#but in this ep you learn that it goes deeper than that

[telomeke-bbs]

BAD BUDDY – WHO ARE YOU REALLY, NONG NAO?

I had never thought much about Nong Nao in Bad Buddy, dismissing Pat's favorite comfort object – a puppet of undefined genealogy and gender – as just another prop/device to highlight Pat's kid-at-heart nature.

But now I think there's just a tiny bit more to Nong Nao than meets the eye, if you look a little closer. What we learn also tells us more about Nong Nao's owner Pat (and it's not all light-hearted fun when it comes to the fore).

The Thai words for Nong Nao (I got this from the GMMTV online shop, linked here) are น้องเน่า, and running this through the online dictionaries turns up some interesting information.

The word nong (น้อง), as everybody knows now, is a term of address for someone younger than you (that also carries connotations of familiarity and informality). Most often employed for younger siblings, it can also be used in relationships where there is an older + younger sibling dynamic (e.g., between friends, seniors and juniors in school and university, sometimes at work too). And of course it can also be used as a term of endearment between two romantic partners, especially when the nong is younger and gives off babygirl energy.

The word nao (เน่า) actually means rotten or decayed. So one way to read Nong Nao is Rotten Little One, which helps to explain the doll's jumbled, Frankensteinishly patchworked appearance. But remembering that nong is also used for friends – another way to read Nong Nao is Rotten Little Pal. And tell me now, doesn't that sound more than just a little coincidentally like… Bad Buddy?

What this seems to be telling us is that Nong Nao must be the doll-pillow counterpart for the real bad buddy in Pat's life – Pran Parakul Siridechawat. Although you wouldn't really have needed to know this to have worked out that Nong Nao can easily be seen as a Pran-substitute in BBS.

Pat refers to Pran as the Nong to his Phi or Hia a couple of times in Bad Buddy (e.g., at Ep.10 [3I4] 18.50 and 19.56) and they themselves joke about Pran being Nong Nao/Nong Noo at Ep.8 [3I4] 6.30. Also, when Pran manages to fend off Pat's romantic thrusts during their Ep.7 courtship competition with gigil/geram-inducing parries, Pat's instinctive reaction is to vent his frustrations out on none other than poor little Nong Nao, his stand-in for Pran (see Ep.7 [1I4] 17.11).

But I think Nong Nao's significance goes deeper than just reminding Pat of Pran. We're also allowed a look into Pat's psychological interior, especially when we contrast his relationship to Nong Nao against what we know about Pran.

If I'm reading this right, I think Pat's comfort object Nong Nao is also the parallel to Pran's comfort object – his PP hobo bag.

The double P on Pran's faithful tote can be seen as a single P hiding a smaller one at its center, just the way Pran was nursing an unseen, unspoken crush on Pat in his heart for years (written up here).

And we saw how Pran, when out and about, would rarely be seen without this emotional crutch that he would clasp to his person as some sort of psychological armor against the external world.

This makes sense, especially when we see how introverted Pran put in so much effort to build up walls against the outside, much preferring the solitude and psychological stillness of his own inner world, desolate as it might have been (see this write-up here for more analysis).

But Pat in many ways is the opposite of Pran, and nowhere is this more immediately visible than in his extroversion. Pat's energy is directed outward and (after Ep.1 and Pran's return) he is often, if not always, full of sunshine and jovial smiles in the company of others (not when the situation is sad or threatening of course, but definitely when it is at least neutral, if not happy).

A clear example of this would be the scene at the Jae Si Curry House starting at Ep.2 [2/4] 0.18 – Pran's demeanor at the Archi boys' table is so serious and buttoned-up, compared to Pat's hearty laughs and unguarded body language at the Engine boys' table (and BBS also takes a highlighter pen to this with Pran inside under shelter while Pat is outside in the open). 🤩

So for extrovert Pat, being out in the world is his comfort zone, and is also why in Ep.8 he couldn't stop himself from posting little photos on Instagram hinting at their love affair with the hashtag #JustFriends (see Ep.8 [4/4] 0.56), much to secretive Pran's chagrin.

However, what BBS only quietly suggests (without showing it to us directly) is that Pat doesn't seem to do so well when it's just him alone. He says at Ep.7 [2/4] 5.46 "I can’t sleep if I don’t have Nong Nao in my arms", which at first I took to be solely a ruse to get Pran over to his apartment. But now I think it hints of more, that extrovert Pat's inner world is not really a place he likes to inhabit, unlike introvert Pran who takes refuge in his internal sanctuary.

With regard to Nong Nao's age, Pran refers to the doll-pillow as neither new nor old, but "oldish" (see Ep.7 [2/4] 5.43). So it's not a relic from Pat's early childhood, which would be about a decade and a half prior (and Nong Nao's appearance also aligns with this).

I'm only guessing, but it would seem that Pat took to needing Nong Nao to help him fall asleep maybe in his early teens or just before? This would be around the time when an individual starts questioning their identity and how it relates to their sense of self.

I think what BBS shows us is that Pran has a pretty strong grip on his own mindset and identity. His inner world can't have been the most comfortable, but it was comfortable enough for him because it was the single source of truth about himself and reassuring in its unchanging nature (see this write-up here).

On the other hand Pat's innermost self, at least before he coupled up with Pran, must have been quite a different environment. From childhood Ming had pushed his son to be a proxy in his battle with the Siridechawats, and the naturally-open and loving Pat was taught, maybe even forced against his better instincts, to "hate" Pran next door (using own word from Ep.10 [4/4] 10.32).

So when in the world outside, Pat was fully sure of himself and his role there. But when it was just him alone, his outside self wouldn't have gelled with his internal reality and must have caused him all sorts of unease and uncertainty.

For how can you be comfortable and secure in your own company, when you are in some ways a stranger to yourself, and you don't truly recognize who you are? Within his inner confines, Pat would have been seeing diverse versions of himself juxtaposed and jostling for centerstage, and to have had these different, seemingly-familiar faces haunting your (sub- or semi-) consciousness would likely have been a scarily disorientating scenario in one so young.

And when Pran was sent away, teen Pat no longer had Pran's company and counsel, and no more tin-can phone calls right before bedtime to comfort him and keep him safe from whatever demons lurked in the darkness whenever it was just him alone in his world.

It's not surprising that Nong Nao would have been a tremendous comfort to Pat, because this reminder of his unadulterated friendship with Pran, borne from his true self and unpolluted by Ming's influence, was also a reminder of his true nature and identity in his head, where other renderings of Pat planted by Ming also had to co-exist like various ghostly beings, animated but not true to life.

What terrors must plague your night-time dreams, that you have to clutch a little stand-in babyghoul, appropriately monsterish as a shield against the monsters haunting your loneliest moments – and the horror only multiplies when you realize that the monsters are various versions of you?

How tragic is that, not to know your own heart, or to feel safe alone with it?

Maybe this is why for most of BBS, Pat is shown to us as being out of touch with his inner self (e.g., he could not tell that his incipient romantic feelings were for Pran and not Ink). I can see him escaping into the day as much as he could, fleeing from the darkness within – and when he had no choice at night, he had to have Nong Nao/Bad Buddy/Pran clutched to his front as armor. (But it appears that he could not escape things entirely, and the darkly-frowning Pat of Ep.1 [1I4] 1.08, devoid of Pran and beset by demons, is our first view of him before Pran comes back into his life.)

Pran was the original savior in BBS, when he saved Pa from drowning in Ep.1. He may not have known it, but I think he saved Pat too – from himself and the monster he had become. For it was Pran who helped Pat to see who he really was inside – someone open-hearted and capable of loving truly, not just some ghostly shell programmed only to hate the boy next door.

But just as Pran remained loyal to his PP bag throughout BBS, Pat never abandoned Nong Nao either, even when the little stitched-up imp no longer had to understudy for Pran in Pat's life after they became a couple, and even after Pat settled into knowing himself for who he truly was.

And I think this is because – even with Pran in his life as partner, soulmate and protector of his heart – our big-hearted boy with so much love to give isn't ever going to forsake any reminder of Pran Parakul Siridechawat, and will hold him tightly to his heart physically and figuratively, for all the rest of his life. 💖‌

#bad buddy #nong nao #patpran #pat napat jindapat #pran parakul siridechawat

[spacedustmantis]

poly pirates thoughts? theyre so important to me!! and i always like to read ur posts abt riptide :]

oughg god! they are so! ok. collecting myself.

obviously they are family. chip is down bad for gillion we know that, also navyseal yuri real and canon. but it goes deeper than that. these people have been by each other's side through all of their development as people. chip going from the bastard pirate to a sensible (if sometimes stupid) adult trying his best to do good by the people he loves, jay coming out of the navy influence and seeing the world for what it is, growing into herself and her freedom, and gillion quite literally learning how to be a person instead of the martyr he was shaped into.

not only have they witnessed all these developments in each other firsthand, but they themselves inspired that change in each other!! they stuck with each other in the beginning when they all kinda sucked in one way or another and thought "these people are worth it". they stuck around until they molded each other into what they were meant to be from the beginning.

my favorite moments where this kinda happens are the ep 15/ep 86 parallels the ep 53/ep 81 parallels and the ep 47/ep 86 parallels.

you have the two different fnc fights where you can see the difference in how they treat and resolve conflicts between then and now. at first there where two issues, being that a) chip refused to understand/respect gillion's traditions and culture and b) gillion did not approach conflict resolution in a productive or healthy manner, not ever having learned how to talk it out. both of these problems are solved by episode 86 where instead of fighting a bloody battle while mad at each other and then being done with it, they actually talk it out first and then fight basically for fun and as a way for chip to show understanding for and honor gillion's traditions. both of these changes have been directly caused by them helping each other be better. chip who's all about talking and gillion who's all about honor learning to meet each other in the middle.

then the block betrayal scene vs the scene where chip threatens to quit piracy. where chip showed so much trust and understanding for jay, where jay was fully convinced that she did not deserve his trust and then later to have those roles be completely reversed! chip knowing that jay doesn't want to betray them, jay knowing that chip doesn't want to quit. they've always had this deep understanding of each other, they can tell exactly what the other is thinking, and though both of them are flawed people they love each other regardless. and they know that people deserve second chances, third chances, fourth chances, if only they try to be better, because they've fucked up in the past, they've both been on the wrong side of history. they look at each other and see a mirror image. however it took chip 80 episodes to be vulnerable while it took jay 80 episodes to talk candidly about how much she loves and admires chip.

and finally the talks between jay and gillion in edison kingdom and just before the second fnc fight. how gillion shows this massive amount of respect for jay's autonomy and trust in her choice. how he encourages her to choose for herself not for anyone else. and then later how jay tries to talk gillion out of literally letting someone kill him, consistently putting himself in harms way for everyone else. and it doesn't quite work but she shows so much respect for his autonomy as well the way she tells him that it's his choice what he does, and same as gillion told, her she tells him to act for himself, to stop being so selfless. and also since jay has such high respect for gillion's choices she has to be urged to even talk to him about this in the first place. not because she doesn't care about him letting himself get harmed but because their relationship is built on trusting that the other's choices are their own. it shows how much more open jay has become, how gillion stopped seeing himself separate from everyone else. how his initial advice to act selfishly is being thrown back at him and how he (with some trouble) finally accepts it.

they bicker and fight but they are oh so tender with each other when it counts and they love each other so much and their love shows in everything they do. in the ferociousness with which chip defends his crew, in the way jay stands by her newfound family over her old one, in the way gillion trains for months just to be able to protect them better (sentinel feat you will always be famous).

they literally belong together, do not separate.

#ignore anything that doesn't make sense in this #i'm tired and don't feel like proofreading #jrwi riptide #chip jrwi #jay ferin #gillion tidestrider #buggy thoughts #buggy answers #connecting the dots #silver screen #edit! bc i forgot to spoiler tag this #jrwi spoilers #riptide spoilers

[stargazerley]

Remember It

I had a whole thing prepared and saved in drafts to continue after ep 5 but then I watched it and decided that particular post will have to wait. My thoughts on this episode are....well we'll get there. If you haven't watched it--Do that now because I'm not pulling any punches. Also this is very long so be warned.

As always I'm focusing on our Rogue and Remy moments. Those Jean/Maddy/Scott/Logan....that shit is not my concern. (Short answer it's messy as hell and I hate it.)

The episode starts with Rogue, Remy and Erik in the Blackbird heading to Genosha. Remy makes a comment about how long they are taking and Erik decides to remind Remy that the latter cannot fly. For what reason I don't really know, as if Rogue won't catch the Cajun. Rogue tells them to shut up and play nice. (good on her)

They arrive and Remy is unexpected again earning a comment from Erik. Soon after they are ambushed by Kurt (hell yes the fuzzy elf) who tells them that a lot has happened since they last saw him (though we are not granted the details). Kurt proceeds to show Remy and Rogue around Genosha. Here we get a glimpse of the mutant island. It's nice and everyone seems happy to which Rogue makes a comment about "him" being right. Obviously "him" is Erik.

We learn that apples apparently cost $10 to which Remy remarks on the price and Kurt brushes it off as a necessary evil (not his words). We then get more cameos of mutants (awesome btw) and eventually a long coveted Remy and Kurt scene wherein Kurt is everyone's favorite guy. He proves to be a "shipper on deck" telling Remy that Remy and Rogue belong together and they should cut the act and just get married. (Seriously I love Kurt. He rocks.)

Next up we have Rogue talking to Erik and learning that he wants her to rule Genosha with him (there's a whole scene with Moira, Emma Frost, Banshee, Sabastian Shaw, and Madylene). Rogue declines, offended that he seems to have set it up but Erik assures her that he didn't want this and that it was something Xavier would have wanted. He also proceeds to address Remy's feeling for Rogue as "you make broken men feel whole." She leaves to think about his offer.

She then goes to Remy and explains everything. She tells him of her past with Erik and how they had something special but it wasn't like Remy. Remy is understandably upset at the secrets, saying he was fine keeping things unofficial. She admits she loves Remy that he "lights up everything he touches" and that she "can't touch his heart." This leads Remy to tell her that "some things are deeper than skin."

She doesn't believe him and tells him she'll take Erik's offer despite not being in love with him anymore. Remy tells her that Erik will break her heart and that when he does, Remy will be there for her. Until then they shall remain as friends. (Seriously perfect this man.)

At the gala, where Erik is presented as the future of Genosha, Rogue makes an entrance as Remy watches. He leaves as Erik and Rogue dance, holding hands and being very physically intimate. He doesn't see that after a kiss, Rogue tells Erik that Remy was right- "Some things are deeper than skin." She leaves to find Remy.

All hell breaks loose as a massive Sentinel attacks. Rogue finds Kurt, injured and without her gloves she is unable to help her brother, Thankfully, Remy arrives and assures us Kurt is alive. Remy goes off to find the Morlocks and lead them to safety while Erik and Rogue help out where they are.

Remy and the Morlocks are attacked leading to a showdown where Erik is protecting the Morlocks and Rogue and Remy by keeping the latter two away from the fight. Erik fails and Rogue, grief-stricken, tries to attack the Sentinel, Remy stops her. The machine turns to a group of mutants, including Kurt and Remy charges in to save them.

He gets close but is impaled, at which point he says the title of the episode while charging the entire Sentinel- "The name is Gambit, mon ami. Remember it." Rogue finds him in a crater, dead- "I can't feel you."

Ok so more or less that ended up as a synopsis of the episode because the whole thing was basically about Romy. The Key notes we get are:

Kurt being a supportive brother and rooting for the relationship giving us a beautiful line "love is not without sin".

Rogue wanting to do what is best for mutant kind even if that means she cannot be with the one she loves.

Remy deciding that he can wait for her to be ready and will be her friend until that time comes.

Rogue deciding that Remy was right "some things are deeper than skin."

Erik accepting Rogue's decision and saving not only her, but Remy as well.

Remy proving that despite what he thinks of himself- he is a hero and a good man.

This episode broke my heart but handled the Erik/Rogue/Remy triangle very well. It is so mature in stark contrast to that of Scott/Jean/Maddy/Logan. Logan being the most mature person in that entire mess, knowing that Jean and Scott love each other and that he can be her friend. Cable (who was the orignial person in the series to say "My name is_. Remember it.) made an appearance confirming that he is Nathan and that he has already tried to stop the attack from occurring. We can only hope we get a chance to see him succeed and see Rogue tell Remy their love is deeper than skin.

Now if you don't mind me, I'm going to go find something to stop these tears. Until next time, "look to the stars for hope shines bright." (I know that's the wrong franchise but it works. Apparently the Watcher was visible in the sky at one point.)

#stargazerley #remy lebeau #xmen romy #xmen gambit #remember it #x men 97 #some things are deeper than skin #very long post

[thatgirl4815]

I've been working off the theory that everything we see in the trailer is going to happen in the first six episodes, but Ray's breakdown is the one thing that makes me doubt that.

It's a massive amount of emotion to be triggered by what we've seen so far, even his ongoing heartbreak over Mew or things breaking down with Sand, so if I'm right I would guess that it's likely to be because of his mother's death and/or his alcoholism. Might be triggered by Sand somehow, but I'm not sure on that one.

No idea why I think it's all happening in the first six eps, I just do!

Judging from the amount of content we’ve already seen from the trailer, I’d say that theory sounds about right. The deeper in they go, the more spoilers abound (plus I assume the crew had more editing done for the first few episodes already anyway? So all around, it makes sense to limit the trailer to mostly the first couple of episodes.)

About Ray’s breakdown—I agree with you that it would definitely be an exception to that theory. Honestly, a lot of the RaySand argument scenes have me questioning, because they just seem absolutely devastated. Maybe those scenes happen sooner than I’m thinking, but I just feel so much heartbreak from Sand that I expect them later on. The same goes for the Ray crying bit.

And yeah, I definitely think Ray’s mother’s death will be involved. I’m expecting some more flashbacks as well, even if they’re brief. Does it sound bad if I say I’m looking forward to learning more about his trauma/alcoholism? I need to know what’s sent him into such a state of despair.

#i love hearing all these theories it’s just making me more excited #Saturday can’t come soon enough #only friends the series #only friends ask #ofts #ask #only friends theories #only friends predictions #only friends #firstkhaotung #firstkhao #first kanaphan #khaotung thanawat #sandray #raysand #raysan #sanray #only friends sand #only friends Ray #ray pakorn

[coconut530]

Heyyyy everyone! I just wanted to take a bit to gush about the WT I’ve been binging the past three days, Not Even Bones!

I’d seen this WT on the Saturday page for y e a r s , but it never looked that appealing to me. Last week, I binged Silent Screams on Canvas, and learned that artist was on NEB as well. That, combined with my desire for a darker story, and the icon nagging me like Shiloh and Lavender Jack did, made me cave and start it.

Let’s start with the characters. Nita’s our protagonist, and she’s.. interesting to say the least. Most of the time I can see where she goes but there are some instances where I question the writing a bit. And though I do get squeamish over her.. hobbies, the story usually justifies it pretty well or Kovit manages to say something. Speaking of Kovit, you can see most of these images have him in it 😂. Uhh but I have to say he’s a really good character, despite what he does. In the end he only does it because of his nature and the society that enables him. But his design is cool across all three styles, he’s a caring guy, and the rules he poses for himself make the story really interesting. S2 was my favorite, I think for all of the things we found out about him. Next we have… Fabricio. I… truly don’t know what to think about this little dude. He’s a little annoying, for starters, bc he always escapes!! And his morals are grayer than a thundercloud! And I don’t know what he truly wants! But regardless, I think he’s a good foil character for Nita, forcing her to confront herself when she’s too far gone or giving her a goal to reach. That’s our main three, but I do want to give a couple shoutouts. Adair is like.. so fun. He gives those fun trickster vibes, and to me sounds like Josh Grelle. Diana is fun too, giving Nita a friend when Kovit isn’t there. Gold is a bit annoying sometimes, but I like how she brings out a different side of Kovit. Overall these characters are very interesting, and their designs in the latter seasons make it all look and feel so immersive and unique.

So, I started it. S1 was a little rough, since the story was new to me and I wasn’t a huuuuge fan of the art style. But the story was engaging enough and I think the art fit with the tone of the season, even if it wasn’t my favorite. Overall it was interesting to see this WT go deeper than the advertisements of simply “girl who’s mom finds supernatural creatures and she dissects them”. We actually learn more about those creatures and the hostile world they live in.

S2 was what I was really waiting for, since Glamist was the artist for that one. And BOY did it deliver! The story just got more engaging from there, with Kovit’s backstory coming up more and Nita getting more desperate, and Glamist’s art made it look soooooooo goooooood!!! What I really noticed in this season was the imagery that Glamist drew. You can see it in the panel above where Kovit is behind bars made out of money, MMMM so good. There’s more like that, which is a sticking point alone. And! Before this I’d only seen three WTs of mine have moving panels: Shiloh, Nevermore, and Time & Time Again. BUT now I can add this one to the list! The one where Adair was like “What have you done?” also moves, and it was so fluent and amazing. There’s another one where Kovit swings his knife around, and I was floored by that one. This season was so great with characters, story, and art, and it just makes me soooo excited to see Silent Screams come out as an Original.

I just caught up today with S3, and it is still so good. I was a teensy bit sad to see Glamist go, but Starpiper keeps that same style nearly to a T, the imagery is still so strong, and the panels still move from time to time. It is nice to see Nita and Kovit’s relationship still so strong in this season, even when Kovit is brought down to his worst. This season is still going on, so I don’t have tooooo much to say, but it’s been really good so far. Excited to read a new ep today.

Anyway, if you’re a fan of like Shiloh or Silent Screams and looking for another story like that to enjoy, check Not Even Bones out!

#Not Even Bones #Not Even Bones Webtoon #Webtoon #Gosh it’s so good #And I haven’t had anyone to talk to about it in real life so in here I go :) #Epic #Expect maybe some more drawings in the future bc that art style is MMMM

[shortpplfedup]

My School President Episode 1: Chinzhilla Rocks!

I was not planning on watching this show. I was completely uninterested when the pilot trailer aired last year. But then the official trailer had the Love Sick DNA all over it, and as a devotee of Pun and Noh, I was duty bound to check this out.

Dear reader, I love it. As pilot episodes go, this one was absolutely top of my list. It's somehow dethroned the Bad Buddy pilot and the I Told Sunset About You pilot, and it takes a whole lot to do that. This show's got slackers, it's got a ragtag band of misfits, it's got hijinks, it's got pining, it's got charm, it's got heart, it's got singing I don't hate...it's light and fun and enjoyable and it makes me ready to dive into this story.

Gun, the fearless lead singer

I'm a shooting star leaping through the sky like a tiger Defying the laws of gravity I'm a racing car passing by like Lady Godiva I'm gonna go, go, go, there's no stopping me

Queen | Don't Stop Me Now (1978)

This dude cannot back down from a challenge! Gun loves music, yeah, but he also obviously hates to lose. This kid's ready to do whatever it takes to win Hot Wave, and I have a sneaking suspicion that may come from a deeper place than 'must restore our reputation'. This show's clearly meant to be light and fun, but that doesn't mean it won't break my heart at some point, and I am absolutely ready for that to happen.

Tinn, the secret groupie

There goes my baby She knows how to rock and roll She drives me crazy She gives me hot and cold fever She leaves me in a cool, cool sweat

Queen | Crazy Little Thing Called Love (1979)

I am constitutionally obligated to love a piner. It's the law, I don't have a choice. And Tinn is SO smitten, with the staring and the doodles and the secret smiles and the behind the scenes machinations. He's got a big crush, but it's also realistic; Tinn's under no illusions as to Gun's flaws, key among them his stubbornness. Watching Tinn read Gun like a book and then proceed to help him out by leaning into that stubbornness when it helps move things forward...how am I supposed to NOT fall in love with that?

Chinzhilla, the single-braincelled organism known as the band

We are the champions, my friends And we'll keep on fighting till the end We are the champions We are the champions No time for losers 'Cause we are the champions of the world

Queen | We Are The Champions (1977)

Gosh what a loverly bunch of coconuts. A chaotic friend group of good-hearted dumbasses will always make me uncontrollably fond, and these idiots have my fondness levels on 1000. They haven't a clue, but they're teenagers and that's absolutely allowed. They'll figure it out someday, in the meantime they have each other.

Ad Libs

We don't really spend any time with Tinn alone this ep, and I am already DESPERATE to see his side of this story. How the hell did he even end up with such a monster crush on this total slacker? At what point did he realise that he was going to have to continuously save Gun from himself?

Fourth and Gemini are absolutely charming (the busking in the park scene is probably the clearest example of their charms), and the physical acting choices are on point. I love a good Odd Couple dynamic.

The theme song is a catchy-ass little bop.

Gun's mom is so fun I love her.

Prom (Pat) is a little gem and I am watching him closely. Kid might be going places.

Nice to see Au making the leap from AD to director, he seems to be a steady pair of hands so far. He's been sitting at Aof's right hand for a while, so let's see what he's learned.

#my school president #chinzhilla rocks! #Spotify #bl meta series

[spottedenchants]

Here's the half of my Essek playlist that covers Campaign 2, listed in chronological order!

See below for a breakdown on the 'arcs' in the playlist, as well as extra notes pertaining to how I feel the songs fit with him or his relationship with the noted character/s :3

I'll be updating this when I remember to!

Last Updated: Jun. 16, 2023

1-19: Pre-Campaign 2

For This You Were Born by UNSECRET, Fleurie || Young Essek - the start of Expectations™

The Other Side by Amarante || Young Essek - an encompassing (and genuine) fascination with the unknowns of his studies

Out Through the Curtain by The Hush Sound || Young Essek - feeling isolated

Dearest Brother by Firewoodisland || Verin - Essek’s only tight bond

Behind the Mask by Ivy & Gold || Deirta - comfort, realized disconnect, then distance

Bones by Emily Finchum || Disillusion & pride

Where to Begin by Adam Watts || Essek getting deeper into his studies

Outside In by Circle of Dust || Essek is entirely disconnected from peers as he pursues a higher position of power to expand his study access

Disconnected by Imminence || If he bothered with any self reflection, maybe he’d notice and care that he was lacking sustainable bonds

Cathedrals by Animal Flag || Essek’s father - the fight (“cause if your god's in a building than your god is a stone”) and immediate aftermath (including a ‘staring at the wall for ages’ section)

Conspiracy of Silence by The Swoons || Essek’s father has gone off to Bazzoxan and died

In Your Likeness by Woodkid || Deirta & unfulfilled expectations

Ubu by Methyl Ethel || Verin's POV on Essek's changes

Lost by Jeremy Ravine || Verin’s POV on taking up the Bazzoxan post, as home is not the same anymore

Neon Mirror by Polyenso || Essek is set in his thoughts, Verin leaves

Home. by September Stories || Essek's POV after Verin goes to Bazzoxan

Solitude by Sorry, Peach || Self-isolation bay-bee

Holy by Wolf Colony || The devil’s come knocking

Promiseland by MIKA || Summary looking back on where Essek started and where he's going

20-40: A Choice, and Then Consequences Thrown in His Face

Dawn by Echo Black, Danny Blu || Essek's *knows* he’s supposed to be learning about the beacons, it is what is expected of him, it is what he is here to do

Brighter Than the Sun by Brick + Mortar || Got some more hubris building up, the deal with the Assembly

Resentment by A Day To Remember || The deal with the Assembly has been… relatively unfruitful, but he’s stuck in it regardless

Icarus by Bastille || Reap what you sow hot boi

Pinebox by Birds of Bellwoods || This is fine, he is calm; the Dynasty’s plan to reacquire one of the beacons; this is fine

Heavy Metal War by Speak || The beacon in Zadash has gone missing entirely; now entering active wartime, keep it together

Paranoia by Neoni || The Mighty Nein - they brought back a WHAT

Tip Toes by half•alive || It's fine, he can be careful

Soap by The Oh Hellos || Jester 100% - total tone shift

Leave Me Alone by I DONT KNOW HOW BUT THEY FOUND ME || The Mighty Nein - Essek's keeping close tabs on them, but he still wants nothing to do with them; if he's lucky, maybe their endeavors will get them killed

Let You In by Marc Straight, Ellen Rose || The Mighty Nein - they’re… endearing, but…

Cold War by Foreign Figures || The Mighty Nein - Essek’s back on track, he only needs to divert their attention, but also they’re *endearing*

Cold Loud Dark by The Classic Crime || Essek and his Neutral Evil affirmations, he chose this path 

Dark Star by Jaymes Young || Ep 77 Scourger in the cell, Essek is Dangerous™

bury a friend (Cover) by Pomplamoose || The Mighty Nein - are they *genuinely* nice? Surely there is subterfuge to their actions, even now

New Invention by I DONT KNOW HOW BUT THEY FOUND ME || The Mighty Nein & Jester - Essek's spinning many plates, coordinating things behind the scenes, but he's realizing the Nein have done something irreversible to him

Watch Your Back by Sam Tinnesz || "We feel pretty confident that there are people within the Empire working against the Empire, and there are people in the Dynasty working against the Dynasty. And if you are one of those people, and we're hoping you're not, then this information will never go any further than this and that's the end of that."

Flames by Tedy || The Mighty Nein - this is a very risky arrangement, but… Essek might just like them

Live While I Breathe by The Moth & The Flame || Ep 91 dinner with the Nein, he’s still working the lies by omission, but maybe something honest can be found here

Bones by Imagine Dragons || A manic sort of self-doubt mixed with finishing the Transmogrification spell

Defeated by Bad Suns || That’s it, the Mighty Nein have won - Essek witnessing Veth’s failed Transmogrification and the Nein’s unwavering determination to help her, and Caleb promises to share his notes

41-54: Putting the Pieces Back

Alcatraz by Oliver Riot || Essek realizing *exactly* how isolated/trapped he’s become

Goldfish by Until The Ribbon Breaks || The Mighty Nein - they still don’t know what Essek has done, maybe he can put things back without them learning the truth- they haven’t learned the truth, right?

Destroyer by Of Monsters and Men || The Mighty Nein - they really ruined everything, didn’t they? Perhaps this is for the better though, maybe some things can be fixed

Stray Italian Greyhound by Vienna Teng || The Mighty Nein & Jester - Snap out of brooding, teleporting to the Whitedawn Lagoon, the parasol... gods he really does care for them, doesn't he?

The Enemy by Andrew Belle || The Mighty Nein - Essek is a danger and a detriment to them, but if they are off doing their own business, maybe that distance is safer

Warchild by Nekokat || Essek has long crossed the point of no return, but it’s not too late to fix things; he can do this

Demons and Angels by LOWBORN || Ludinus - Essek’s trying to break things off

Lying Beast by Run River North || Lord Dezran Thain

Wander. Wonder. by The Arcadian Wild || The Mighty Nein - they came directly here??

Flares by The Script || The Mighty Nein - specifically when Essek is witnessed confronting Ludinus

All The People by The Treble || The Mighty Nein - Essek trying to escape from them and the party

Copper Colored Quiet by letlive. || The Mighty Nein - they’re mocking him- they’re going to kill him and they’re mocking him. At least it’s them.

A Deer Mistaking Candles for Headlights by Crywank || Essek being escorted to the Balleater

Liar by The Arcadian Wild || Ep 97 the Confrontation

55-64: The Confrontation: A Breakdown

Organs by Of Monsters and Men || The Mighty Nein - Essek is sorry for dragging them into his mess, grotesquely visceral vulnerability still wrapped in a pretty package

Too Far Gone by Sir Sly || The Mighty Nein - “there's nothing worse than betraying those you've come to care about before you even came to care about them.”

Dark Matter by Andrew Belle || Caleb - The Speech

Beekeeper by Keaton Henson || The Mighty Nein - why can’t they see he cannot be fixed?

Bleed by Vorsa || The Forehead Kiss™, maybe… maybe Essek has been left better than before

Counting Paths by Matthew And The Atlas || Jester - she holds Essek’s hand through his confession, surely such kindness won’t last

Darkness in Me by Fight the Fade || The Mighty Nein - everyone insisting that Essek can be good, even if he’s unsure how to begin

Paradise Is Lost by GoldTop, Sam Tinnesz || The Confession - Essek explaining that the deal with the Assembly is done

War by Former Vandal || The Mighty Nein - Essek has friends to protect him now, yes?

Wait for the Sun by Chopped Up Tulips || Welcome to the Mighty Nein

65-77: Emotion Soup Part I aka Confrontation Aftermath

If You Care by Evan Barlow || The Mighty Nein - Essek can’t protect them

SoLow by Keegan Calmes || The Mighty Nein - reflecting: regret feels Bad

Sorry by The Moth & The Flame || A little screamy, reflecting: regret, Essek still is who he is

The Fox by North Bloom || A little screamy, trapped in a cycle that he wants to break, somehow

Goner by Twenty One Pilots || The Mighty Nein - a little screamy, feeling doomed and desperately wanting bonds

Dangerous Man by Little Dume || A little screamy, reflecting: self-doubt, self-derision, a sliver of hope

Beautiful Crime by Tamer || Caleb - reflecting: they are rather alike in some regards, aren’t they?

Poison by Felicity || Caleb - reflecting: "you were not born with venom in your veins" but Essek has it now, and that needs to be dealt with

Pyrokinesis by 7Chariot || Caleb - reflecting: as is, they share a volatile dynamic

Honey by Magic Man || The Mighty Nein - reflecting: betrayal before coming to care about them, the look of it on their faces

Mostly by Vian Izak, Juniper Vale || The cumulative takeaway of Essek's reflections, like a quick, distanced observation that he can readily pack away

Blame by Nik Ammar, Oliver Jackson || Sucks to be Adeen

The Coldest Heart by The Classic Crime || Saying farewell to the Nein, got some loose ends to wrap up, but there’s something hollow about it

78-91: Emotion Soup Part II aka Traveler Con Radio Silence

Lonely by Nathan Wagner || Inner conflict, desiring company vs. being undeserving of it

All That You Know by Simon Herron || Self-doubt and self-denial

Darlin' by Goodbye June || What have the Nein done to him? Even in absence, he hears them and can imagine Jester's sendings

Dead Man Walking by Sam Tinnesz || Tensions and suspicions rise

Dear Doubt by Michael Schulte || Oh, he *has* to get out of Rosohna, it is absolutely time to run far away

Spineless by Nick Lutsko || Coward.

I'll Be Good by Jaymes Young || As it says on the tin

The Pugilist by Keaton Henson || A low point, he’s so far from where he has been and he’s bound to be forgotten by those he’d hoped might hold on

It's Not Enough by The Modern Post || Self-doubt, no matter how hard he may try, there’s no way he can really make up for what he’s done

Cry Cry Cry by Scott Helman || The Mighty Nein - reflecting: his friends are gone but it’s fine, he can handle himself just fine

I Won't Lie - Acoustic Version by Go Radio || The Mighty Nein - reflecting: they really offered him a chance at life, didn’t they?

Collide by The Model Youth || Masked paranoia and trying to hold it together

Hurt by Nine Inch Nails || a Matt pick, feels like Essek’s lowest point

I’m Losing Friends by Tanner Swift || The Mighty Nein - and isn't that terrifying?

92-102: The Outpost Commander

Neon Lights by Dancing Years || It's fine, Essek has a job to do and he can focus on that

Paper Mache by Iris Lune || He’s actually not too bad at this outpost business

I Found by Amber Run || The Mighty Nein - they're in Eiselcross too, with challenging tidings, but they’re here

Fellow in the North by Cold Weather Company || Meeting up with the Nein at the Vurmas outpost

Greyscale by Sleeping Wolf || The Mighty Nein - Essek stating guilt/shame and reflection, a desire to undo the harm that has been done

Weight Of It All by Handsome Ghost || The Mighty Nein - oh gods what have they done

When the Truth Hunts You Down by Sam Tinnesz || The Mighty Nein - what have they DONE

Done Better by Roby Fayer and Rotem || Essek explaining the present state of his regret and shame to the Nein

Hypoxia by Thomas Giles || "Just breathe. Just… breathe that fresh air, mindful of the people about. Time. Time. Not weeks, not years. It takes time."

Last Words by Jon Foreman || That time between Ep 124 and Ep 131 when we thought Essek might have been murdered by Wulf while the Nein were hopping around the universe

Two Evils by Bastille || The Mighty Nein - they pick Essek over Trent

103-114: A Test of Character

Into The Storm by BANNERS || The Mighty Nein - to Aeor!

Gravity by Tiggs || Aeor montage - the initial struggle, finding how he fits with the Nein

Waking Up the Giants by Grizfolk || Caleb - librarians in a corner, but also the talk on the 9th floor of the tower

Anti-Gravity by RUNAGROUND || Aeor montage - ambush set up and the Tomb Takers are Here

Brave New World by Kalandra || Aeor montage - resting in the dome, Caleb and Beau wake with new eyes, keeping checks and balances with Caleb

Song From The Edge Of The World by Siouxsie and the Banshees || Caleb - a Matt pick, Caleb giving Essek extra pearls and descending farther into the Genesis Ward

Rewrite The Stars by Zac Efron, Zendaya || Caleb - showboating and T-Dock

Up Down by Boy Epic || T-Dock and the water elemental fight

I Will Follow You into the Dark by Death Cab for Cutie || The Mighty Nein - heading into the Astral Sea

There Are Better Ways to Die by Tanuki || Worry over resting, then the idea for the dunamantic nap

Mad IQs by I DONT KNOW HOW BUT THEY FOUND ME || a Liam pick, it's applicable to a lot, but this is here for the dunamantic nap and Essek’s Nat 20

Judgement Day by Stealth || “And if today is to be my final attempt at making good the things I've done, I'd be all right with that.”

115-126: A Resolution

Beautiful Darkside by The Classic Crime || Lucien fight phase 1 and Essek getting momentarily charmed

Heart Of The Darkness by Tommee Profitt, Sam Tinnesz || Lucien fight phase 2

Without You by Ursine Vulpine & Annaca || Jester & Caleb - they died right in front of him, and what could he do about it?

Ally (Self Tilted Nostalgia Version) by We The Kings || Molly's res ritual

Who I Am Hates Who I’ve Been (Acoustic) by Relient K || The first sunrise after returning to the Blooming Grove

Be Good by Roseburg || Maybe things will be okay? Oh. Oh no.

Dreamcatcher by Night Argent || Trent fight!

Wolves of the Revolution by The Arcadian Wild || Witnessing Astrid and Eadwulf in the aftermath of Ikithon’s capture

Forgiven by Relient K || Essek's got quite a ways to go still, and what is this ending if not another beginning?

Solace by Runaground || Reflecting: leaving the Grove has the potential to be a last goodbye, time is running low

Only Thing (Alternative Mix) by Saint Nomad, Fleurie || The Mighty Nein - trepidation about leaving, about missing, about growing

Love Like You by Rebecca Sugar || The Mighty Nein - safe in the Blooming Grove as Essek leaves to continue his business elsewhere

Bonus 1: Unfolding Time by Broken Iris || revisiting the T-Dock with Caleb

Bonus 2: Blood Bonds by Nathan Wagner || Welcome to the Might Nein, enjoy your stay

~

Thanks for reading, here is a cat for you:

♡ॢ₍⸍⸌̣ ʷ̣̫⸍̣⸌₎

#essek thelyss #critical role #97 songs at the time of posting.... #many.... #consider this my c2 finale anniversary celebration xD #thank you everyone that's recommended songs!! #there's only so much i can find on my own xD #been chipping away at this post all month #also i have not watched most of these music videos i just checked to make sure the songs play at the starts and ends without extra stuff #half of my full essek playlist is c2 the rest is touching sentiments #12 and a half hours of hot boi in total #gosh what do i tag this as #chanswers #touchsent lore #why not

[blue-chimera]

What S15:E20 "Carry On" Did That S15:19 "Inherit the Earth" Couldn't

Before the finale, some of Supernatural's most resonant themes centered on found family ("Family don't end in blood" and "it doesn't start there, either") and anti-suicide messaging (with "Always Keep Fighting" standing as the official/unofficial motto of many in the SPN family).

While Jared was the face of "Always Keep Fighting" IRL, it was Dean, who struggled with depression and low self-esteem for years, who represented the fight against suicide to many viewers of the show... [spoilers below the jump]

So, when Dean dies in the Supernatural finale – and urges Sam to accept his death – it's more than understandable why fans might take that as a tone-deaf repudiation of the show's own message. But I would argue that a deeper, more nuanced message is being communicated to us here: one that embraces & enhances lessons that came before.

Throughout 15 years of Supernatural, Dean frequently devalued his own life. His actions veered from courage into recklessness and even suicidal disregard, and he regularly voiced doubt that his life was important. See: his suggestion in S2:E21 that his life was only meaningful if he sacrificed it to save Sam; his attempt to trade his life for Sam's in S11:E17 "Red Meat;" when he says to Billie, in S13:E5, "I don't matter;" or to Sam (in that same episode), "My whole life, I always believed that what we do was important. No matter what the cost, no matter who we lost... I kept on fighting because I believed that we were making the world a better place. And now, Mom and Cas... And I – I don't know. I don't know."

However, by the time we reach the finale, we've seen Dean turn a significant corner on valuing his life and the difference he makes in the world. This turning point is made explicit in S14:E13 "Lebanon," when Sam laments that they can't change the past, and Dean replies, "We've been through some tough times. There's no denying that. And for the longest time, I blamed Dad. I mean, hell, I blamed Mom, too, you know? I was angry. But say we could send Dad back knowing everything. Why stop there? Why not send him even further back and let some other poor sons of bitches save the world? But here's the problem. Who does that make us? Would we be better off? Well, maybe. But I got to be honest... I don't know who that Dean Winchester is. And I'm good with who I am."

This is a remarkable break from Dean's prior attitude and a clear, concrete step towards self-acceptance. Dean actively choses himself as is over a hypothetical do-over... even a do-over that would mean John & Mary Winchester getting to live long lives away from hunting demons & monsters. It feels like Dean has gained a certain amount of wisdom, perspective, emotional maturity, healing – whatever you want to call it – and he's come to view the culmination of his life's experiences (both the joy & the pain) as positive. In learning to accept pain as a part of life, in learning to face it and avoid letting it overshadow the good things, Dean has come to a greater acceptance of his life and of himself.

However, like everyone, Dean is susceptible to backsliding. Most notably, he experiences sharp regression on this front when Mary dies. Once again overwhelmed by pain, he lashes out, turning against Jack and nursing a grudge against Cas, seemingly poised to bury himself in bitterness & despair. But he eventually overcomes this knee-jerk response. Despite his anger and pain (and even pressure from God himself), Dean steps back from the edge, refusing to shoot Jack. In Purgatory, realizing that Cas might die – that he might already be dead – Dean lets go of his anger against the angel, as well, tearfully apologizing for holding a grudge, offering forgiveness of his own, and acknowledging that he struggles with anger issues. And, importantly, this isn't something Dean names once and then forgets. Dean goes on to acknowledge the problem of his anger again in the penultimate episode, suggesting that he's gaining self-awareness & getting better at taking responsibility for his reactions.

Whether he's aware of it or not, Dean's anger issues are almost certainly rooted in feelings of anxiety & helplessness stemming from his parentification as a young child. Dean was aware of the existence of monsters (and the finality of death) and tasked with protecting Sam from these things long before he actually had the skills/capacity to effectively protect his brother. As a result, on at least one occasion, young Dean fails to protect Sam, incurring blame from his father & leading to feelings of worthlessness. Dean reacts to these feelings by manifesting a need for control – convincing himself that the key to protecting his loved ones lies in controlling every variable in their lives, trusting only himself (and, before John's death, his father) to make the necessary decisions to keep their loved ones safe – and by externalizing blame (in an attempt to escape the crippling self-loathing that follows when he blames himself after people he loves get hurt).

Hence, Dean's anger when people deviate from his plans or expectations or fail to disclose information to him, especially when someone gets hurt in the process. Seizing control is an attempt to protect himself from loss & the accompanying pain/fear/grief that's dogged him since the violent death of his mother and the subsequent upending of his world. Anger is his sword and control is his shield.

So, it makes sense that Dean essentially loses his mind when forced to confront his (apparent) helplessness in the fight against God. It's his deepest fear come to life. Dean's inability to face his fear of helplessness (and the loss that goes along with it) makes him vulnerable to Chuck's influence. He can't think clearly past it. It's what drives him to participate in (and make excuses for going along with) Jack's would-be suicide bombing. It's what allows him to be whipped into a frenzy of anger that almost ends in him shooting Sam.

And it's therefore extremely meaningful that Dean acknowledges his anger issues in S15:E9 "The Trap" (while praying to Cas) and then again in E19 "Inherit the Earth." In "The Trap," Dean recognizes that his anger is a problem, but he's still making excuses for it. But by E19, he sees that there are other paths – that he could've chosen to do something different. He's finally come to understand his anger as a reaction to pain & fear, a reaction that he's allowed to control him, and not as just a fact of life.

The seeds of this lesson are planted in E9. We see them take root in E19. Then, E20 rolls around. Months pass in a montage, and the Winchesters appear to have fallen into a comfortable routine: daily chores & exercise, gun-care & research. It looks like life has achieved some level of normalcy for them. "Normalcy" for a Winchester still seems to include hunting, the bunker, and bachelorhood, but now it also includes a dog, smiles, and a notable lack of apocalypses.

And then we get to the pie festival. Here, we finally see what's bloomed from those seeds: while Sam's enjoyment of the event is momentarily marred by thoughts of those they lost, Dean has learned a healthier approach. He's learned to neither avoid his pain nor use it as an excuse to lash out or lean into despair. Instead, he acknowledges it – saying, "That pain's not gonna go away" – and then uses it to affirm his choice to live & experience the joys of life: "But if we don't keep living, then all that sacrifice is gonna be for nothing."

In Dean's calm, contemplative assurance, we hear echoes of that earlier "I'm good with who I am." His pain no longer overshadows his joy. It no longer makes him doubt the value of his life, or whether it was all worth it. Somewhere in the months between defeating God and this moment, these lessons have matured to full growth, and Dean's found peace.

The rest of the episode puts this idea to the ultimate test – whether Sam & Dean are able to actually follow theory with action when it comes to each other. Again, Dean leads the way: as he's accepted the deaths of others in their lives, he accepts his own death. He reminds Sam that it was always going to be this way, suggesting that he was never going to willingly step back from hunting, and he knew (as we did, as we saw and heard again & again) that hunting was inevitably fatal, if you did it long enough. Dean's death throws into stark relief the immense danger of even a "routine" hunt, underscoring his immense courage in dedicating himself to that path. His death isn't flashy. It isn't a fairytale or action movie ending. It isn't there to entertain us, as if we were Chuck. It's just a death. It provokes the same feelings of helplessness & loss that Dean himself struggled with... and eventually learned to face.

Here, it's useful to reflect back on the themes of the show. Now, it's true that one of the points of the show was the importance of fighting on without being deterred by despair. But, balanced against that, we also saw the dangers of refusing to face pain & loss head-on (being unable to accept natural consequences). Dean makes a deal & goes to Hell because he can't cope with the idea of Sam being dead. In doing so, he sets off a chain of events that leads to the apocalypse. Sam forces a witch to cast black magic (and sacrifice a man's life) to save Dean from the Mark of Cain because he can't cope with the thought of Dean's eternal suffering. In doing so, he sets off a chain of events that leads to mass death at the hands of the Darkness. (We also see this lesson emerge in smaller plot points, such as when Dean is forced to be Death for a day.) And this is the point Dean is driving at in "Lebanon," as well: about learning to accept the bad alongside the good.

Thus, one of the big overall messages of the show comes out to something less like "always keep fighting" and more like the Serenity Prayer: it's about the courage to keep fighting even in the darkest times, when the odds are slim and hope is faint; but also the serenity (or perspective, or emotional maturity) to accept things you can't or shouldn't fight (when fighting would do more harm than good, or it's not your choice to make); and the wisdom to know the difference. Without Dean's death in 15x20 [or Sam's], we can't see that crucial character growth in terms of wisdom & perspective. If we fade to black while both boys are still alive and pretend to ourselves that no one ever has to die, we lose that nuance. Likewise if they died together (allowing both to avoid facing a life that includes the other's death).

So, far from being tone-deaf or antithetical to the message of the show, Dean's death in 15x20 carries one of the largest pieces of ongoing tension (Sam & Dean's struggle to process/accept the pain of loss, esp. loss of each other, even when failing to do so risks destroying the world) to a satisfying conclusion.

And this lesson isn't limited in applicability to stories where supernatural forces can intervene in matters of life & death. In the real world, it looks like accepting a relative's decision to move to hospice care when they're finished fighting a terminal diagnosis & they're ready to seek improved quality of life, even if it costs them the chance for a little more time. It looks like putting down a beloved pet to spare them great suffering you can't otherwise alleviate. It looks like all sorts of hard but necessary choices people make in end-of-life care.

In the end, S15:E20 "Carry On" elevates the overall message of Supernatural from something solid but not particularly noteworthy (as far as shows of this type go, "keep fighting" is a pretty basic message) to something outstanding, the kind of powerful & nuanced message you can only get from a show that keeps taking risks right up until the very end. Time/budgetary limitations forced the seams to show ever so slightly more than in past episodes (would I have loved a better wig, or more shots establishing that that barn was in the middle of nowhere? Sure), but this is, overall, an ambitious episode that sticks the landing. Grounded in reality and true to the seasons before it, "Carry On" is a bittersweet masterpiece... and a fitting end to 15 years.

#spn #spoilers #dean winchester #understanding dean winchester #finale #carry on #character analysis #spn meta

[mejomonster]

So I started Tomb of the Sea again:

Ok so. I went in fresh instead of "craving" more of a specific dmbj thing and I think it made me much more open to it

I actually love how it opens a ton. Li Cu's life is given to us and it's a hot fucking mess. He and one of his only friends are 2/3 who failed the college entrance exam. His dad is so nightmarish he's got claustrophobia (and learned how to Pick Locks which I'm sure will be useful later). He skips class and is glad his mom ran and I wish he could too ;-;

His "best" friend Su Wan stalks girls with cameras so lmao he Ain't A Good kid, but he is a Rich Kid and puts up with Li Cu since they got a special "wtf are we doing" energy so at least Li Cu's got A friend. Questionable friend. But Su Wan seems open to helping friends and warm despite some Yikes immaturity levels and Yikes choices so li cu can you just run away to live with him?

The girl friend Shen Qiong? I forgot her name sorry you know who I mean. Now with fresh eyes, I really like the 2 bogs "liking her' and the little rivalry about it. That Li Cu seems to like her in the sense of Sincerely caring maybe deeper than Su Wan. But on the other hand Su Wan definitely wants to kiss her more lmao. The 3 of them scream friends since childhood and I picture them as sora riku Kairi now (but who is who I'm not sure). The Little friends with a crush inside the friendgroup plot feels so NICELY like a different genre - like Go Ahead or something that's realism slice of life so parents are potentially abusive or life's fucking Heavy sometimes, but they're still TEENS who care most about avoiding punishment and talking to crushes and being silly alone with friends. It's a taste of what "genre' I guess Li Cu's life would've been if he never intersected the tomb raiders. A dark heavy realism piece like The Bond (starring Bai Yu). But with that human simple joy of friends/found family in the bright spots.

On that note: they paint a picture of how grungy and miserable Li Cu's negative aspects of life are and that works SO WELL. Wu Xies life before tomb raiding? We get the sense Maybe his parents were sometimes absent, and definitely coddled him and picked a life path NOT like the Wu family's and tried to push him. And the whole San Shu abandonment/codependency thing wu xie developed ToT. But overall wu xies family had good money, sent him to a good college, he was perfectly smart, could get his own business, he had friends (although his penchant for tombs means he transitioned to more killer/criminal types over time lol). He had a very nice easygoing civilian life before things went to shit when San shu left him. He craved Excitement, knowledge, danger, curiosity. But he wasn't running from anything and his life would not have been "worse" had he never went into tomb raiding (he'd lack his loved ones who are tomb raiders of course but u know what I mean - he wouldn't know he was missing those friendships). His biggest pain if he'd kept to civilian life (and enjoyed it - but he didnt) would've been his fucking uncle San abandoning him and his pain at not going to look for him. That'd be mostly it though. But LI CU? Even a person kidnapping him is preferable to the 24 hours he goes through in the first ep.

Li Cus apartment window faces a fucking wall, he's got claustrophobia and his dad locks him in, his college prospects are dead in the water, his best friend/crush is going off to college (more on her later), his friends still around keep getting into fights so he's beat up at like 12 midnight with them, his teacher keeps calling his dad increasing the abuse from that, he's broke, his moms gone and he clearly loves her so he's missing her. He IS the kind of protagonist who'd want to leave for any New Life. He loves his friends but if they're taken he'd have NO reason to remain, even with his friends he'd likely leave his dad if given Any decent opportunity like a job with money. Unlike Wu Xie, Li Cu doesn't leave for adventure or trying to find a loved one (San shu), Li Cu is instead trapped and it TAKES absolutely batshit events to "free" him which just put him in a new trap of kidnapping. It's just Very Cool to me to see the contrast.

And to END the ep with Wu Xie saying his name, revealing he's the kidnapper and the spies are his. The stabber who harmed Li Cu was HIS guy. I love the flip from wu xie usually being painted as the shiny kindhearted (somewhere in there) adventurous young man, to this shady cruel (in Li Cu's opinion the source of EVEN WORSE than his ordinary life) man who echoes San shu. It must've been fun to set that up.

The girl. Sheng Qiong?? OK I'm just curious if in another Novel it mentions she ALEEADY went tomb raiding. Or something. It seems Iike she went with wu xie (or other tomb raiders) people while on "vacation travelling" then maybe stole their magic tentacle monster box and. Who the Fuck knows why she gave it to Li Cu... either she hoped to hide it with him, or she intentionally wanted to hurt him (I assume she just wanted to hide it). But yeah she seems to know WAY more about the tomb side of shit. I'm curious if we'll find out more.

TENTACLE MONSTERS WHAT DID I SAY. I still LOVE this shows opening. I love the body horror of the mini version jumping into li cu. I love how genuinely SCARY tomb of the sea is compared to some other dmbj seasons. It looks good, the action looks good, the horror looks good and LANDS <3

The pacing is good so far thank fuck (I'll drift away if pacing tanks tbh)

Ep 1 is Li Cu's no good very bad day THEN when you thought it couldn't get worse it turns out it's just a Normal day for him, and then spies come in so it's Action Adventure now instead of teen slice of life realism, THEN a tentacle monster shows up jumps into him and its HORROR then the guy fucking STABS HIM AND THEN WANG MENG KIDNAPS HIM (go you wang meng you were very intimidating and <3 love u I hope u get paid more. Love the show implying wang meng is so hot he makes doctors forget their oaths). Like... it sure does ESCALATE into a terrifying nightmare esque situation and I love thattttt

#tots #lb #tomb of the sea #dmbj

[heretherebedork]

Hey, just finished watching scoy after watching Daisy the sunshine gifs. And i didn't expect it to turn out so good. I couldn't get thru the first ep becoz of the over the top dramatics when it first aired but Daisy and intouch gifs and ur blog influenced me to give it a second chance. The show is soo much deeper than i expected .

What i can't get around is did they make the initial arc soo over the top to make the post ep5 story shine more like being everything u don't want in a bl then turn it upside down? The writers r meta without being in ur face. I'm curious if u have any other thoughts cause I feel it's purposeful.

Also nutt really did a good job in ep 11 I'm in love with his portrayal i really wanted to hug Daisy/day and the body image issues jao's actor portrays..

i didn't expect this show to be tackling actual issues it keeps surprising me.

That's what's so great about Secret Crush on You. By being so over the top and so wild and so funny, the more serious moments hit even harder because they're so real compared to everything else until you realize it's all real, it's all real it's just different levels of realistic.

The show is brilliant. It's filled to the brim with queer representation that feels honest without also having to constantly dodge homophobia around every turn. Not a single character is having a sexuality crisis, no one is questioning if they're gay or straight, everyone is just in love and they're all happy.

They went over the top because they needed to show us how the world sees them and how they see themselves and how love and comfort and affection and acceptance can change how you see the world and how the world sees you. Toh is slowly growing more and more real and solid and steady as he believes in his relationship. Jao is trying new things and being more expressive. Daisy is joyous and over the top. Each of them is feeling something different and new as the show goes on and gets more realistic.

Because that's the beauty of the show. That's the real beauty. This is a show about people, wild and crazy and over the top and in love and real and hurt and aching and together and learning and accepting and we're with them on this journey. We're standing beside them as they figure out who they are and where they fit together and where they fit into the world.

We're invited into Toh's wildest daydreams and Jao's deepest insecurity and Daisy's darkest fears and Nuea's fondest wishes and Sky's softest smiles and Touch's deeply respectful words. We're given all of them as all of them and we're invited to see every part of them. The good, the ugly, the rough, the scared, the loving, the loved.

Secret Crush on You started so big and brash and huge and cringy and goofy and then showed you that the world has space for all that and more, always more.

SCOY invites you to join the world exactly as you are and promises that there is part of the world that will gladly embrace you.

#secret crush on you the series #secret crush on you #scoy #scoy the series #thai bl #thai drama #thaibl #thai series #bl drama #bl series #scoy daisy #nueatoh #skyjao #touchdaisy #intouchdaisy #asian lgbtq dramas #asianlgbtqdramas

[lazyflux]

Phoenix Chronicles E7

Episode 6

Minor, early spoilers regarding Reign of the Exarchs.

Someone told me that running Mage meant dealing with the obsessed. No one said it was like herding cats. This was a slow session, though not because of the mechanics this time, but just sheer pacing.

This session was the first session in maybe 4 or 5 where we had a full table that had the Cabal completely together. We last left off with Hel on his way to work on a hot Tuesday morning, only to find that his impromptu roommate has left after only a few days stay -- they left behind a note and a curious bell. Not one to stand a riddle that appears to double as a pun, per the note, Hel goes to the Diner, an establishment the Cabal agreed to be the focal point (they're lacking a proper Sanctum, but perhaps some goading might change their minds).

The Cabal experiments a little, discovers the artifact's true ability. Apparently, only Hel really has a job, and one that he can feasibly slack off on, so they set off to follow Cherrim to the Verge she discovered last episode, briefly encountering the new Herald for a new Consilium that has just been stood up in Phoenix, whose only word to share (for now) is: respect the Gold Laws, the door is open for any agreements to be made seeing how the Cabal is a part of a Nameless Order outside the Pentacle, and all should be good. I suppose it could be mildly threatening if the NPC was played off as being very blasé about it.

Naturally, players gonna player, and internally decided to buck against the perceived overreach of authority. I'm sure that'll go over well sometime in the next couple of sessions. But for now? A group retreat, hiking through a mysterious Verge that has popped up in the middle of a dirt lot; previously unkeyed, it seems that someone has set one, but Chufi identifies it right away: simply write "I understand the dangers" in the dirt, erase it, and enter freely. The spell is from a signature nimbus they're unfamiliar with, and perhaps if they don't rub the wrong shoulders, one they'll never know.

Much of the session was spent just hiking around the dense jungle of the lot, bonding in a way, getting blisters from mysterious plants and heat exhaustion from the contrastingly wet heat of the Jungle-Verge. This was the meaningful part. Seeing the Cabal act as a Cabal, which hasn't happened since Tutorial-Safehouse arc of ep. 1 & 2.

The remainder of the session is handled with one-roll "extended" checks (taking a page out of Geist here) where we begin to setup several ploys:

(Samael, vampire hunter) Rooting out vampires who've corrupted the church.

(Hel) Learning more about this riddle, fulfilling an Obsession, and being drawn into a deeper Mystery.

(Chufi) Asked a favor by her mentor to make a portal to Phoenix; the two live on the moon, you see, having been established and evacuated by an archmage a few generations ago. Chufi has a very specific Aspiration, a meta-one, that reads "to be betrayed or to betray her mentor." This plays into that. And for the astute among you who're aware of the things that likely live out on the moon, well... open portals intentionally left open longer than they have to? Someone's playing at something.

#ttrpg #chronicles of darkness #onyx path publishing #rpg #dnd #mage the awakening #mage the ascension #actual play #mtaw

[diseasedcube]

just some unhinged rambling about Cutthroat’s VAs

Starting with his English. I don’t haaaateee it, but something abt it rubs me the wrong way. Like the acting is really good, it’s just the voice direction that’s awful. Hard to describe exactly, but he’s like, whiny? There’s a lot of weird inflections and tremors in the acting, esp in episode 9. It’s like Matt was told ‘‘you’re playing a crazy insane serial killer, do the stereotypical psycho voice’’. I once heard someone describe it as ‘‘too horny’‘ and yep, I think that sums up my issue with it. Like there was no balance here, too much ‘‘serial killer’’ voice and not enough ‘‘normal dude who’s kinda childish’‘ voice. There aren’t really any specific line changes I have any issue with (although ‘‘yum ( ͡° ͜ʖ ͡°) ’‘  instead of ‘‘ah, blood’‘ when he licks Swindler definitely caught me so off guard) 

4/10 not bad but it doesn’t feel good

Then his German voice, this one has the opposite problem than the English. It’s a little too normal and lackluster. A sort of deeper voice that removes the childish element and makes him feel more his age. He does a better job at matching the tone of the Japanese though. It feels like he’s not really trying very hard until ep 9, that’s where he goes all out on the acting. Like if he needs to yell/scream, he puts his whole heart into it and I appreciate that. There are a few line changes that I really appreciate, and probably a lot more that I’m completely missing due to the fact that I just pretend to know German without actually knowing anything. But namely, actually making a ‘‘Here’s Johnny’‘ reference, so good, thank you for putting in the actual reference. The voice is relatively nice, I like the line delivery in quite a few scenes.

7/10 does the job and I like it well enough

and Russian.... uhhh.... I appreciate the fact that even a modicum of emotion was portrayed in the acting (if you’ve ever listened to a russian dub of anything, you’ll understand that this is high praise). Are there line changes? Dunno, stopped learning russian when I was 4 years old so I only know about 5 words

2/10 thanks for trying

I couldn’t find a french dub and didn’t check for spanish, nor do I really care about those bc haha I don’t speak those languages in any capacity, uno dos tres amirite?

Onto the original, the Japanese. Happy bday Mr. Sakurai! What can I say, it’s the og acting, ofc it’s gonna be my favorite, it’s how the lines were originally meant to be said. This man is so good, his voice is so pleasing to listen to. He strikes the perfect balance between Normal, Killer, Yandere and Child. Just the right amount of everything, a perfect voice for Cutthroat.

11/10 I love this man

#rave ramblees #akudama drive #wonder if I should just copy paste this post into my cutthroat essay? #I like the other english dub actors #they all fit the roles nicely #just Cutthroat rubs me the wrong way #though Sister's english voice is unintentionally hilarious #she mumbles everything #my brother and I were just dying from laughter everytime she opened her mouth #cause she's so incomprehensible #it might've just been bc we were using the worst speakers known to man to watch this show though

[newmusicradionetwork]

Kayla Thompson Bets On Herself In New EP ‘A Shot In The Dark’

‘A Shot In The Dark’ embodies the fear and angst of not knowing what the future holds, but finding the courage to trust that you’ll end up where you’re meant to be. Thompson offers an assortment of colorfully vulnerable alternative pop tracks detailing her experience as a twenty-something independent artist coming into her own. RALEIGH, NC (November 3, 2023) – Alternative pop artist Kayla Thompson has officially delivered her highly anticipated debut EP A Shot In The Dark, available now. With recent singles “Too Much” and “One Day,” Thompson introduced listeners to a matured sound imbued with a deeper sense of vulnerability and invigorating productions that embellish her already mesmerizingly angelic vocals. Both singles garnered attention from publications like Ones To Watch while shocking longtime fans with the undeniable leap the songstress made from previous projects, earning her rave reviews over social media. This project represents the immense growth Thompson has made as a person and artist over the last few years; it is a collection of lessons learned and reassurance in spite of fear and self doubt. Listeners can expect to hear a sound reminiscent of artists like Sabrina Carpenter, Gracie Abrams, and Olivia Rodrigo on A Shot In The Dark. Lead single “Too Much” is an indie pop anthem existing at the culmination of fear and self-preservation, ultimately asserting to listeners through their darkest moments that they are worthy and deserving of the love they want for themselves. Thompson walks through the experience of grappling with insecurities and self-doubt in moments when we can’t tell where we stand with a romantic partner. The music video features her navigating conflict with her partner while she wears her heart on her sleeve and erupts into impassioned, epic choruses posing the question, “is my love too much or not enough?” With its dreamy atmosphere and introspective lyrics, the EP’s second single, “One Day,” invites listeners to reflect on their own struggles and find solace in the possibility of brighter days ahead. The stunning music video for this track personifies the bright, dreamy soundscapes with golden meadows while Thompson welcomes a hopeful perspective on growing up. The songstress collaborated with Raven Media House to bring the visuals for these tracks to life. 2022 was a year characterized by growth, and the songstress reconciled her growing pains with a sonic refresh that allowed her artistry to blossom into a new, brighter era than ever before. The result is a complex autobiographical collection of songs inspired by Thompson’s most daunting anxieties and most valuable affirmations. She collaborated with a variety of creatives to bring these tracks to life: Joel Setien produced the entire EP and co-wrote “One Day,” and co-wrote the rest of the EP with George Gleeson (“Before You Say Goodbye”), Solomon Headen (“Too Much”), Nate Diaz (“Matter”), and Amber Ais (“One Day”). ‘A Shot In The Dark’ goes out to ambitious young people who are trying to find their footing in life and have a deep desire to still make big moves in their future. At its core, this EP gives permission to believe in yourself in spite of your biggest insecurities and reminds listeners that if you’re serious about following your dreams, you might have to take a shot in the dark. Read the full article

[independentartistbuzz]

Indie 5-0: 5 Questions with Staytus

Staytus is the musical alter-ego of Arizona-based recording prodigy Sam Grundemann, who fuses the immersive sensibility of gaming culture and the moody, stylized futurism of anime with Gen X-inspired angst, all set to a serrated electro-industrial goth metal soundtrack. 

A black-winged avatar come to deliver reckoning for the onslaught of challenges today’s young adults have to navigate, Grundemann’s ability to translate trauma, betrayal, heartbreak, grief and anxiety into sound from a non-neurotypical perspective arrives not a moment too soon.

“Depravity Bites,” the latest single from her upcoming sophomore full-length Wasteland of Broken Hearts, goes for an even starker edge than previous single “Lovesick." The “Depravity Bites” video sees Grundemann incorporating BDSM imagery for the first time, alternating between a whip and the guitar that has become the centerpiece of her sonic arsenal. Once again, Grundemann shows that she can match her prodigious DAW chops with a burgeoning sense of songcraft.

We caught up with Staytus for a very special Indie 5-0 below.

Your music is described as a fusion of gaming culture, anime aesthetics, and Gen X-inspired angst. Can you tell us more about how these diverse influences come together in your music, and what inspired you to create this unique blend?

I've always been a gamer and an anime fan. Combining that with my love for the gritty music from the Gen X era seemed natural to me. It's like blending the excitement of a video game, the unique art and stories of anime, and the deep emotions of Gen X music. All these different parts of my life come together in my songs, making them feel both nostalgic and fresh at the same time.

"Depravity Bites" features BDSM imagery, which is a departure from your previous work. What motivated you to incorporate this visual element, and how does it relate to the message or themes in the song?

The song "Depravity Bites" is a personal reflection on identity and feelings that are often kept hidden. I used BDSM imagery in the video to show the theme of control - like how society tries to control how we should feel and act. I wanted to stand up against that and tell people it's okay to be themselves.

You have a background in acquiring multiple recording degrees and certifications at a young age. How has your formal education in music production shaped your approach to creating music, and what advice do you have for aspiring producers?

Studying music formally gave me a strong foundation. It taught me the technical skills I needed, but it also opened my mind to experimenting with sound. It's like having a toolbox and knowing when and how to use each tool. For new producers, I'd suggest always keeping an open mind, absorbing everything you can learn, and then putting your unique spin on it. Remember, your voice and perspective are what will make you stand out.

In an era where shorter formats like singles and EPs dominate the music scene, you are working on a full-length album. What drives your commitment to creating albums, and how does "Wasteland of Broken Hearts" differ from your previous work?

While singles give quick bursts of emotion or message, an album is like reading a whole book with a start, middle, and end. I love taking my listeners on that complete journey. "Wasteland of Broken Hearts" is special because it delves deeper into personal stories and emotions. It's a reflection of my growth as an artist and showcases a broader range of my musical inspirations.

You openly acknowledge the influence of bands like Nine Inch Nails, KoRn, Orgy, Kittie, Black Dresses, and How To Destroy Angels. How do you balance paying homage to these influences while still maintaining your unique sound and artistic vision?

These bands have played a big role in shaping my musical taste. Their passion and energy have always inspired me. But I always want to add my touch to everything I do. While I might take inspiration from them, I mix it with my own experiences, feelings, and the stuff I've learned about sound design to create something that's truly Staytus.

#Youtube

[cal-metacritic]

Entertainment Weekly - M&Ms

Rarely do people reflect on a period in their lives and genuinely feel proud of what took place, what they did, all the heartbreaks and difficulties, insecurities, the ugly truth, and the lessons they learned. We'd all want to get past that period in our lives and focus on the future, but Lorde managed to do just that with the re-release of M&MS. She went back to the time when she was a young, inexperienced woman and lived her past as if it were the present. When Lorde first released M&MS as an EP in 2018, she was best known for her massive hits like Good Girls, Dangerous, Inescapable, True Religion, and other songs. It was a very strange release for Lorde at the time. For the first time, we got to see a different side of Lorde—a singer who is still as powerful in her tenderness rather than this enormous pop music powerhouse. Of course, that was just a taste of the radical artistic shift she would go through in the next two years when she would demonstrate her full range of abilities and brilliant songwriting in genres like pop, alternative, folk, and more. However, that time period can be thought of as an introduction to the massive transformation that was upon us. It just so happens that she is unintentionally reclaiming her story and past with this re-recording, which was done also to reclaim her control over her music in the shark-filled music business world. Vocally, she has only gotten better and better, and these re-recordings seem more vibrant than ever. But the album has more than only the original songs; among them are the Vaults, which I believe to be the album's highlight.

She ultimately demonstrated that you could not only revisit a long-forgotten aspect of yourself, but also always carry on that road toward a more precise and true representation of who you were. Songs like "Dress," which speaks about the memories of love and heartbreak that remain in an almost mystical, unexplained way in their physical form, and "What If She Knows," which speaks about constantly coming in second place but on a deeper level, being about the insecurities that come with feeling that you're not worthy of love. Being so superbly written, both are immediately distinguishable both sonically and thematically. The album's brightest moment is the sincere, cheerful collaboration with Lady Gaga, "A Short Love Story." The songs "New York, With Love" and "The Boy Who Leaves" do an incredible job of capturing the wrath and anguish of loneliness and heartbreak, and how could we possibly forget the pure perfection of "American Beauty"? Fair warning now. Not your immediate typical Lorde song, this one. Even though it goes against everything you'd expect Lorde to do, if you know her well enough, it would make perfect sense to you. Even if you consider her 2017 Grammy performance, she has always been a theatrical fan. The delivery on this one is just spectacular and mesmerizing. An unsettling, cryptic, and weird song that prominently references Cabaret and alludes to abuse. I believe that Lorde's decision to end the album with this particular tune truly amplified this record and made it more than just a re-recording. Furthermore, it is not a coincidence since Lorde was fully aware that it would become the foundation and main point of this album. That is seen also in her deliberate decision to showcase this re-recording with a brand-new cover with a chaotic image of herself dressed in a 50s style with smudged makeup and an uncomfortable smile.

What did Lorde imply when she selected "American Beauty" to wrap out the album? We don't really know, but based on our interpretation, it may be a depiction of the consequences of heartbreak & when someone is deeply in love while yet feeling unable to stop it. A bold look at denial in a toxic relationship? Or perhaps there's more to it than we realize now that we might discover in the future. It may be too soon to declare this to be her best album, but we're going to do it regardless. A truly fantastic piece of work where Lorde showed even more sides of herself and allowed us to go back on the journey yet this time know its ending.

Score: 92

[raymondebidochonlifechoices]

To summarise:

The writers took the fans’ complaints about the lack of consequences / insufficient development throughout the show and put them together in a 5-ep special au, where they won’t matter anyway. Take notes about how it’s done, kids!

“For as long as the Serpents have existed, so too have the Ghoulies” narrates Jug Sterling. Precious boi, what are you talking about? You hadn’t heard of the Ghoulies until Toni pointed out their table at the cafeteria at Southside High in 2x3 …

Rivervale is a dark place indeed: the glam rock studded jackets are on, but baby-faced Ghoulie Danny Dickenson has never heard of make-up. Malachi would have never allowed this.

Toni Topaz, school and town councilor by day, gang rumbler by night, kills Danny by accident. Darla and her boys just can’t get a break, can they?

This, by the way, is the second time Toni kills someone. Not that I’m keeping score or anything.

Yay ... Another time-jump ...

Toni hasn’t apologized to Darla because … that wouldn’t bring back her son. That is not how apologies work but whatever.

Tabitha has never had to share living space and it shows.

Jughead hasn’t hung the pictures on the wall, as asked. Can’t really blame him though. Who wants a poster that reads “The biters are back”? after having had to call pest control?

He spends all day eating, reading comics and watching B&W films on his B&W TV. It’s all about the aesthetic after all.

From having sex on a bed full of money to making out in the backseat of a car that looks like the one your dad gave you when you were 16, things are going downhill in VeggieLand. This episode is all about relationship metaphors.

Dr Curdle Jr: ob-gyn by day, coroner by night. You gotta be versatile in order to survive in this economy.

Betty’s pregnancy, like this episode, is hysterical.

A woman is accused of killing her daughter. Councilwoman Toni and FBI agent Betty, guilty of manslaughter and accessory to murder respectively, are in charge of the investigation.

Pop-I-had-an-alien-encounter-Tate believes in ghosts. Who would have thought Pop would turn out to be such a source of supernatural delight? Jughead’s love for him must run so much deeper than just burgers and free coffee (and wifi). I can just picture little Jughead Jones after school, sitting on a stool at the diner, his little legs swinging to and fro, while munching on his burger, raptly listening to Pop’s story of the waitress who died in the accident with the deep fryer.

Apparently, Jabitha’s house is haunted. This had been a crucial -if not shared- factor in choosing their abode for Jughead, who is a firm believer of the “write what you know” adage and was hoping that Sam and Diane -the house’s ghosts- would inspire his writing.

So far, the only mystery he has solved is how to put a ship in a bottle (nudge! nudge! wink! wink! It’s a metaphor y’all!) as a means of “refilling the well of his creative subconscious”. Tabitha, who spends her days refilling ketchup bottles at the Diner, is not amused.

La Llorona comes to Rivervale High School.  As with everyone in this show, she opts for the least effective plan, i.e. haunting half the town, when she’s only after Baby Anthony. I guess Toni should have apologized to Darla after all.

It wouldn’t be Riverd/vale if there wasn’t mention of a teacher having inappropriate relations with a student.

Veronica first destroys then fixes Reggie’s car. It’s a metaphor for their relationship, except the car is the only thing actually fixed.

Cheryl holds a séance at Thornhill, where we learn La Llorona’s story: it’s about group extrajudicial killing, which means Nana Rose makes an appearance.

Toni agrees to become La Llorona in exchange of Baby Anthony’s life. Another sacrifice. I’m sensing a pattern here.

Jughead writes a novella inspired by the house’s ghosts and his relationship with his girlfriend. He doesn’t share it with Tabitha, who finds and reads it anyway. Tabitha, who has obviously never read Killing Mr Honey, goes ballistic and smashes his typewriter.

“No!” cries Jughead. “This was the tool of my craft!” “This was a gift from Betty!”

They end up confessing their love for each other and kiss. Ghost!Sam and Ghost!Diane, being Bughead fans, leave.

Toffee is smoking a cigarette on the top shelf of The Wyrm’s bar trying not to get her fur wet by La Llorona’s flooding. This too, by the way, is a metaphor. She’s taking bets on who’s going to sacrifice themselves in 6x3.

#Riverdale season 6 speculation #Rivervale #s6 recaps