Everything Is Alright - Motion City Soundtrack // Shark Attack - Grouplove // Midnight Hour - Jamestown Revival // Spaceman - The Killers // Cecelia and the Satellite - Andrew McMahon in the Wilderness // Augustine - Vienna Teng // Starman - David Bowie // First - Cold War Kids // Boxes - The Goo Goo Dolls
magda: *exists in a perpetual cycle of violence and horror to which the world is not only uncaring but actively participant in, not even as a singular individual but through many separate people that nonetheless share the endless pain of eskew as their common denominator, unaware of the terror that she suffered before despite living only within it*
the thing that continues to really get me about eskew is how horrifying it’s not? both for me to listen to and for david to live in. david chooses eskew over and over again. he walks out of london into the tunnel; he leaves the safety of the burn unit; he kills the child that saw the city’s nightmares so he wouldn’t have to; he rejects kenneth’s pleas for help, he dismantles the plane that is taking him away from eskew. eskew is the one place where he is always right to be afraid; where he can’t help but be lonely because, increasingly, he is the only one left who is real; where anyone would be sad because it never, ever stops raining. eskew is the externalization of all his symptoms; it provides justification for every single way in which he feels bad or broken. in eskew, david wants to jump off a bridge not because he’s suicidal but because the things under the bridge are calling out to him, pulling him under; he wants to isolate himself in his relationship not because he’s afraid of commitment but because his wife has been consumed by the city and is now bent on his destruction. all of his responses are eminently reasonable, rational when viewed from the outside; who wouldn’t be scared and traumatized when every day is a battle for your life with an enemy so formidable and changeable that you have no hope of ever making out its shape nor escaping its grasp ? no, all of that makes perfect sense. the real horror is feeling that way in a place that is not eskew, where your anxieties don’t manifest themselves in reality, where jumping at sounds and shadows only leaves you looking paranoid, and where picking away at your relationships doesn’t reveal secret tricks being played on you, but instead clearly shows your own woeful inadequacy when it comes to sustaining interpersonal relationships. eskew is the comforting respite; outside its walls is where the real horror begins
the thing that's so wonderful about renée minkowski is that she's not infallible, but she IS inexorable. she can be petty, she has a hot temper, she makes mistakes, she's not a genius, she's full of rage and frustration and rogers and hammerstein lyrics. she can be defeated, beaten, and shamed.
but alongside all of that she's just so fundamentally and essentially BRAVE and GOOD and HONORABLE and she genuinely cannot believe that you aren't exactly the same, deep, deep down
and she's not always right about that, but her implacable, iron-willed refusal to NOT BELIEVE IT, to NOT put her hand down and EXPECT you to put your hand in it so you can both pull yourselves up to safety is, like....just incredibly shockingly effective. she gets eiffel that way. she gets lovelace that way. she gets jacobi that way, even under the worst possible circumstances. eventually she gets kepler, too, with a little help from jacobi. she's MAGIC. she's like, the fundamental belief in human decency made flesh, but that doesn't mean she's an optimist, or that she doesn't believe in violence! eiffel's the crew optimist! she shoves her trust in jacobi down his throat with a game of russian roulette!
idk i just love her. what a force!!!! what an immovable object!!!!!
"Tma was about love all along" no it's literally about starting the apocalypse and doing the eye power equivalent of comparing dick sizes with your evil boss