help them and Daphne is still weird about it, because it’s a secret and she doesn’t even want the girls to mention they’re moving the furniture. Emma “vaguely” says it’s so people can dance here. Lmao, that wasn’t really necessary, Emma, you could just have said they’re moving stuff out of the way to see how the room looks for their redesign or whatever. Lucas figures out that they’re throwing a party here, because he sat in on that last meeting and he’s not an idiot. Daphne complains that she doesn’t want anyone to know but she just blathers more about organizing an event. Errr, are you allowed to just throw a party at the school? Like … at night, on a Friday, with a bunch of teenagers, and no teacher supervision? I assume not. That seems like a huuuuuge fucking recipe for people to get drunk, make a mess, break shit, or in some way trash this room and possibly other parts of the school, and then you’ll never get your common room redone.

Lmao, at Alexia saying it’s OK because it’s Lucas and he’s not a snitch, and he and Emma just share a look like “Oh really?” Heh, that was a good (and subtle) inclusion. Well, it’s true that he is a snitch, it’s just that he’s also a self-serving snitch, and it’s not in his own best interests to rat out this party vs. ratting out Emma’s kissing Raptor Alex.

Alexia points out that Lucas is part of the crew now because he’s always gatecrashing, and Emma says he’s the new Manon, Alexis like, yeah, he even took her spot in the flat! They’re not wrong? He even took over from her as POV character! He just needs some bright red lipstick to complete the Manon transformation.

Daphne is like NO BOYS ALLOWED and I don’t blame her, she’s seen what kind of riffraff Lucas hangs with (starts with a B, ends with a go-fuck-yourself.)

Alex says Romain (her boyfriend who’s French Kasper) would love this ugly-ass table they’re moving and Emma points out she also has weird taste, indicating Alex’s unicorn shoes with little manes and horns. Yo, I don’t have an obsession with unicorns myself, but I applaud her wearing those shoes. Girl, wear whatever your technicolor heart desires.

Daphne is like, are those unicorns because you’re bi orrr … Alex says no, it’s because unicorns are awesome. OK, so she and Eliott are both into animals and attracted to more than one gender, that seems like a solid basis for a friendship. Let the Raccoonicorn brotp rise.

Daphne asks whether Romain knows she is bi, and Alex says no, but sexuality is fluid, anyway. Tbh I do find it strange that Romain does not know, not because she’s obligated to tell him or anything, just because in a long-term relationship (which it is, they hooked up like last June) I’d think you would share details like that? I mean, hasn’t she ever talked about her female exes or crushes or anything with him? Especially because she seems to be quite out and proud, she was openly talking about making out with Clara in S1, she has rainbow patches on her clothes. She also makes bisexuality-related posts on Instagram, like this one. I guess we don’t know much about her relationship with Romain and how serious it is, but is he like ... not paying attention at all, lmao?

Alex mentions the Kinsey scale and Lucas asks what that is, because this conversation about sexuality just so happens to be relevant to his interests. She explains what it is and mentions that many people have done stuff with the same sex. Just look at Emma and Daphne hooking up!

I did laugh that they mentioned that again, although Daphne is like NO NO NO that was one time and Emma initiated it!! Daphne, don’t dash my dreams. Especially now that she’s got creepy Basile after her; Daphne should find a nice girl to love and SHUT THAT SHIT DOWN in every way possible.

Emma describes herself as very fluid when drunk and ahhHHHHHH I groaned, like this is not a judgment call on Emma or anyone who behaves similarly because hey, make out with who you want, but this is not the greatest thing to reinforce, the whole “drunk girls making out” cliche is used to minimize the concept of bisexuality for woman (because that’s what you mean when you say you’re bi, right, you like to get drunk and kiss girls?). I mean, that’s where the complaint about the Eva/Vilde moment in Skam came from. It’s certainly different here because Alexia is actually bisexual in canon as opposed to no canon wlw rep in Skam, but I kinda wish they hadn’t thrown in this line in a scene that’s otherwise positive and educational about bisexuality.

Lucas is like, but it’s cool to be bi, right? Because Alex can kiss as many girls as she wants and date a boy, and everyone thinks she’s straight. Ohhhhh noooooo son. But at least that’s definitely in-universe ignorance that’s immediately refuted by Alex pointing out it doesn’t work like that. Do you choose who you fall in love with? Lucas considers that.

This is a big new scene so let’s go over it.

First of all, massive props to Skam France for having Alex confirm in words on screen that she is bisexual, and for course-correcting from previous seasons. Because personally I had a problem with Alex bi by Word of God but that factor not affecting like … her dialogue or interactions at all even when it would be relevant. For instance, the whole thing about Daphne thinking Manon is a lesbian played out the same way as Vilde thinking Noora is a lesbian, even when there was an out bisexual girl in the same scene, so Alex might not react the same way as girl Chris, or it might influence how Manon or Daphne reacted. Didn’t the girl squad laugh when Daphne brought this up and Daphne was all “your laughter makes this an unsafe environment to come out,” like that’s the kind of situation that should take into account one of the girls is bi, and yet there was nothing different? I think they took some of the viewer feedback in mind and saw that people wanted confirmation of Alex’s sexuality on screen, and that it was important to the fans, so good for them. They also had her say the word “bisexual” and treat it as a legit concept, which is still rare in media, as many canons just dance around it (to the point where I was surprised when Skam’s boy squad discussed bisexuality/pansexuality as a real thing).

Also, excellent to have Alex correct Lucas’ perception of her bisexuality, where basically she can mess around with girls but have a more serious thing with a guy, and no one has to know she’s anything but straight. Very common misconception of bisexuality, unfortunately a very dismissive perspective, and Alexia got to educate the audience. It was a really good thing for the viewers to hear, so again, big props.

I think Lucas made that comment about Alex kissing girls but dating a boy and getting to appear straight primarily because that situation seemed ideal to him. In his mind, Alex probably seems lucky because she can act on her non-heterosexual desires but not deal with the prejudice and judgment that comes with dating your own gender. Perhaps he’s thinking he can apply it to himself, like in a way he’s hoping he can maybe mess around with Eliott in secret but date a girl in public and not deal with any of the societal stigma that comes with gay relationships. I think it’s also possible he’s wondering if that’s how Eliott’s sexuality operates, like hey, maybe Eliott’s bi and he’ll date that girl, but kiss me. When really it’s not that simple.

Additionally, thinking of bisexuality in that distorted, superficial way means Lucas might not have to confront his own sexuality to a degree that makes him uncomfortable. If bisexuality is simple as kissing girls but dating boys - or in Lucas’ case, kissing boys but dating girls - then he can maybe leave it like that, he doesn’t really have to think about it further, what it means to fall in love with a boy. Almost like it would be an easy gratification of needs like eating or sleeping, rather than anything deeper that would shake up his world. Alexia points out it’s not like that. Why would she date some guy if the person she loves is a girl? You don’t choose who affects you emotionally.

Honestly the lead-in to this conversation was pretty clunky, like they obviously wanted to bring up bisexuality (which is great!) but they could’ve done it in a more organic way, much as I appreciated a glimpse of Alex’s unicorn shoes. Like IDK, when they’re talking about keeping the party a secret, Alexia could’ve added, “Well I admit, I told Clara about the party, too” and have Daphne go “You talk to your ex-girlfriend? Doesn’t Romain get jealous?” and Alexia be like “... why would he be?” You know, throw in another little moment where Alex disputes the “bisexual cheater” stereotype or something like that. Not sure if that example’s any better, just that I felt the way Daphne brought up the topic sounded a little As You Know.

I feel like while this conversation might have done a lot of good for the audience, the talk about the Kinsey Scale might have done more harm for Lucas than good, which is certainly not Alex’s fault, and also not a flaw of the narrative, just an observation. Because while I think it’s good to hear that someone doesn’t have to feel boxed in by definitions of sexuality, I don’t think Lucas is sexually fluid for any reason other than societal pressure to like girls. He makes out with them but it doesn’t appear to be something he enjoys, rather it’s something he makes himself do (which is how it was for Isak, if they’re following Isak’s example). It’s way different than if he had some attraction to girls but was struggling with his attraction to guys on top of that. And trying to test out his level of gayness or whatever, when his actions say one thing and his desires say something totally different, is probably going to make it more complicated for him than it needs to be.

Although one thing I want to mention is that Alex does know what Lucas had on his phone at the end of S1. We were shown in S2 that Manon and Emma must have shared it with her and possibly the other girls. So I don’t know if she cares about his sexuality to the extent that say, Manon does, but she is aware that he might be into guys. It’d be nice if she said her piece with that in mind.

Regarding Lucas’ relationship with the girl squad - it’s really sweet and of course nice to see him bonding with them, I just wonder if it isn’t cutting into the sense of isolation and detachment that he’s supposed to be feeling at this point in time. I’ve enjoyed seeing him smile and laugh with the girls as much as anyone, but they did make a point of detachment as a main struggle for his character. I mean, the opening clip of the season was literally called “Disconnected” and showed him distant from everyone. Sorry, Lucas, not that I like to see you have a hard time, but for that reason I kinda don’t want you to be buddy-buddy with the girl squad too quickly and easily. He doesn’t have to be downright frosty but I’d rather see this friendliness as more gradual, otherwise it cuts a little into the overall atmosphere.

I think these girl squad interactions are best used as a counter to the stress with the boy squad, and the differences in social pressure he gets from the squads, and also for some of the educational moments that he could get from Alex as a member of the LGBT community.

Clip 3 - Gay test

Lucas is at home at night, staring up at the ceiling while he’s on his laptop. Considering or psyching himself up for what he’s going to do. He googles gay test. The link he clicks on isn’t so much about personality/stereotypes, as with Isak but actual sexual actions, fantasies, and attraction, in the past, currently, and ideally.

He checks all the “other sex only” options, and like … a) he is lying about some of that since we know he obviously had a crush on Yann and is attracted to Eliott, we know he’s not exclusively daydreaming or hoping for the opposite sex - not to mention he doesn’t seem to really want girls at all b) this quiz is kinda fucked up because past actions don’t actually determine one’s sexuality, like if you’re hooking up with girls because of heteronormative pressure rather than genuine attraction, that’s not an indication you’re bi, that’s an indication you live in a homophobic society. Which everyone does.

I don’t get how he actually got a “bisexual” result, though? It looks like he checked the straightest answers possible, everything was about the opposite sex, so how would you get anything other than the most heterosexual possible score (in this case 7)? Did I miss something in translation?

I do feel bad for him because he was probably looking for some verification that he wasn’t gay, and the quiz told him he wasn’t entirely straight. He searches for “how to make it so no one knows you’re gay.” OUCH. So he knows, just like Isak did, that these results don’t mean a damn thing about whether he’s gay.

Tangent but like when Skam Italia S2 aired, I saw a fair number of comments comparing Isak to his remake counterparts, claiming that Isak was in super denial that he was gay or flat-out wasn’t sure at this point, whereas Lucas knows but doesn’t want to say it (or Martino knew he was gay but was struggling with external homophobia so he couldn’t come out) and not to be insufferable but: Isak knew he was gay. He wasn’t in denial of that any more than Lucas was here, tbh. What he was struggling with was the label “gay” and all the stereotypes and generalizations associated with it, and how that reflected on himself, as well as the social perception of being gay and how people would see him. What happened with Emma was a result of him trying to avoid those associations. But he asks Google how to get turned on by girls if you’re gay, he knows what he is even if he’s not comfortable with all that label entails to him.

He finds a forum where someone details their strategy. This sparked some theorizing because the person posting is “Tuturo” and Arthur’s IG handle is “monvoisintuturo” (which is a My Neighbor Totoro reference - I love that because Isak had a subtle reference to that film in the first season of Skam, with a poster on his wall). Coincidence? Is this a real post on a forum that they found or something they made up for the show? It’s dated 22/08/2017. Of course, they could have found that post, and invented Arthur’s IG around it...

Arthur being gay (or not straight, at least) would be one hell of a twist. Honestly, I doubt that’s what they’re headed toward, because the advice in the post doesn’t really align with what we’ve seen of Arthur’s personality so far. Sure, he’s not necessarily the most enlightened dude in every way, but we don’t see him lashing out with homophobic slurs and shit-talking gay people, we don’t see him with a hot girlfriend for cover. So he’s not taking his own advice. It would have been better foreshadowing if they’d set him up more along those lines, so we can see the hints other than his username. Then again, the post is from 2017 so I guess he could have grown away from that mindset or grown uncomfortable with it... But yeah, although I find the idea really intriguing, I’m not sold on it actually happening unless there are some bigger hints.

The advice is stuff like talk about girls all the time, get a hot yet prudish girlfriend, use gay slurs and show how angry gay people make you. We get Lucas’ voiceover as he reads the post and tbh I wish they’d not done that, like it worked fine when Isak was sitting there and they just showed the message for the viewers, like I get that it’s a longer message and they want to make it obvious, but they don’t have to spoon feed it to us. I guess it helps to hear it in Lucas’ voice so we can sense him internalizing it, but it’s still unnecessary. Maybe they could have just shown closeups of the most important phrases.

Clip 4 - Daphne rules the world

It’s the dance chicks clip. Alexia is a dancer! We saw her doing some gymnastics in previous seasons so that’s a nice touch.

I’m realizing that this clip is one of those things in the remakes where the production team needs to be careful, because the clip is about male gaze, but there’s also a line where the depiction of male gaze turns into an endorsement of it, if that makes sense. Like I want it to be clear that the boy squad is panting over and objectifying the girls, but you don’t want the show itself to objectify them. This clip stopped before it got too sleazy for me, so that was appreciated.

Instead of being disinterested like Isak was, Lucas is joining his bros as they drool over the girls. They’re watching through a window by the way, which is creepier than the boys being in the same room and the girls knowing of their presence - it’s a milder version of peeking into the girls’ locker room like it’s an ‘80s teen sex comedy or something.

Arthur resting his chin on Lucas’ shoulder is cute, though.

Lucas is saying some bullshit about how not all the girls are hot, which is kinda funny because lol none of the girls are hot to him, and how he wouldn’t let that girl suck him off, which is also kinda funny because we know you don’t want that, dude, but he’s also trying to be a fuckboy which is not funny.

It’s objectifying as fuck and not funny when you consider his internalized homophobia but I couldn’t help but laugh when he’s like “That girl is hot because she has big boobs” because it sounds like a robot trying to emulate human sexual attraction. Breasts, those certainly are things heterosexual men appreciate!

The other guys are like wow, even Basile isn’t as awful as you. I beg to differ. (Apparently Basile says something that’s relevant to #MeToo, like he wants to get laid but he’s also #MeToo, and get the fuck out of here with that shit, dude. Nothing about your dancing later in the episode says you’re against sexual harassment.) Lucas responds by calling them a gay slur. Lovely! The dudes are like, what’s up with that? Arthur calls it a “closeted homosexual comeback” which is a pet peeve of mine, the belief that homophobes are just closeted gay people, since it removes culpability from straight people (and you know, is not accurate). But he’s a teenage dude and well, Lucas is a closeted gay guy so I’m not gonna get mad about it. Though damn, if Arthur were gay and closeted that would be some good foreshadowing. Takes one to know one?

They get spotted by the teacher and duck under the window. Basile is disgusting. The boys ask what the fuck is wrong with him. Basile does not listen to them because he’s incapable of hearing anything over the constant buzzing in his dick and instead starts telling the boys about his BDSM dream about Daphne and the boys try to get him to shut the fuck up as Daphne appears behind him, but obviously he rambles about his boner until he turns around and does this slapstick-y reaction. I cannot stand him. I’m not as angry about the BDSM dream because he was telling the guys and not trying to tell Daphne on purpose, but this kind of content overall just reinforces him as the bumbling loser comic relief and he’s not fucking funny, he’s deeply creepy and is an actual sexual harasser as we see later in the episode.

At least Daphne says it’s all a fantasy in his head and never going to happen. ❤️❤️❤️ FUCKING TELL HIM. DESTROY HIM. She continues to be the best character on Skam France. Daphne asks what they’re doing there and Lucas says they’re checking out the hot chicks. Daphne tells them they suck (❤️❤️❤️) before walking off. The other guys are like, seriously Lucas? “Hot chicks”? Well, I don’t see quite how what he said is any worse than what Basile says constantly, including to girls’ faces, so maybe it’s a translation thing? The “hot chicks” phrasing has stronger meaning in French?

Arthur asks if Basile is OK and he says, “I fucked it all up.” DUDE you had ALREADY fucked it up from the time you first opened your mouth around her. And as we see, this does not deter him at all. God!!!!! Please fuck off into the void already.

I’m glad they called out Lucas a little but again, don’t see how he was being any more disgusting than Basile is on a regular basis regarding the misogyny. They didn’t say anything overtly anti-homophobic about Lucas using slurs, like really call him out other than some shocked reaction at him using that word. So I suppose there’s a little more ambiguity over whether they’ll be accepting of Lucas’ sexuality. (I mean, I think they’ll accept him based on what we know about OG, but in-universe there isn’t as much of a tip-off.) I did miss that more educational moment, but I also think that because Lucas still has some Operation Hetero tactics to implement later that day, he might need to not be roasted for his behavior so strongly or who knows, maybe he’d back down. (The OG had Isak apologize to Emma and then the dance chicks clip with Jonas calling him out; this version switches the scenes around.)

Clip 5 - Love confession?

Later, Lucas sees the boy squad in the yard, then he sees Chloé and Maria. Prompted by the need to seem heterosexual in front of the guys and inspired by what he read the previous night, he goes over to Chloé to get himself a hot girlfriend.

Lucas apologizes to her and he sounds more sincere than fuckboy-ish, which I think fits because the way he pursued her in the first place was not that fuckboy-ish. Slick, but he wasn’t negging her or anything. However, sounding sincere is not being sincere, because this is the biggest crock of shit I’ve heard out of this kid’s mouth this season. It’s so uncomfortably over-the-top, he’s telling her that he met a beautiful first year and he thought it would be casual but actually he’s falling madly in love with her, and OK, slow down. How long have you guys even talked to each other? 10, 15 minutes? Do you know anything about her?

I get Lucas is struggling but I also want to give him a kick in the nuts before he gets another word out and digs that hole deeper because oh my God this is fucking b a d, honestly, way worse than what Isak did to Emma - what Isak did to Emma was not cool, but he was mostly just giving her the indication that he was into her and had a crush, NOT that he had fallen in love with her and had all these deep emotions for her. It’s really cruel to her. (Although girl … are you really gonna fall for this dramatic monologue when you’ve talked to him like three times?)

He talks about how he’s not handling these feelings well because it’s never happened before, thinking about a girl before he goes to sleep and before he wakes up, wondering what to say to her when he runs into her, and well, I sure as fuck buy it’s never happened about a girl before and that it’s not happening about a girl now. But of course he’s talking about Eliott. He’s just transplanting his feelings for a boy to this fake infatuation with a girl. Lucas blames his behavior on not wanting to seem awkward. Well, I can buy that, just not about Chloé.

Despite this load of floral horseshit, Chloé buys it, because well, she is a teenager. She kisses him passionately right there in the yard. The boy squad sees and approves (Yann’s reactions are particularly funny). Heterosexual mask, securely on.

Lucas walks over and he BETTER not be giving Basile pointers because the last thing Basile needs is encouragement, but nope, that’s what he does, he offered to give Basile lessons. This is like telling Tom Riddle about horcruxes.

Eliott thankfully interrupts Lucas contributing to Basile’s dicktermination. Did Eliott see Lucas and Chloé kissing? I don’t think so, but man, I kinda wished he did just for the angst. He doesn’t know Lucas is pissed at him yet, he doesn’t know Lucas is gonna bro-zone him in a moment.

Eliott returns Lucas’ scarf. It’s actually Yann’s scarf and Yann seems very happy to have it back, awww. Lucas gets forcibly casual with Eliott. He’s not mean, not rude, exactly, just trying to play off their connection as nothing. They’re casual acquaintances and it’s gonna stay that way.

Lucas volunteers that Eliott found it in the common room before Eliott can explain how it got it. The acting is pretty good. You can tell Eliott is kinda stung by this greeting, especially when Lucas is like “thanks dude” in an overly platonic way. Which Eliott returns. Eliott is like a warm, friendly guy and that makes it a bummer to see how Lucas reacts and how that makes Eliott deflate.

With Isak and Even, Even noticed Isak’s discomfort in the situation and covered for him, lied for him about finding the hat in the cafeteria. It was a moment that made me love Isak and Even’s relationship before they even got together because even though Isak wasn’t at his best, it was a mark of their connection that Even could read him so easily and didn’t press the situation. Here Lucas shuts out Eliott, he’s covering his own ass. And I’m not sure if Eliott totally realizes what’s going on or if he does pick up on why Lucas is suddenly dude-ing it up and lying. I think he might just be hurt.

Arthur asks about Eliott, and Lucas starts talking shit about how he’s a stalker with no friends. LMAO. Lucas, the stalker is you, the creeper is you, you were legit just stealing classroom registers over Eliott, you were scouring the Internet for clues of his existence, you are projecting like an IMAX.

They get invited to Daphne’s party via text, but Lucas is clearly distracted and looking off toward where Eliott went. What a contrast in assessments between Lucas telling us how he’s falling for Eliott by way of telling Chloé it’s about her, and him downplaying and trashing Eliott to his friends. I don’t feel like he can relax around his friends at all.

Clip 6 - Secret school party

There’s a giant group of people gathered outside the gates of the school at night, with the girl squad in front, lots of people in costumes. Time for Daphne’s party.

Ehhh … see this is a fun setup, breaking into the school to have a party, it really is, but in context it’s kinda contrived IMO. I guess Daphne got peer pressured into doing it, I know she wants people to find the common room the cool place to be, but I find it hard to believe someone who’s legitimately invested into fixing up the common room like she is would risk a) getting in trouble for trespassing on school grounds b) dealing with any damage/repairs to the room that happen during the party, like if your plan is to fix up the common room, isn’t the likely potential that someone could break stuff or trash the room worse for your ultimate goal? I fully realize teenagers do a lot of stupid reckless stuff, but I’d find this party more believable if it were thrown by people who did not have a vested interest in the repair and upkeep of that part of the school. For example, if it had been the Raptors throwing a party at school after hours last season, sure, I buy that.

I feel like they just had this because they had to have a party in episode 3 (like in OG Skam) that was related to the school group/project that linked the POV character and his love interest (like in OG) and something about them hosting the party at another character’s house didn’t fit, not when the project is centered around another location.

One way that I would have found this scenario more plausible: Daphne tries to throw a much much smaller get-together, maybe just invite the common room crew, keep it under wraps, nothing extravagant, but word gets out more and more people show up (because who doesn’t want to break into the school at night) and turn it into this big thing and it gets out of hand. We see it go from just a few people hanging around drinking to something wilder, she starts freaking out because it’s too much. Even with the “password” system it seems like she had something bigger in mind from the beginning and IDK, even with Daphne being a social climber, even with teenagers being idiots, it rings a bit off. Sorry to be a buzz kill, like I said, it’s an entertaining scenario in theory.

Anyway, they’re at the school, people are in costume and waiting outside. Basile is wearing a Teenage Mutant Ninja Turtles costume. Do you think he wanted the whole squad to go as the turtles, but they did not? They give him weird looks, but dressing as Donatello is legit the least objectionable thing he has done so far this season.

Daphne is dressed as a cat, keeping that Vilde tradition alive.

Lucas has the paint streaks on his cheeks, which is a fun nod to OG and also fitting for the infiltration theme of the party.

Imane says they don’t need the password, Daphne says they do in case there’s a spy. Errr I don’t think a password is going to do you much good. If there’s a mole, I’m sure they got the details from someone else, unless like a 50-year-old teacher is hoping to sneak in unnoticed.

Lol at Yann’s face when he puts on his hood for the “infiltration.” He’s had some great background reactions this episode.

Daphne asks the crowd if they’re ready to infiltrate and they quietly cheer. Basile says “I’ll infiltrate YOU!” and FUCKING KILL HIM, I’M TIRED OF THIS SHIT.

Daphne tells Emma she’s so nervous she almost wore a diaper in case she wet herself and DO NOT LET BASILE HEAR THAT, I REPEAT, DO NOT SAY THAT SHIT WITHIN A FIVE-BLOCK RADIUS OF THAT GUY UNLESS YOU WANT HIM TO START HAVING DIAPER FANTASIES ABOUT YOU IN ADDITION TO BDSM DREAMS.

The gate opens and people cheer because apparently everyone’s an idiot who forgot about the request for discretion 10 seconds ago. Teenagers, man.

Yeah, this is fun in like a Hollywood teen movie way but kinda throwing me out of the story, like even the way the crowd is reacting feels too staged and TV-ish. You know IRL when there’s a group of teenagers rowdy and ready to party, they wouldn’t be super unified in their reactions like that, there would be some d-bags not listening, not paying attention to Daphne, they’d be fucking around and doing their own thing. Nothing inherently wrong with this style but not really what I like from Skam, just my preference!

Clip 7 - Giant neon costume party

There’s like a full-ass rave happening in the school and it’s fun but not to be repetitive, feels more like a Hollywood teen movie even in the scope of the party and the way it’s filmed. Especially - and I’m sorry for harping on this but also, not sorry at all - because Basile’s characterization reminds me of one of those stock characters from those films, like that typical obnoxious loser who’s desperate to get laid and ends up banging Stifler’s mom or something.

Basile slumps next to Alexia and says he’s gonna throw up, she says he’ll be fine. She’s a lovely person, but I want to be like RUN AWAY DO NOT ENGAGE.

She points out that Emma and boy Alex are making out and Basile positively jizzes in his turtle onesie, being like THEY’RE GONNA FUCK???? IN THE SCHOOL???? Is it that outrageous of a concept? What did you think was going to happen when you invited a bunch of drunk teenagers to party after hours?

A girl who looks a bit like Elisabeth Moss walks by and makes eyes at Alexia. Must be Clara! Basile is like, a woman in the same room as me? Can you help me fuck her? Alex says no, it’s her ex, hands off, and that’s Romain’s cue to be like … OHHHH you are bisexual? Alexia cheerfully confirms this. You can see the boner popping in his pants already, let’s be real. Yikes, dude. Her attraction to women isn’t for your enjoyment.

Anyone else getting dancing old man from Six Flags commercials vibes from Arthur dancing in his costume?

Daphne is freaking out and looking out the window, trying to prevent people from smoking. Imane pulls her aside and says everyone’s having fun. Daphne says the smoke detectors might go off and they’ll be in trouble, Imane says she should’ve thought of that before throwing a party in the school. I mean ... yeah? That’s why I’m like, you’re freaking out about this now, you didn’t predict any of these blatantly obvious things that would happen?

Imane’s like “what’s the worst that could happen if they get caught, they won’t expel 50 students at once” and errr IDK, would they have to pay for repairs? Stay after school to clean up the mess? Would the school contact their parents? I can think of a lot of stuff that would suck.

Daphne and Imane go dance. Basile comes up and not only starts to force a dance with Daphne, but in a way that he’s thrusting his crotch against her, trying to touch her and get in her space. Poor Daphne grabs Imane and tries to swing out of the way to avoid him, literally swat him away with her costume’s cat tail.

For fuck’s sake. I hate this guy, I hope Daphne eventually just punches him in the balls. Listen, I try not to talk like that, but this moment really pissed me off. It’s sexual harassment. Daphne has made it extremely clear to Basile that she is not interested in him. She has said it is never going to happen. And he still does not give up, and this was honestly the worst moment he’s done so far IMO because he’s actually physically bothering her, to the point where she grabs her friend as a shield, to the point where she’s having to swat him away.

Tons of women have gone through this experience in real life. We’ve met those sleazy guys who would not take no for an answer. We’ve met those guys who wanted to press their bodies against you and grab you when you have zero interest in them. A lot of us have experiences of latching onto our female friends, or our trusted male friends, in an effort to escape these creeps. Imagine the nastiest guy you know in real life, the one who really sends red flags, and imagine him as Basile, yourself in Daphne’s situation. That’s why I don’t feel I’m overreacting here.

What is the point of this? What is their primary goal with Basile’s character? Comic relief? Or is he meant to be a cautionary tale? Are they building up to a criticism of creepy guy behavior? Because the thing is, they have already established he’s gross. Daphne has rejected him, and he still wants to go after her. I don’t get what more she can do other than beat his ass or complain to the school or something. What, is it going to be like episode 5 when he finally takes a fucking hint? Why was it not obviously clear when she said it was never going to happen? When she tried to escape him at the party? If there’s a more substantial criticism coming, I am genuinely flabbergasted why made Basile 110% disgusting from the very beginning and had Daphne so openly hate his attention, because it feels like the lesson should have happened already. The point has been made.

You know what could have worked better if they were trying to criticize toxic masculinity? Don’t start off Basile as super gross. Make him insecure, desperate, but not panting after Daphne and begging for her phone number. Have his creepiness escalate bit by bit throughout the season, directly encouraged by Lucas’ own fuckboy behavior. Show how those attitudes spread like a disease. Have Daphne show her disinterest, although she’s mostly just annoyed, until finally he crosses a line and then she blows up at him and says it’s never going to happen. Then that’s it. He leaves her the fuck alone. He learns from his mistakes, though he still doesn’t get with Daphne romantically.

Lucas and Chloé are talking about music. Chloé happens to like old school rock like AC/DC and The Clash - coincidentally Lucas’ musical taste, as we learned last episode. I wonder if she actually likes them or she just stalked Lucas and found that information on like his Facebook profile. It’d be funny if she was trying to like what Lucas likes and Lucas was trying to likes what Eliott likes. Because suddenly Lucas isn’t a fan of The Clash anymore, he likes dubstep. Duuuuude, come on. I saw how you responded when Eliott put on that record. I’m just imagining Lucas sitting in his room, forcing himself to listen to dubstep because Eliott likes it, in the way you make a child eat Brussels sprouts.

Mika is at the party and lighting up the dance floor, Chloé says gay guys are so funny, they know how to party. Alexia and Imane who happen to be nearby react to that; Alexia says it was a stupid thing to say and Imane says it was a generalization. Chloé says actually it was a nice thing to say.

Okay, I wasn’t a fan of how they did this moment. The positive side: it’s nice that they made Alexia, a member of the LGBT community, react to that comment and call it out, and had Imane call it out as a generalization, because she as a black Muslim would also know about how generalizations affect marginalized groups.

But no offense, I feel like both S3 remakes so far have missed the point of this moment as it pertains to our POV character. It’s not just a helpful educational moment for the audience. It’s meant as a lifeline to the Isak character. One of Isak’s greatest concerns is how he will be perceived as a gay man, in terms of stereotypes and generalizations. He fears “gay” is a box that will trap him in a certain image, he doesn’t want to be seen negatively as one of those flamboyant gay guys into tights and mascara. He associates “gay” with those generalizations and he fears the social repercussions of that label. We see that when he takes the gay test in episode 3, which is not a measure of attraction to men (as it was in Lucas’ “gay test”) but a collection of stereotypes about gay men’s personality and interests. When he puts down the dance teacher for acting too gay later in the episode, it’s because he wants to distance himself from that type of person. Which is why it’s really important when Even, the guy Isak likes, calls out Emma for using a generalization. Without even knowing the full impact of what he’s saying on Isak, Even provides a counter-argument to the idea that Isak can be summed up as a stereotype. He’s against assigning universal traits to diverse groups of people, and I think he recognizes the trivializing nature of Emma’s comment - gay people are funny to her, it’s like she thinks they’re there to entertain her, it’s this extremely othering remark. Emma is essentially doing something that Isak fears will happen to him if people know he’s gay - just stereotype him and lump him in with all gay people - and Even is there to shut it down.

And you might say, well, Lucas isn’t Isak, so it doesn’t have to mean the same for him, and ... yeah, it doesn’t, but consider that Lucas’ struggle this week was not really about dealing with stereotypes and generalizations. His “gay test” had nothing to do with that at all. Instead, he was struggling with the exact definition of his sexuality, whether he’s gay or bi or straight, and he was trying to fit himself into a heterosexual box not by distancing himself from generalizations but by dating a girl and using homophobic slurs. Like there’s no moment where he calls out a gay guy for acting too gay. When he calls the boys a slur, it’s not actually a response to doing something perceived as gay. So for the “lesson” here to be the same as it was in the original series, and not tailored to Lucas’s specific struggle this week, is a missed opportunity. For example, I think it would have been better if Chloé used some casually homophobic language - not even maliciously, just in the sense that she’s ignorant and doesn’t realize she shouldn’t say some words as a straight girl - and Alex called her out for that. It would be a counterpoint to Lucas’ own behavior.

Also, I don’t think Lucas had a huge reaction to what Alex and Imane said, anyway; it didn’t seem spotlighted in the directing or acting so while it’s a good lesson for the audience to hear, it doesn’t mean a ton to his character’s state of mind. It’s one of those parts that I feel the remakes are recycling because it is important as a general idea, but I don’t feel like they necessarily get why it was there in terms of Isak’s characterization.

Additionally, can’t lie, very disappointed that Eliott didn’t get this moment. I appreciate them giving Alexia a lot to do this season, but this part felt really big for Even in the original show, both in characterizing him and in showing how much Isak was affected by his words, because Isak really likes Even and values his opinion (you know, the whole Isak becoming Nas’ #1 fan in a week thing). This is the guy Isak has a crush on who’s shutting down homophobic stereotypes - that made it so important that this dialogue came from Even rather than anyone else. And on a personal note, that clip was the very first Skam clip I ever saw, and that specific moment where Even calls out Emma was not only the first part to impress me and grab my attention, but it made me love Even right off the bat. I loved that he could explain why positive generalizations are still bad because that’s a nuance I think plenty of people, both young and old, don’t understand. It just was a bit of a downer that this really powerful moment didn’t go to Eliott.

Lucas sees Eliott come in with his girlfriend. Eliott has a mask, covering the lower half of his face. How raccoon-ish? But very fitting for the theme of infiltration, and very fitting for his character to be ambiguous and mysterious.

Eliott’s girlfriend is named Lucille, lmao. Lucas and Lucille! Not weird at all! But what’s the significance of gving them both light-related names?

Of course we have the two pairs dancing, Lucas and Chloé and Eliott and Lucille. Lucas stares at Eliott in a very obvious way, like Isak could at least glance at Even over Emma’s shoulder. Lucas has to blatantly turn his head to look at Eliott. He smashes his face into Chloé’s while making eye contact with Eliott, and Eliott obviously sees this and takes it as a personal challenge. He makes out with Lucille and then stares Lucas in the eye. Again, very challenging. With Isak it was more like this painful longing watching Even kiss Sonja, and then Even looked at him not so much as a challenge but to convey his interest in Isak; Isak didn’t keep looking back for that long before he shut his eyes and kissed Emma, probably imagining it was Even. Lucas kissed Chloé first; Eliott was not making out with Lucille until he caught Lucas staring at him with his lips on Chloé’s. Then it was to convey interest and almost a dare for the other to look away first. Very bold of Lucas, although IDK if he was actually trying to issue a challenge or a fuck-you to Eliott or he’s just bad at impulse control. I think the “fuck you” was pretty implied. In more ways than one.

Not gonna lie, the eye-fucking went on long enough that if it had gone on a moment longer, it would start to feel like a parody to me. I was glad the music got cut off and the lights went on when they did.

Everyone bolts and runs out of the school, Daphne seems to be behind everyone. Basile, do something good for once and distract the guard so Daphne can escape! Throw yourself on that grenade!

Lucas just stops and stands there like an idiot, like I know you’re distracted by your Eliott boner and all but move your goddamn ass, until Eliott grabs him by the arm and pulls him to the side. Eliott offers to walk him home.

Eliott really just left his girlfriend behind, huh? I know Even did it too, but he just left Sonja to go hang out and drink with everyone else, not get caught by a night watchman.

I’m not someone who goes gaga over height differences to the extent that a lot of people do, but that sure is a quality height difference between Lucas and Eliott, made very clear by them walking side by side.

As they’re walking, Eliott says it seems are moving fast between Lucas and Chloé. Lucas says it’s cool but then backtracks and says she’s super into him and it’s stressing him out. Eliott looks a little pleased to hear that. He asks Eliott how long he and Lucille have been together, Eliott says a while. Lucas says it shows - errrr, how? You’ve spent like 10 seconds and two words in her company and all you did was see him briefly kiss her hello and then make out on the dance floor, like Emma and Alex have done that much and they’re not even officially together. He’s bitter, I guess. Any girl with Eliott has been with him too long.

Eliott says he thinks his relationship with Lucille is at an end, though, they’re just going in circles, he doesn’t want that. Lucas is like, to be in a relationship? Probably thinking GODDAMMIT. Eliott says he does want to be in a relationship. Lucas is like, so you see yourself with a new girl straight away? Eliott says yeah, and then after a pause, adds not necessarily a girl, though. That pause is what’s important, tbh, the little moment where he’s perhaps thinking of just coming out and saying it to Lucas. Making clear that his sexuality includes guys, making clear that Lucas is on the menu. And of course Lucas kneejerk looks at him like OH SHIT HE SAID IT.

Lucas looks at him, Eliott looks at him, there’s a Moment. They arrive at Lucas’ place. With this music and the way they’re looking at each other, it’s not so much awkward, more like they’re daring each other to take the next step. Eliott says this is where they say good night. The way Eliott glimpses upwards makes me think he was hoping to be invited up (not even to bone, to be clear, just to hang out/make out), and they’re staring at each other when in the background someone’s getting out of a car and taking bags out of a trunk.

They are hardcore staring at each other and it seems like Eliott moves in just a teeny tiny bit when Manon’s all HEYYYY GUYSSSSS. Lucas looks back at Eliott like, oh, never mind.

IDK how I feel about that ending moment. I feel like it lacks the punch of Manon arriving home, and weirdly downplays the Lucas/Eliott moment. Maybe because the music continues - I would’ve cut off the music when Manon said hello, to break them out of their little bubble, then show her there, cut back to Lucas and Eliott staring at her in shock, in silence. This just felt a little muddled and didn’t land as much emotionally for me.

I’m not like ... angry at Manon for interrupting, I think she could’ve just looked away and pretended to be busy with her bags instead of calling attention to herself. She seems pretty invested in giving Lucas nudges out of the closet, or wanting him to open up to her about it, based on her behavior in other episodes. Like I think she means well, it’s just intrusive. Did she want to interrupt them so Lucas didn’t out himself in front of her? That doesn’t seem entirely congruent with her repeatedly asking him if he’s dating someone or asking about Eliott in the next episode.

The Lucas/Eliott relationship also feels way more of an inevitability at this point. Eliott isn’t saying he can’t break up with Lucille, his comment about “not necessarily a girl” could not be any more pointed. I’m wondering if they’ll bring as much drama with Lucille later on; if they do play out the part where Eliott goes back to Lucille after telling Lucas he wants to be with him, I think they should’ve kept in that part as it’s important foreshadowing. Not just for his relationship with Lucille, but his bipolar disorder and inner conflict. Like there were zero hints of a conflict within Eliott in this scene, he’s just like, yeah, I should break up with her, maybe I’ll have a relationship with someone who’s not a girl, hint hint. So Lucas really should not be doubting Eliott’s intentions at this stage, frankly. It’s Lucas who’s apparently the obstacle, and who knows how long before he gives in to Eliott’s Eliottness.

Social Media/General Comments:

Yann texts Lucas “Kisses bro” after the locker conversation so basically he’s a stand-up pal, it’s very cute.

Basile at least apologized to Lucas via text for blowing up at him because Basile didn’t get his dick serviced on Friday. He also said he’s not even into Maria anymore, it’s about Daphne now, siiiiiiigh. When he asked about Lucas’ mom, Lucas didn’t really answer, said it was nothing and he was handling it. I mean, if Basile has a mentally ill mom like Magnus, this conversation might take on more significance later, like he could’ve gotten Basile’s advice all along.

On a related note, I know I stroked that Basile hateboner so hard this recap that I’m chafed, and sorry if it got repetitive. But also - he’s bad. He’s really, really bad. And if my comments are repetitive, the show is also repetitive in giving Basile approximately one character trait that’s extremely exaggerated. I don’t think we’ve had one “normal” scene with this guy where he didn’t say something awful, like the closest was the first clip he was in.

Lucas is getting very chummy with the girl squad and taking pics with them. He’s also getting alarmingly cutesy with Chloé, posting a pic of her and using emoji hearts. Though that’s a good detail, of course, it’s him trying to act straight.

Is it just me or have they toned down some of the social media presence from last season? I don’t mind it, I think a lot of the SM stuff is more focused on things relevant to the story.

I’m not even getting into the Eliott puzzle stuff. It’s fun but I’m just gonna sit back and watch it happen, otherwise my brain will melt.

Everyone who attended that party is a total fucking dumbass for posting pictures and IG stories of themselves where they are clearly at the school and in the common room on Friday night. I know that teenagers are not necessarily the best at discretion, but LMAO at the theme of the party being “infiltration” and Daphne trying to have a password when everyone’s posting pictures where people are easily identifiable. If shit had gotten out of hand, then they’d all be screwed. Although this is an obvious consequence of throwing a party in the school, you know some people are going to plaster it all over social media. Not hard to predict. IDK, maybe I’m just a worst case scenario type of person, but imagine if shit got really out of hand, like someone started a fire or there was major property damage or who knows, something even worse, and there had to be an investigation. All of you idiots are fucked.

Being honest, in some ways I thought this was the weakest of the three episodes so far - not that it was bad, there were certainly good moments. I think they did a solid job with Lucas’ internalized homophobia, as unpleasant as it was to watch, and Alex’s talk about bisexuality was a strong addition to the story. There were some good acting moments. But I felt more of the weaknesses that Skam France had in its previous two seasons. Things like reusing certain moments from Skam while not really fitting or understanding why they were there, more like feeling they had to be there, or some parts that I thought didn’t quite make sense, some moments that were rushed or didn’t have much impact due to the directing.

I’m thinking that this episode is going to be a particular challenge for various remakes to adapt. Some of it might be that it’s very internal, in a way, with what Isak is going through, and that’s not always the easiest to portray. I also felt like OG had a clear thesis statement of sorts with what Julie intended to accomplish with this episode, in terms of the overall story, and it’s something where you can lose the subtleties if you’re not careful.

This reaction probably seems more negative than I actually felt, because overall I did like the episode and still enjoy the season, it’s just that breaking it down and thinking about it more critically, there were more little things that bugged me this week than in the first two.

I’m not French so feel free to clarify if I missed something.

If you got this far, thank you for reading!

#skamfr reactions #skam france reactions

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itneedsaying · 5 years

Text

a complete gif tutorial

hi! so i was requested by @popalice007 to make a tutorial on how to make gifs and i am very happy to oblige! this will cover pretty much everything, from capturing frames to saving the final product. this is just how i personally do it, and there are loads of other ways to gif, and i recommend looking at other gifmakers’ tutorials to get a more well rounded view on how to gif. please continue reading if you are interested, and please like/reblog if you find it useful!

disclaimer this is going to get really wordy as i try to explain where to find things and how to do them and my thought process behind why i do them, but please send me a message/ask if something needs clarified!

also some of the pictures can be viewed in full size by clicking on them!

part 1: required materials and other tips

just another heads up, i have a pc, and while i believe most of this should be the same whether you have a mac or a pc, i could be very wrong as i’m not a computer expert and have never really used anything besides windows.

so the two programs i use are kmplayer and adobe photoshop cs5 portable. kmplayer can be downloaded for free here. i have the 32 bit version for windows, so that is what i’m going to be providing the instructions for, since the 64 bit version seems to be a little different. photoshop is pretty expensive, but thepiratebay has several torrents for it, and other downloads and torrents for it do exist. i downloaded mine quite awhile ago so i don’t remember exactly where and how i did it so it might require some researching. i would just double check the comments and instructions to make sure the download will work. there are also dedicated photoshop tumblrs that will probably have links to downloads.

if you are giffing a scene from a tv show, movie, video, etc, you also need to have the video saved somewhere on your computer/flashdrive/whatever. hd-source is a good source for tv shows, and there are tons of other sources. i download a lot from thepiratebay using a program called utorrent (i just use the free version) but beware because since you are downloading copyrighted materials it isnt legal, and while i have never had a problem, i have heard of people getting warning letters from their internet providers. you can also download youtube videos and videos from other places and there are lots of other ways to get videos that i won’t cover.

no matter where you get your video, you want it to be pretty high quality, since the higher quality the video is, the clearer and nicer the gif will turn out to be. most of the time you want 720p if you can get it. 1080p is nice and if you can get your hands on it without the video size being enormous you can certainly utilize it, but it isn’t a necessity and usually i don’t bother. anything lower than 480p can get to looking pretty grainy especially if you are doing full size 540 px gifs, but if you are giffing something from a convention panel video taken by a phone, for example, you don’t really have an option.

additionally, if you are giffing dialogue, find a script online somewhere or find subtitles. you can transcribe it yourself if you want, but if a character is mumbling or has an accent or something i like to be sure of what they are saying.

and finally, have some patience! a lot of the popular gifmakers have been doing this for years and have streamlined their process so it doesn’t take hours, but as a beginner it takes time to get everything right,so it is totally normal if you get to feeling frustrated.

part 2: capturing the frames

first you will want to have an idea of what scene you would like to gif. before i get started i create a new folder where i want the captured frames to go, and i name it something memorable so i can find it again later. kmplayer does also automatically create a folder called capture that you can use if you want. if you are doing a gifset like this, i would have 8 different folders and gave each of those gifs/scenes their own folders.

however, the example i’m going to be using throughout this tutorial is going to be a dialogue scene, specifically this one here, just because they can get a little more complicated imo (plus i want to show how i use the text tool etc). if i’m giffing a scene where characters are talking, even if the scene is a long one with back and forth dialogue, i usually like to cap it all at once and put it in the same folder, and then i separate it out later in photoshop. you can also plan ahead and put all the different bits in different folders, thats up to you and your personal preference.

next i open up kmplayer. kmplayer likes to update pretty regularly and will let you know when you open it if it wants to update. it doesn’t usually hurt to ignore it if you are in a rush, but i usually let it do its thing and make sure i don’t also download whatever browser service, etc. it also wants to install. sometimes ads show up on the right side, you can close them by hitting the little arrow between the ads and the video screen

to open the video, click on “kmplayer” in the upper left hand corner and then click on “open files”. search for your video file and double click it to open it

kmplayer will then open the video, and if its 720p often i have to make the window smaller because it fill up the entire screen and i need to be able to see other windows besides the video. if i remember correctly when you first download kmplayer it isnt automatically set to keep the aspect ratio the same, so if you need to, hit the f2 key to open the preferences or click the lightning bolt on top next to kmplayer, and then click on preferences. under general and then screen on the sidebar, and then under general again i have my settings like so, and hopefully that resolves that issue if you have it. you might have to reopen the video again for that to kick in but i’m not positive. if it still doesn’t work try to google it. i’ve had the problem a couple times and the answer is out there but i’m no tech pro.

anyway, i then locate the beginning of the scene that i want to gif. you can click around on the bottom along the progress bar, as well as using alt+left or right to jump forward and back a minute, the left or right arrow key to jump 5 seconds, or the f key to go forward a single frame. every frame counts, and it is preferable to have too many frames and have to delete them later than to find out your gif will only be 10 frames long because you started capping in the middle of the scene, or because you stopped capping too early. i typically will watch the clip a few times so that i have a set idea of where i want to start and stop.

once you are paused at the beginning of the scene you want to gif, press ctrl+g to open kmplayer’s frame extraction window. click on the folder icon so that you can locate that empty folder you had made earlier. this is where kmplayer will save the screencaps. i then set my settings to png, continuously, original size, and every frame, like so

now we are ready to start capturing! click start on the frame extraction window, and then click back over to the video (this is why i make the video window smaller, so that i can see the video and the frame extraction window at the same time). once i’m back on the window, i hold down and/or tap the f key. kmplayer will capture the frames as you go along. the audio plays along with it albeit choppily which is why i watch the clip several times beforehand, because it can be hard to follow and is disorienting. you can also click the play and pause button, but, again, the audio tends to play at a different rate and it gets confusing, so for me frame by frame is the way to go. keep tapping f until you get to end of the scene/wherever you want to stop. i keep the folder where the caps go open usually so if i mess up or change my mind on where to start/end, i can delete the whole folder and create a new empty one to start over again. this process takes practice and is often dependent on what you are trying to gif and its not a big deal if you have to try it a couple times to get it right.

once you have reached the end of the scene, click back over to the frame extraction window and click stop. if you are giffing multiple scenes from the same video you can click the folder icon and select a different folder to save frames into and then repeat the process of finding the scene and capping it, or if you want to cap from a different video, you can open a new video and cap from there. then if you are satisfied and have all your caps, you are free to exit out of kmplayer.

part 3: making the gif

now it is time to actually make the gif! go ahead and open photoshop, and if it is your first time you can play around and familiarize yourself with where things are. basic gifs don’t require a lot of the tools that photoshop has, and you can customize some as to what windows and panels are open. below is what my workspace typically looks like so that i can get to certain things quicker, but i will explain as i go along where the controls normally are found in the toolbar. also, if you hover over a control photoshop will tell you what it is and what it does.

to open the frames, go to file, then scripts, then load multiple dicom files. then find your folder of caps, select it, and then click OK to open

be aware that depending on the number of frames in that file and the size of the images it sometimes can take awhile to fully load. once they are loaded, you should be able to see all those screencaps as layers on the right hand side of the screen. if not, go to the top where it says windows and click on layers. i frequently accidentally cap a couple extra frames where the scene shifts and i go ahead and delete those layers by highlighting them (use the shift or ctrl key to highlight several at a time) and then clicking on the trashcan at the bottom of the layers sidepanel.

next we are going to turn these layers into gif frames! i have combined this step into an action that i use to automatically do this for me to save time since i gif on a semi regular basis, but the steps are as follows.

first, make sure the animation bar is open. if it is not then go up to window and click animation, and then it should open at the bottom of the screen. you also have to be in frame animation mode. on the upper right hand corner of that panel is an icon with four lines and and an arrow. click on that and then click on convert to frame animation. then in the same menu click make frames from layers.

this can also sometimes take some time if there are a lot of caps but when its done loading there will be frames in the animation bar. in the animation menu click select all frames. then, underneath any of the frames, there will be an arrow beside where it says 0 sec. click it and change the frame delay. what you set it to can be up to personal preference. i typically set mine to 0.07 or 0.08 which seems a bit slow, but i find when i convert the gif to a smart object (we’ll get to that) that seems to speed it up a little so i’ve just stuck with it. feel free to change the delay if you find later that that is too slow for your taste. also in lower left corner of the animation bar is where you set how many times the gif loops. change it from once to forever. the controls to play the gif are also below the frames.

since i gif a scene like this all in one big long take, it is now time to separate it into separate gifs if need be. if you are making a gifset like this you can skip this part because you most likely capped frames from different scenes and gave them their own folders, so they shouldnt need separating.

sometimes you have to get creative on how you split apart the scene, and there arent really any hard and fast rules. here are some things i like to keep in mind:

the camera angles - this is the most important for me. if the camera goes from showing one character to another, or from one angle to another, i separate those into separate gifs pretty much no matter what.

the length of the gifs - this is dependent on the size you are going to crop to, how much movement the scene has, how much color, etc., but i typically try not to go over 80-100 frames in a 265px width gif. they can be trimmed down later, but if it takes 200 frames for the camera to switch to the other character, don’t make that one gif

the dialogue - if there is a natural break in the dialogue, that is a good place to end a gif. you don’t need 50 frames of no one speaking if you are doing a gifset with dialogue.

how many gifs you are making/size - at some point you have to decide how wide your gifs will be and how many of them. if your gifs will be 268 px wide (2 columns of gifs) then you have to have an even number of gifs, and you will need to separate to account for that

going along with the first tip, i’m going to separate the frames by camera changes. i do this first so that way when i crop the gifs, i get things centered how i like.

you can see here by looking at the thumbnails of the layers what i mean by the camera changing angles.

first, press ctrl+n to open a new blank image. if the preset doesn’t say dicom files, click on that menu and click dicom files, that way the new image will be the same size as the original. hit ok.

next, highlight the layers in the original that are going to be the new gif. hold shift while clicking the first and last layer that you want to be in the new gif to do that. click on them, hold, and drag them over to the new document. they will probably be off center and/or invisible. if the layers are invisible click an empty box next to one of the layers so that an eye appears and the layer shows up. then click the move tool and move the layers around til the fill the document correctly. be sure not to stretch/transform the layers by dragging on the edges and corners. as long as all the layers are still highlighted they should all move at once.

next, scroll to the bottom of the layers and delete the blank layer. then repeat the steps to make frames and set the time delay and there is your new gif!

the layers for that new gif are still in the original document, so go ahead and hit the trashcan to delete them, as well as the now blank frames. continue opening new documents and splitting up the scene until you have a new gif for every camera change. the last gif i leave in the original document. i ended up with 5 camera changes so 6 gifs to start with

at this point i crop each gif. tumblr has a guide for image sizes, and the width is the most important thing to follow there. the height is really up to you. if i’m only doing two or four gifs i tend to make them taller than if i do 8 or 10 gifs just because it looks better to me. i’m going to probably end up with 8 gifs because a couple bits are a little long, so i’m going to go with 268 px as the width and 175px as the height. again, the 268 part is the important part to get right since i’m doing two gifs across. to crop, find the crop tool on the left and set your dimensions at the top. make sure when you enter your dimensions, it is in pixels/px and not inches or centimeters.

click, hold, and drag to stretch to create a shadow for what you cropping. i usually go as big as the edges of the image will allow, and then bring the corners in a tad, since occasionally i get a video that has a black outline and i don’t like to have that in the gif. either hit enter or the checkmark in the upper right corner of the toolbar to crop.

you might have to zoom at this point and resize your window. in the bottom left corner there is a percentage you can change, and now that the gif is cropped it will be small enough that you can set it to 100% if it isn’t that already. continue to crop the remaining gifs to the same size. after this i usually play through each one to make sure i have everything in the frame and roughly centered. if you need to undo, press ctrl+z or ctrl+alt+z and recrop or redo whatever needs redone. there is also a history you can pull up under windows, and you can use that to backtrack multiple steps.

next i figure out if i need to break up any of the gifs because of their length. with a gif this size i can probably get away with having more frames and i can trim them later, but if a gif has more than 100 frames i look and see if i can either trim it down now because there is a lot of frames without talking or movement, or if there is a natural break in dialogue where i can split it into two gifs. there are also times when the gifs are really short that you can sometimes combine with a gif before or after that one. that’s your perogative ultimately and what you think looks good but will fall under the 3mb limit, and takes practice and experience to get an idea if a gif is going to be too large. sometimes i go back and rewatch the scene to figure out where to split things up. i also keep in mind that i want 8 gifs for this scene and right now i have 6, so i need to create 2 more, whether i separate two gifs in half, or separate one gif into three new ones.

ultimately i decided to split my largest gif of 180 frames into 3 gifs because it has quite a bit of dialogue, and the other gifs are either already under 80 frames or can easily have some frames deleted out of it. between using the script, rewatching the scene a few more times, and trying to lipread what the doctor was saying, i decided to separate between frames 65/66 and 120/121 so that way they were roughly the same number of frames. the process to separate them is the same as it was when we had the big original gif. i selected the last frame i wanted to include in the new gif so that way the eye appears next to the corresponding layer in the layer panel, and this is how i know which layers to drag to the new document. for example, in the picture i’m moving frames 1-65 to the new document, so i select frame 65, then find that layer and select all the layers below and including that layer and drag them. then repeat the steps to make the frames, etc.

go ahead and delete the empty frames, as well as any frames on the other gifs you may want to delete to trim them up.

so now we should have all of our gifs laid out! my next step is to sharpen them, and i do this using smart objects, and the steps are as follows. (i also made this into an action.)

first, select all the frames and all the layers in the gif. if you deleted some frames but didn’t delete the corresponding layers, don’t worry about it, it doesn’t matter and doesn’t affect the final product.

next, click on convert to timeline animation. this is in the animation menu where we earlier found convert to frame animation.

then, at the top go to filter and click on convert for smart filters. this creates a smart object and turns all of the frames and layers into just a single layer/object. this allows us to sharpen the whole gif at once instead of having to sharpen each frame one at a time (trust me that takes forever if you don’t have an action or do it this way).

next under filter again, then under sharpen, click on smart sharpen. this brings up a window with a bunch of settings. these are what mine are:

repeat this for every gif. look how much better they look already!

at this point, if you haven’t saved yet, do it now! this is a good time to save and take a break. go to file and then save. the format should be set as photoshop/.psd. i go ahead and rename the files too, for example, dwshades1 and so on. i number them too so i can get the order right when i upload them. with it saved as a psd, you could close out and reopen it later and the layers will all be there.

next is coloring! this is technically optional, but is usually the most fun part of giffing in my opinion, and i tend to find uncolored gifs rather boring and bland. this is where you can do some brightening, color correcting, make gifs black and white, and more! its time to get creative with those adjustments.

as there are so many ways to color things, and whole tutorials dedicated just to coloring, i’m only going to show the basics of where to find the adjustments and some of the different adjustment layers that i use most. my first step always though is to create a group just for the coloring layers. the button to create a group is at the bottom of the layer panel and looks like a folder. the button to the left of that is the one that contains the different adjustments you can make.

the black and white circle contains a list of different adjustments you can make. the two i like to use most are curves and vibrance. curves is really useful to brighten gifs and vibrance obviously adds vibrance. my advice is to just play around with all the settings, and look at coloring tutorials. a lot of gifmakers also have psds that you can download. you can either use them as is to apply to your gifs and credit the maker, or just study what they did and learn from it.

anyway, i went ahead and colored my gifs. here is a before and after look, as well as a list of adjustment layers i added:

in this case the before gif doesn’t look bad, but that isn’t always the case, sometimes they start out super dark and colorless. and i like the tone and colors of the colored gif better (you can see how much i like purples and blues lol). again, all personal preference.

whether you color or not, if you have dialogue in your gifs, the next step is adding it in! if the gif doesn’t have a dialogue or if you don’t want to add text, you can skip this next bit.

first, select the text tool on the left side toolbar, it looks like a T. next i choose my font, font size, and color at the top. here are my settings, the key thing is to make it easy to read.

there are more settings like bold and italics under window and then character. these are my settings.

after these are set, click in roughly the middle of the gif and start typing the text that goes with that gif. i usually start with white for the first person to speak, and then change to yellow for the second person and so on, so that way its clear who is speaking, but that’s up to you. when the text starts to go off the edge of the gif, i hit enter to start the next line until i’m out of text. otherwise photoshop will allow you to type right off the edge of the gif.

a little hard to read, right? that’s why i add stroke, which outlines the text. to do this, make sure the text layer is highlighted, and then click the fx button at the bottom of the layer panel, and then click stroke.

these are the settings i use. usually i only have to change the size from 3 to 1px. hit ok.

so much easier to read! also, double check to make sure that the text layer is above the coloring layers.

next, i want to move the text to where i want. select the move tool on the left, and first move the text layer all the way to the bottom. photoshop has it so that it is kind of magnetized to the edges. i then go back to the character menu and change the baseline shift setting to 5 pt.

however, when you click to a different gif it doesn’t reset back to 0, so manually reset it back to 0 before moving your text layer, then change it to 5 again.

next, to center it on the gif. first select the gif layer, then hold ctrl while you select the text layer. the order is important, if you select the text then the gif, the gif will be moved to center itself around the text. then, with the move tool still selected, click this button on the top tool bar to align horizontal centers.

great! now save your gif again, and repeat all these steps for the text for every gif that you are adding text to. most of the time i type the text on each gif first, and then move the text that way i’m not switching tools a dozen times, but it really doesn’t matter.

your gifs are officially done! time to save them in a format that you can upload to tumblr. go up to file, and click save for web and devices. these are my settings, but you can play around with some of the ones on the upper right side. however, you want to make sure that it is a gif, and that it is set to loop forever. those are circled. hit save, name your gif however you want, and save it somewhere you can find it later. do this for all of your gifs.

the other thing i circled in the document size. tumblr does not allow you to upload images that are above 3mb. if yours is above this, you have a few options to cut down on the size. changing the settings on this window such as going from diffusion to pattern, or reducing the number of colors can change the size, but if you reduce the number of colors, you lose some quality. you can also change your coloring layers around, because making a bright gif with a lot of colors can increase the size. black and white gifs tend to be smaller.

the option i tend to go for if i want to keep the colors and quality, is to reduce the number of frames you have. its a little trickier to do in timeline mode than it is when the frames are all there, but this is how to do it. if your gifs are all under 3mb, you can skip ahead to uploading.

in the timeline animation bar, there are blue rectangularish sliders you can move at the beginning and end, as well as a triangular one that shows where you are within the gif. decide the new place where you want the gif to start and end, and move the rectangle sliders there, like so. one tick over does not equal a frame, so i use the triangle indicator to figure out how many frames over i’m moving.

then in the animation bar menu, click trim document duration to work area. this will set your gif to begin and end where those sliders were. at this point you can try saving again to see if your gif is below 3mb. if so, then save it! if not, continue to move the sliders and trim until your gif is below the limit.

so now all your gifs are saved and ready to be uploaded! upload them like you would any other photo post. i always save as a draft first so i can make sure they upload right and so i can look them over again to be sure they are looping correctly and have no typos. only then do i close out of photoshop. tag with the appropriate edit tags (for example, dwedit for doctor who) or tag popular blogs for maximum exposure, but be aware that only the first 5 tags count and will appear in the tags. post and you are done! congrats!

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