#episode recap

[k-wame]

LEO WOODALL & ADAM DiMARCO ↳ Unpacking S02E04 · The White Lotus (HBO)

#lol leo's awww babe you wanna spend more time with me? is me flirting irl fr #the white lotus #adam dimarco #leo woodall #albie di grasso #white lotus #homoeroticism #episode recap #interview #the white lotus press #2x04 #beautiful men

[thepersassiest]

episode 5 went CRAZY CRAZY. I was not ready for all that. besties reunion scene. percy being wanted by the fbi. tunnel of love scene. grover therapizing information out of ares. THE FATES??? such meaningful deviations from the original source material. new ways of introducing expositional information and lore. screaming, choking, gagging last night while watching it and also right now as we currently speak. now I must go to class and be totally normal as if this isn’t all I’m going to think about for the next 7-9 business days.

#i can’t believe the pjo tv show is real #i’m doing great #percy jackson #pjo #pjo tv series #pjo tv show #percy jackon and the olympians #i love them #annabeth chase #grover underwood #pjo tv spoilers #pjo spoilers #pjo tv adaptation #percy jackson show #percy jackson memes #episode review #episode recap #pjo ep 5

[summerongrand]

6x02: Hammering in on 'The Hammer'

My episode recap ...

The opening is so unhinged. A flashmob for Daddy Cop. Please be for real 😂

Next up is Chastity and STR. Chastity is beautiful. We'll get back to her.

~~~

We've come to the first Chenford scene.

Lucy: You got a minute to talk? Tim: Uh, sure. There's nothing to talk about. You felt I undermined you at a crime scene to stop you from making detective. I explained that I didn't. Now we're moving on. Okay. This is (presumably) the first time they've seen each other since he gave her ultimatums the night before, then left her alone in the parking lot. Lucy's trying to open up to him; she's trying to make amends with a clearer head. It's the mature thing to do. He leads her on with the affirmative "Uh, sure" and closes off completely. Tim is being really dismissive here.

Lucy: Well, while I appreciate the efficiency, that's not how actual healthy communication works. Tim: Wow, that's not condescending at all. Explain to me what there is to talk about that isn't just a retread of what I just efficiently covered?

Tim shut her down with the "Now we're moving on." And now Tim's rolling his eyes at her, looks annoyed the whole time he's talking to her, sounds annoyed, and meanwhile Lucy's talking to him calmly and trying to get him to open up. How is Lucy the one being condescending, Tim?

Lucy: Well...that's not the point. Look, if I have to start another deep undercover assignment, there are real issues here that we need to talk about. Tim (full of irritation and eye rolls): Which we will deal with if they come up then. I gotta get to work. Have a good shift.

Also Tim: Presses his body weight against the door so that it shuts in Lucy's face.

The point is to talk about the UC issues before Lucy goes UC. She didn't have much lead time prepping for her other UC ops. Tim is a total planner but he's so feelings-avoidant about this issue that he'd rather just stuff it down and let it go unresolved than process them with Lucy. Tim conveniently uses work as an excuse when it suits him. His body language, tone of voice, and door slam are not it. Lucy deserves much better treatment.

~~~

STR/Chastity/Lucy scene

Lucy's ruminating. She's going through her detective's exam in her head. She's in her predicament because she helped Tim in her 5 Player Trade. Meanwhile, the writers are like ... let's take her out of her concentration with a little zaniness.

~~~

Chenford/Angela scene

Okay, first of all, where did you come from, Eric Winter? You popped out of nowhere, not from underneath a doorframe, so were you leaning against that window ledge...? And now you are interjecting yourself into their conversation. What happened to "I gotta get to work. Have a good shift."?

It's on Tim for not telling Lucy that The Hammer is a 6'7" 300 pound guy who likes to fight cops. If he told her, she wouldn't have the resistant reaction she did. To echo Lucy: Well, while I appreciate the efficiency, that's not how actual healthy communication works.

Tim: Okay, do you want my help or not? Also Tim: Whateverrrrrr. And Tim: I knew you weren't gonna be able to let it go.

Well, that's not condescending at all, Tim. You slammed the door in her face that same morning and now you're telling her that she can't regulate her emotions. This is the kind of argument that should not have happened in front of Angela at all.

~~~

Chenford hallway scene

Lucy: Well, after you Tim: No, ladies first. Also Tim: Pushes Lucy towards danger.

And Tim: Guess you're gonna have to fight him.

So Tim tells Lucy he'll go with her to visit The Hammer. Then he doesn't give her the lowdown of how big The Hammer is. Now he pushes his girlfriend towards The Hammer and tells her she has to fight him. There is zero humor in Eric's delivery. And Mel's exasperated reaction is a tell that Lucy took his words seriously. Why is Tim doing this to Lucy?

Lucy's "are you okay?" is incredibly soft. She's so pure in heart.

~~~

Wedding prep scene

Tim: We're great when she's not accusing me of made-up transgressions. Lucy: Look, I'm not imagining things. Tim is traumatized by what happened with Isabel. He just won't admit it. Tim: Honestly, I think she's projecting or just using this as an excuse.

Tim is totally throwing shade at Lucy's character. Meanwhile Lucy's trying to help him by figuring out what's going on and getting to the heart of the issue. He's accusing her of falsifying, projection, and using him as a scapegoat because she doesn't want to go UC/Detective. Why are you talking so much crap about your girlfriend, Tim?

~~~

Let's analyze this Chastity/Lucy part for a moment. Chastity (to Lucy): Yeah, well, undercover work is kind of scary and dangerous. Maybe he's not the only one that's scared of what might happen.

The fact that I have to bring this up and highlight it means that network TV shows are not doing this nearly enough. And I haven't seen this mentioned in the fandom at all so I am going to, because it is important and needs to be acknowledged: this is a powerful interchange. What makes it different is that it's between two badass women of Asian descent on a network TV show that's marketed towards a general audience. And that's rare. Super rare.

Chastity barely knows Lucy and she clocked it. She validates Lucy's feelings about Tim while digging into Lucy's psyche and figuring out something about Lucy that Lucy in all her psych training, self help books, and being raised by two psychologists, couldn't. Tim who knows Lucy "too well" couldn't even clock it. Chastity could and did.

~~~

Chenford lie detector scene

Lucy: With a lie detector test? Tim: Yes!

Tim is so done with Lucy's questioning. But then he smiles right after his annoyed yes! This is Tim being able to convey nuance and his true emotions when he wants to. This wasn't there at all when he wanted Lucy to fight The Hammer. This needed to be there in that scene and for it to be nonexistent there tells me that he wanted her to fight The Hammer.

Lucy: Do you love me?

Tim's internal monologue: What kind of question is that? Of course I love you. I've been in love with you. You have no idea how much I love you. The fact that you're asking me this while I'm hooked to a lie detector tells me that maybe I'm not saying these words enough to you or maybe I'm not showing you enough that I, Tim Bradford, love you, Lucy Chen.

Also Tim's internal monologue: I've never been so sure of anything in my life.

Lucy: Do you want me to be an undercover detective? Tim: Yes. Lucy: You liar!

Clocked him, girly.

I do not think that this was their first I love you. Lucy's big question to Tim is the detective one. I do think that after their argument in the parking lot the night before, the ultimatums he gave her, and the way he treated her that morning, raised doubts in her mind.

gifs by @livelovecaliforniadreams

~~~

And then there's this scene. The first three seconds is the show taking advantage of Eric being a former model. It's just pure gratuitous panning (similar to when he adopted Kojo and was was walking down DTLA with him).

The lie detector test did nothing to resolve tensions between Chenford. If anything, I think Lucy was hurt by the truth, by Tim's treatment of her (dismissal, barking, shutting the door, denial, ultimatums), and by Tim's own projections of his prior relationship onto her. As soon as she catches his eye, she turns away. Well-positioned Lucy does not do that. Hurt Lucy does. Love that she has her new friend Chastity by her side. Even STR is more of a friend to her in that moment than Tim is.

~~~

The wedding ...

"Sit down, German! I got this!" Richard's pretty religious so I'm glad his character officiated.

~~~

The dance ...

I debated whether or not to split my analysis of the Chenford dance into its own post. I decided not to because I didn't want to dismiss the buildup, the angst, the importance of Chastity, and the lie detector that led to the dance. I also didn't want to take away from what Lucy and Tim went through as a couple by focusing just on the fluff.

(These gifs were made by @relentlessescapism)

Lucy does not appear to be having a good time here. There's something painful about Lucy dancing by herself. Her head is dipped, she has on a smile that doesn't reach her eyes, and they convey hurt. I see here a childlike quality to Lucy - she's always the one that helps others pick up their broken pieces even though she's just as broken the inside. It reminds me of @poppypickle's fic with her OC Miles Santos teasing Lucy and telling her to 'go back to where she came from' (it’s an offensive remark to an Asian person) even as she defended her friend. Like she's being strong on the outside but on the inside she's deeply hurt by Tim.

Clearly Lucy's being the bigger person here. Meanwhile Tim is all Mr. jaw clench and puffing his chest before he deflates. Is this a male ego thing? I dunno. Is it, Eric?

Lucy still has the same hurt look in her eyes. But she's also like, so ready to set aside the pettiness. She's like get over here, you idiot.

It's a little odd how Lucy is written. Just before they encountered The Hammer, she apologized to Tim. And now as they're dancing, she's thanking Tim for acknowledging that her dreams should be separate from his issues (like yeah of course they should be). I think Tim should be the one apologizing to her.

Throughout the dance scene, it appears that he has one arm around her. Also, she initiates the kiss. She's initiated a few of their onscreen kisses. Even the second first date one, he waits for her to kiss him. Like, why do you have one arm around your girlfriend when you're slowdancing with her? It doesn't affect blocking at all.

Love the huge grin that he uses on her (right before Aaron interrupts them). It's the same one from that 5x12 scene.

The rest of their dance is just pure fluff. Lucy and Tim making amends. Her reassuring him that she loves him, that they'll get through this, is reminiscent of 5x10(?) when they acknowledged that the only way to move forward was if he moved out of her chain of command, that breaking up was not an option. The banter about the lie detector was very cute too. Clearly their issues are still unresolved, but in that moment they just needed to be a couple.

If you want to read my thoughts about the last few scenes, here they are: optics, grabbing coats, and a friend's post which summarizes things very nicely.

#please be respectful if you choose to engage #episode recap #the rookie #chenford #6x02 #the hammer #tucy #lucy chen #tim bradford #eric winter #melissa o'neil #meg delacy #representation in media #representation on tv #things that matter

[inthemiddle0feverywhere]

Bad Batch Season 3 Episode 4 thoughts (scattered) and initial reactions (rambling)

Nothing is even proof read and my brain is faster than my fingers so

Also I have very long nails and often click the wrong button

Anyway

Spoilers below the cut

(Update I rewatched and had more thoughts)

SCREAMING SCREAMING THE WHOLE TIME

God I was so stressed now I need to rewatch because I know how it goes and I don’t need to be anxious

Batcher kicking crosshair’s seat lmaoooo

Needing to change outfits “isn’t this better?🥰” “No” 😂😂 we officially have ray of sunshine and grumpy black cloud dynamic (my favorite)

Also only being able to see his eyes 🔥🔥🔥 (even if it looks like he’s wearing a toilet seat- seriously what is that thing)

I love that omega’s pony tail has a little bump at the back, thinking about when I was little and trying to put my hair up by myself god it was such a lumpy and bumpy mess. I doubt anyone would have shown her how on tantiss only telling her she needs to keep her hair out of her face. She’s just a little girl who had to take care of herself all those months. Like the kaminoans were bald, the other clones were men. Where would she have even learned how to do a pony? Emrie? (Hunter? 🤭)

“I can take half of them out before they know what’s happening” “how about we try not killing everyone in sight? 🥰🤗” “booooooooo”

I just know Cross is secretly proud of his gambling sister kicking ass and hustling money

The captain gave me such gross vibes I just know he smells bad

Crosshair clicking his tongue at batcher idk it did something to me it was so cute

And then her licking him later like sorry crossy you’re a dog dad now

Speaking of dads: “I’ve never seen you or your dad before” *nick miller screams.* CROSSDAD! CROSSDAD!!! 🥰🥰🥰

WELCOME TO JURASSIC PARK

I know Dee is the voice of Batcher- do you think he made all the animals sounds? Is he just in a sound booth making animal noises

Ugh sobbing at the reunion 😭😭😭 literally water works

Noooo what is this face off at the end everyone put your eyebrows back up in a relaxed position and unclench those jaws and fists

Does Omega’s glove have a bottle opener on it?

I can’t wait for the reaction to the new puppy 😄

Also guys, omega kept saying we need to contact Hunter and Wrecker (sad she doesn’t say echo :/) so I think Crosshair knows about Tech. Either she told him while she visited him or perhaps Hemlock told him as another form of torture, that his brother fell trying to rescue him (maybe that’s why he look soooo terrible in the hallway on ep 1) I’m sure omega confirmed it also

Also I was expecting the clone cadets to pop out, I know they said they were taking them to pabu but still

Imagine omega does meet them and gets a lil crush on one omg Hunter would lose it lmaoooo

#tbb season 3 #the bad batch #the bad batch season 3 #the bad batch spoilers #season 3 spoilers #tbb season 3 spoilers #the bad batch season three #season 3 episode 4 #major spoilers #tbb s3 spoilers #tbb omega #tbb crosshair #rambling #episode recap #first reaction #tbb #ugh #i love them

[sakuraiman]

DAS light-hearted moments part 1

DUTY AFTER SCHOOL : PART 1 (2023)

#duty after school #episode recap #방과 후 전쟁활동 #korean drama #kdrama #kdramaedit #mygifs

[m-once-oon]

Twinkling Watermelon Ep 6 Recap

There is a montage of Cheong Ah’s childhood and how she came to like Yi Chan. Its extremely sweet, and to me, extremely insightful. It might seem redundant to say, but I never realised how alone someone like Cheong Ah could be. The classroom scene where she looks up to see her classmates laughing (all in silence to her and us) was impactful.

On to a montage of the band mates and Se Kyeong in a theme park. I love how respective the band mates are hahaha. I doubt this would have been the reality in 90s South Korea, but lets take this sweet moment of alliance.

I also love this little moment Eun Gyeol and Se Kyeong have. Its a reversal (a subversion?) on most love triangles where the expectation is two boys fight over a girl, but there a reversal with the initial assumption that Eun Gyeol likes Yi Chan, and now the assumption that Eun Gyeol likes Se Kyeong as in most such triangles.

Eun Gyeol is right to say that the band shouldn’t be at Se Kyeong’s whims but also why not change to an easier, more manageable song? He’s trying so hard to put out this relationship when it's likely that it will end by itself.

So there was a contestant that was supposed to receive the shock, in place of Eun Gyeol. Who was that? Yi Chan? And again, we are left on a cliffhanger :(

The flood that Cheong Ah talked about - could it be this? Why did her mother leave her to a woman who wouldn’t be kind to her?

But I think we got our first clue as to the series’ name - the watermelon keychain of Cheong Ah? I have a post saying that the name is dumb, but I think its so cute, also in the world of kdramas with very generic names, this imagery is so integral for this story.

#twinklingwatermelon #twinkling watermelon #ep 6 #kdrama #kdrama recap #episode discussion #episode recap #Seol InAh #Seol In Ah #Go YoonHwan #Go Yoon Hwan #Ryeoun #Shin EunSoo #Shin Eun Soo #Choi Hyun Wook #Choi HyunWook

[steve0discusses]

Ep 46 Pt 1: Zorc’s Massive Low Hanging Fruit

We are getting very close! I don’t actually...remember how many episodes there were in this season but listen, It can’t possibly be more than 50 right?

Right?

Anyway, we’re starting off in the battle basement in Yami’s tomb. Who, of course has a battle basement installed right outside of his final resting place, just like how he would have wanted.

And it’s here that the form of Bakura that the dub is telling me is Ryou wants to kill his own classmate. Which, I’ll just point it out since a couple people mentioned it, apparently the manga did not do this nor did the original Japanese version. The dub just made this Ryou for giggles. We already know Bakura can split into evil pieces, this was not necessary. We also know that Ryou is sleeping on those painful steppies, so this doesn’t make much logical sense.

But like we’re watching the dub right now, so sorry, everybody, this is Ryou. Ryou on a bad day, I guess. Dark Ryou. Not to be confused with Shadow Ryou, who is...that other freaking guy.

Yugi just upset that he forgot to bring his dueling disk to a dream universe in the past or whatever. Must feel naked without that thing stinking up his left arm and making that school blazer all wrinkly. Bro is telling me that Yugi should have one really big arm, kind of like trogdor.

(read more under the cut)

the one thing that does make sense with making this Ryou is a little bit of symbolic imagery. Ryou talks about how he doesn’t have friends anymore in the beginning of this arc, and we can assume it’s because he’s decided to step away from other people because of the ghost in his bean. In contrast, Yugi has all these friends he cursed to like him (woops), and for whom he just risked his whole life for, and for whom he didn’t learn the Pharaoh’s name that he needed in order to save all of mankind.

Which, for reals, Tea and Joey are such good buds, that he really did just end the world to save their ass, and that is pretty anime of him.

But Tea gets very nervous over whether or not Yugi was going to perma-die. It would be very awkward if he died, since he’s also the host of this puzzle which is she is currently stuck inside of. Though I’m not 100% on if it’s even possible for him to die here. Little bit of a chicken or the egg situation, which I may have brought up before.

But still, she’s worried about it.

Which is when Joey does a quick head count and go “WAIT WAIT"

(the show does not show us where Tristan is)

Back at Kul Elna, everything is very quickly falling apart. Rocks are falling from the sky, Pharaoh is back at the capital with Seto and the other Seto, and Karim helllllllllllllla died last episode (or 2 episodes ago? I have such bad memory nowadays) so we’re just gonna leave his corpse in the barn and go.

sorry I just took in the incredible abs on this oversized chess piece that is Hassad. 

Why bother? Like for reals why bother?

I have so many questions about this random guy and his character design and they will not get answered. Apparently Dark Side of Dimensions dives into it as well as other unresolved issues from this season but like, that’s for another time. We will be watching that later, and at my rate it’ll be like 5 years from now but I swear...unless I caught covid a second (third?) time we will eventually get there and find out the deal of this...this freakin guy.

Meanwhile, our story boarders are not finished flexing. I think they really enjoyed this particular episode, with this really fun composition around Bakura here. They LOVE to shred scenery with Bakura on this carving, and there are so many good shots where it’s like a comic cover. I mean, look at this:

Damn that’s a good idea. This composition is fun. You got the curves from this...pokemon that I forgot the name of... you got him dead center all strong and rigid to contrast the curves. You got purple and green clouds. It’s fun. If y’all ever want to do the “draw this anime still but in your style” this is a good still. Good stuff.

And then Bakura peaces off--no idea where, and it doesn’t really matter since we have like so many Bakura’s at this point. Lets just assume he’s everywhere.

And with that, the ground gives way to the ZORC within.

This ultimate being, Zorc, who we’ve been talking up for so many episodes.

And that’s when we find out Isis also left out another crucial detail about Zorc:

So listen. We can say that the...neck...of the snake is coming out of his lower stomach. But also, they left it in shadow for a reason. 

The reason is, this episode is getting me flagged.

It occurred to me I don’t have to go for the low hanging fruit. I don’t have to. I can find a way around this. And I struggled. And I did whatever I, a full grown adult, could think to do. I thought to myself, I am a creative person, and I am inventive and I can write comedy well enough so it’s not just about poops and butts and dicks.

And then I gave up because of the number of times this thing is dead center on screen. And really, truly, I make a lot of low hanging jokes on this blog anyway so we’re just going to embrace Zorc for who he really is, both inside and outside.

And he is a slowly growing talking dragon shaped penis with legs.

Covered up by my joke towel in this scene I want you to know the snake just had it’s maws wide open to shout them down. It literally does only talk out of the dragon head on the bottom part of him.

Anyway, then Hassan jumps in front of the missiles zorc shoots from his crotch and well...he dies that way.

Death by firecrotch. This is like an immortal God meant to be the protector of the Pharaohs but you can kill him and the way how is disgusting.

There they go, back to the palace, which like, I guess is VERY close to Kul Elna, since Yami and Seto are currently vibing there right now.

Back at fight club, these two are still at it.

and then back at the funeral of the most romantic anime death of all time, Seto is still at it.

Seto, despite probably having to throw just SO MANY funerals for his tragic backstory is not very good at them. So right now he’s just distancing himself emotionally from literally everything going on around him by convincing himself this is all a very vivid hallucination.

Which it is. For once he is correct, this entire arc is a hallucination, but a hallucination with consequences. Which he is not used to. Hell he doesn’t see consequences when he’s not in a hallucination half the time. He’s like super rich.

Yami decides he did what he can, but he’s done with this freakin guy. I guess trying to reach through to Seto is a skill that only Yugi possesses, cuz Yami is just clear out of patience for this sociopath. Which is a shame, he usually loves this sociopath.

I laughed out loud at this cut to this horse’s ass and Seto’s reaction to being left behind from getting a ride the one time he was the one who needed a ride.

LMAO at the dub for adding that suspicious soil clump where a dead girlfriend probably was laying before.

but being real, this is another very nice shot, I didn’t cap it for vibes, and I really should have. Again, if you’re looking for a “draw this in your style” anime still challenge, this is another fun one. You got a juxtaposition of old and new. You got the storytelling of the dead girlfriend and trying to understand feelings you don’t understand because you were taught to never love. You got lovely ancient pillars. You got a clump of dirt that used to be a girl...

Like we may have dragged Seto’s ass back here, just to make him look cool and out of place in that coat as the wind sweeps by him. And that’s fine, I’ll accept that Seto this season may only be here for some vibes.

As he admires her slowly breathing (yes, breathing, thanks dub) he flashes back to that only time he every had a single conversation with this woman (a conversation they had, only because she thought he was someone else)

And off he goes, to look cool and probably do little else.

And as always, here is the link to read these from the beginning in chrono order.

https://steve0discusses.tumblr.com/tagged/yugioh/chrono

#YGO #Yugioh #Yu-gi-oh #photo recap #episode recap #yugi muto #seto kaiba #bakura #ryou bakura #Theif King Bakura #bewd #blue eyes white dragon #joey wheeler #tea gardner #yami muto #pharaoh #Episode 46 #season 5

[dannymillerfansite]

Emmerdale 14.03.24 Part 3

Cain arrives at the hospital, he is informed by Aaron Chas' been in surgery for half an hour, Cain & Aaron are still quite awkward with each other as they clock watching engaging in stunted awkward conversation with each other.

Aaron feels compelled to apologize to Cain for his recent behaviour. He says he thought Cain had set him up when they were stealing Caleb's cars& says he would have deserved it. Cain has forgiven him but says he would have taken Aaron in a fair fight when they fought had Aaron not sucker punched him.

Aaron gets worked up freaking out, thinking his mum's operation is taking too long, and fretting he takes off his coat & starts to breathe hard on the brink of a panic attack as he relives the death of Liv as Cain tries to reassure him.

Aaron is comparing what is happening with his mum to his loss of Liv, Cain is trying to calm him with reassurance that a planned operation is very different from what happened to Liv, Aaron is emotionally crumbling and falling apart in his anxiety.

As Aaron is still struggling Cain realises he needs to comfort Aaron with more than just words and pulls him into a embrace trying to calm him down, it seems to help and it shows they have put the recent past behind them, their bond is still strong and survived their short lived feud.

#aaron dingle #screencaps #cain dingle #emmerdale #episode recap

[dean-winchester-is-a-warrior]

Big Sky S3 E12

Omg! This episode!!

First of all, Jensen killed it in this episode. The way he's so worried about Emily in the beginning, calling her to check in, as though he can just feel the spectre of something bad coming. You can see it in his eyes!

Then his desperation when he finds out she's gone:

Every moment is played perfectly. As always.

I can appreciate that Avery probably does think he loves Emily, but when you truly love a child with your entire soul, you'd never CONSIDER getting them mixed up in something so shady just to save your own, embezzling ass.

And while I'm sure he really doesn't want anything to happen to her, he's still acting like a fucking moron, who thinks he has any idea what he's doing, exactly as Beau says:

He agrees to listen to what Beau says, follow his instructions,

And then he brings in a gun without telling him! 🤦🏼‍♀️🤦🏼‍♀️

Such an idiot. I think he's dead (though he may have been wearing a vest.) and I can not be sad about it.

And then, we find out that Buck had them all the time!! 😯😯 Why? How and why did he take them? I mean, obviously he's psychotic, but I'm curious why he chose Emily and Denise!

Oh my poor babies in the back of that truck! 😭 Emily's screams actually made me tear up, she's so terrified.😭

Now, I'd like to close by showcasing, once again, my "today reason" for hating Carla.

So, she KNOWS people are likely out to get her and/or Emily. Then she sees and confronts some weirdo who's following her, and yet, she doesn't think to call Emily that very second to even to check in? Like, at that point, I'd be immediately driving over there, calling Beau from the road to get him to meet us, and not letting my daughter out of my sight.

Like, as SOON as Beau hears someone's following Carla, he's like, "Where's Em?" Because he's an incredible Dad. Meanwhile Carla runs to Beau in person, cause she's scared and wants the man she walked away from to protect her. When if she was any kind of mother, she would have just called him on her way to protect her child - but she is JUST that self-centered. 😤😤

Sorry, it's just that, if I haven't been clear, #i hate carla. 😠

Anyway, this was a great episode, even if it does still feel like they have way too much story to wrap up in one episode next week!!

Lastly, as an end to my post I'd like to present you with the staggering beauty of Beau Arlen!

Look at these fucking thighs!! JFC!! 😭😭

Dead. 😵😵

#big sky season 3 spoilers #big sky s3 #beau arlen #episode recap #big sky s3 e12 #Are You Mad?

[sometimesoliloquy]

The Handmaid’s Tale 5x09 “Allegiance”(or “Are We There Yet?”👀

 Ok, first of all I would like to know who the heck butchered the closed captions in this episode, I usually keep them on for clarity but this time it was just confusingly distracting; there were so many wrong word usages I thought I was reading Twilight. Secondly, I would like to know who butchered Nick's beautiful hair, and can I have a word with his barber. Thirdly, I would like to know how they plan to try and wrap up all these season 5 storylines (gently guided towards The Testaments) in less than an hour, especially when they've spent like 60% of the season solely on Luke making sad and/or annoyed faces.

Mark Tuello is giving June and Luke a briefing of the Hannah rescue mission as they walk through a military airplane hangar. He introduces them to Commander (yeah I did a double take at that, too) Elijah Vance, who is so alarmingly attractive that for a second I wonder if they've decided to add a third love interest for June and make it a lop-sided pentagram(?). But then he tells June that he's going to bring back Hannah and return to his own daughter, with a reassuring nod of his very attractive head, so of course we immediately know he's definitely not going to make it. June once again bullies Mark into something he probably definitely should not be doing, demanding he let her and Luke watch the live feed of the raid, which I would assume is supposed to be super high level clearance (Mark is such a softie, he just can't say no! At least not to blondes).

Serena is having Mommy & Me glamour shots taken for the fertility center, under the strict direction of a slightly manic Mrs. Wheeler (is it just me or is she getting more and more unhinged?), who is feeling very bossy today in her big-girl pants. Alanis ixnay's Serena's plan to be at the grand opening with baby Noah. She is not worried about Gilead Commanders, but she is worried about germs. And breastfeeding. She wants "her smart boy" to go back on the bottle so as not to bond too much with the handmaid because he surely must miss it. Serena towers over Mrs. W about to strike back, but then remembers who is wearing the (very small) pants and utilizes June's advice. The passive-aggression in this scene alone could fuel a month of PTA  meetings. Back at Commander Lawrence's, Aunt Lydia's new matchmaking service is now in full swing. Well, I guess it's not new, just expanded from matchmaking sex slaves handmaids with rapists commanders, to now matching fresh widows with their husbands' killers. Lawrence is panicking because Naomi is 2 minutes late (he would hate me), but finally she arrives for her audience with the king commander, for some reason seeming a bit apprehensive (no idea why). She goes very quickly from begging not to be booted off to the colonies, to humbly lobbying for just a nice little condo for her and little Charlotte, but Lawrence is "not her realtor,” goddamnit, I mean doesn't Naomi know a romantic and heartfelt marriage proposal when she hears one? Luckily, Yenta Lydia is there to help translate, and Naomi says what we're all thinking "this is a marriage proposal??" Yep.yep! Done being the most awkward we’ve ever seen him (for now), Jlaw tells her to mull it over and excuses himself for "work". Lydia counsels her to overlook the small silly little matter of her prospective fiance having had her husband shot in the head in the middle of brunch like a week ago, and she warily says she'll think about it. Lawrence eavesdrops and I can't really tell if he's hoping she'll say yes, or praying to whatever esoteric god of economics he believes in that she'll say no. It's nighttime at the Wheelers, and Serena's putting a bottle for Noah in the fridge, when she gets an idea. Taking a page straight from June’s Handmaid playbook, she decides to pay Mr. Wheeler a little visit in his office to try and get him on her side (if Mom says no, ask Daddy, amirite?). Unfortunately for her he's a bit smarter than Fred (and also still pretty pissed she played him and shot his driver), and he sees right through her buttering up. He's a practical man, though, and being a businessman as well (I guess, I actually have no idea what he really does besides Gilead cosplay, does anyone?), he also appreciates a good sales pitch. He says he'll consider her proposal to play God's fertile vessel messenger or whatever at the center's opening reception and promptly dismisses her with his eyes. Serena says "praise be" but Mr. Wheeler did not graduate from Gilead commander college, so he just responds with a super enthused "oh yeah”, and Serena leaves, satisfied with her small victory (over her small oppressor).  June and Luke arrive at the command center to watch the live feed of the raid. Mark directs them to the screen showing a birds' eye view of "all the activity at Hannah's school" and June stares in awe at being the closest she's been to Hannah since the glass box incident, and the closest she's been to getting her back, ever. As she's drawn closer to the screen and emotionally whispers out to Hannah, we hear girls' collective bedtime prayers fade in and cut to Hannah standing in the prayer circle with her classmates. As the camera zooms out we get a glimpse of their dorm (I guess, for lack of a better word?). It actually  reminded me a lot of the red center except instead of rows of cots they have cute & cozy little white lace-curtained glamping tents arranged in a circle. At least they would be super cute and cozy if they weren't basically transparent, merely offering the deceptive suggestion of privacy. And, you know, if the whole concept weren't so damn creepy. Inside her preteen bride glamping tent, Hannah appears to say her own silent prayer, and then looks cautiously over to the Aunt on duty before opening her picture-bible (since no words, and stuff). She turns the pages from--interestingly--the story of NOAH and the ark (hmm) to the Tower of Babel and Abraham sacrificing Isaac... She finally turns to a blank page and I start thinking "Omg is she going to write something??" and I'm getting all excited but then she pulls out a drawing of flowers in a spiral pattern (which brings to mind “precious flowers” in The Testaments) and I'm like oh she's just drawing, that's cool too, and I mean she obviously likes gardening so I guess she likes flowers, and wait, is drawing forbidden too, is that not considered a "wifely" art or is it too close to writing since technically you're using an implement also used for writing and I'm so wrapped up in these thoughts that I almost miss when she actually does pick up a pencil and smiles wistfully as she WRITES(!!) "HANNAH", signing her name (her REAL NAME, AHHH) at the bottom of the drawing. At this point I have so many questions, but I'm also crying too hard to concentrate on any of them. This is all intercut with June's rapt tear-filled eyes glued to the screen and the sound of the pilots' transmission... when all of a sudden alarms sound, the signal is lost, and the civilians are kicked out of the war room. Tuello eventually emerges into the hallway and tells them the girls are safe... but still at the school (so short-term safe anyway I guess). Gilead had anticipated the raid and all three planes were shot down by their anti-aircraft systems, no survivors (RIP, hot good-guy commander, tragically we barely knew thee!). Cut to June's devastated face.

Back on her porch, June's phone rings and it's Lawrence, who she does not sound very pleased to hear from. He protests that he "was trying to avoid all this bloodshed" and some other Gilead nonsense, and FUCK, of course it was a Jlaw set-up!! So he sent the video of Hannah, I have to think it was his" insurance policy" to get June to New Bethlehem. If she she somehow didn't turn it over to Tuello, he would know he had her hooked on relocating; if she did and the Americans used the metadata to plan something (as they  did), he would be ready and make sure it failed (as he did), and there he would be to again offer her NB (as he does), as her last and only resort to be close to Hannah. He sweetens the pot by "dangling Nick in front of her" and while she's super pissed that he's also now trying to use Nick and her feelings for him to manipulate her, she seems to actually be considering it for a second. Until he reveals that there's another catch now: he wants her to denounce the American military action to feed the Gilead propaganda machine. And THAT is a deal breaker. She calls him out on being "one of them" despite knowing better and when he does the "blah blah I'm making it better for Eleanor blah blah" thing, June verbally nut punches him in the heart saying that Eleanor hated him and was so ashamed she'd rather die and she watched her die and oh man I never thought we'd see this confession out of her to be honest, and it is intense! Lawrence is crying and honestly it's hard not to feel a little bad for him here even though it's pretty much the truth and I think deep down he knew it too (I mean I'm pretty sure we literally saw Eleanor tell him she hated him and try to shoot him). Then he says that Eleanor still would have wanted him to help June and Hannah (which is true) but he means he's gonna "help" by bringing June to New Bethlehem, not by actually doing the right thing (like Eleanor would have actually wanted), so it's pretty clear he's really just still trying to use her for his greater plan. She makes one last tearful attempt to beg him, in vain, and then tells him he can go fuck himself, and herself proceeds to fuck up her garden in an anguished fury. Luke comes running out of the house and human-straitjackets her and I assume he's trying to be helpful and calm her down but it was painful to watch June physically restrained and begging to be let go. I also suspect her "please let me go" has a deeper meaning, but I've been thinking along those same lines for multiple seasons without fruition so who knows. Just as Serena is about to once again escape the Wheeler house for her big fertility debut, Mrs. Wheeler comes stomping out in her new Reformation dress and promptly bitchslaps her, twice. Did Serena turn the other cheek? Maybe, but only because she didn’t have a choice. I have to admit I burst out laughing here because honestly, compared to all the misdirected abuse she perpetrated on June and Rita, I think she got off light here, and I'm not above a little schadenfreude. Mrs. W is super pissed that Serena went behind her back to get Mr. W's permission, and even more pissed that this slut sluttily snuck into Mr. Wheeler's study after hours! She indignantly demands to know just who Serena thinks she is, and uh, duh she thinks she’s June, obviously. Mrs. W is now coming with (GET IN, BTCH, we're going Gileading), and this is gonna be a fun field trip.

(well well well, how the turn tables) June goes to see Mark, who is looking very defeated and I do feel very bad for him, Mark needs a win, FFS! She tells him about Jlaw and that she is DONE with that son of a bitch. She's itching to keep fighting and wants to know what's next. Mark asks "what about Nick Blaine"? OH, she’ll never be done with Nick Blaine, sir! NEVER. Sorry, where was I? Oh right. Mark informs her about the offer he proposed to Nick. She's startled, and initially looks maybe concerned at the risks of Nick spying in Gilead, but when Mark tells her that Nick could come to Canada (eventually), could get immunity, the wheels start turning, and an impossible spark of hope lights her eyes. This is clearly something she never thought could happen, and the possibilities it brings up are quite seductive. Mark is all of me when he says “maybe you could persuade him” (GODDAMNIT JUNE, DO WHATEVER IT TAKES, WOMAN). He notes that Nick (an Eye and a Commander) defecting could have a big impact. He adds that June could too, if she were to put her power to use, but she says she doesn't feel comfortable doing that "right now" (same wording as Nick, twinning!). I have to think she's afraid that being more public could possibly put Hannah or Nichole, or both, in danger. She tells Mark to set up the meeting with Nick, and determinedly marches off to kick her boo's butt for turning down that ticket to Canada.

(Ok but what about now... How bout now... Now?)

At the Gilead "fertility center", Serena is holding court to a gaggle of impressionable, baby-hungry women and espousing the wonders of Gilead fertility. "There was a lot of heartache and disappointment" is an interesting euphemism for "we committed treason, mass genocide and then enslaved all the remaining women to either make them human incubators or our unpaid domestic help", but alright. Really, she swears though, it's the clean air and prayer. Also on display is a propaganda poster of a woman with perfect golden locks of fanned out hair, smiling beatifically at her plump new baby, because motherhood is very glamorous (said no mother ever). "Smiling" through her teeth, Mrs. Wheeler summons Serena to send her home, without Noah, and tomorrow “I’ll bring Noah by myself".  Ok, Alanis, yesterday you didn't  want him exposed to all those germs, but I guess you've forgotten this. But the little guy has to be fed first and uh oh, Serena didn't pack a bottle. The sweet nanny (martha?) jumps in to take the blame (oh NO, girl, she doesn't deserve this kindness from you!). Mrs. W wants Serena to be snappy about it, but Mr. W suggests it's up to bb Noah and is then quickly reminded of who wears the pants, even though he is currently literally wearing the pants, as Mrs. W shoots him a look that instantly withers his testicles. As Serena walks to the back for a private place to nurse, we see the wheels turn in that scheming head of hers. At Serena's request, kind nanny leaves her alone, and now I am very worried for kind nanny's health and safety and I wish they had given her a name because I feel weird just calling her "kind nanny". But anyway, I hope she doesn't get punished for Serena's scheming, because as soon as the door closes Serena is out the back exit and running headlong into traffic with her precious miracle child. After nearly getting run over (she turns to try and shield baby Noah though so I guess her motherly instincts are kicking in), she begs the driver to help her and the very startled purple-haired woman tells her to get in. Looks like this Thelma has found herself a new Louise! It does strike me as yet more irony that this is a person Serena likely would have turned her nose up at in the "before" as a sinful, slutty woman, just because of her appearance. June pulls up to her and Nick's "special place" at the old Mary Magdalena school, and damn it looks so different, all green and teeming with foliage and birds chirping; it's really a beautiful setting. I half expect a bird to land on June’s hand while she sings to it. Nick is sitting at the top of the stairs smoking (aw, just like old times) as she approaches. He wishes she'd said yes, taking her (and me!) aback. "To Lawrence's offer?' (yeah wtf, seriously, Nick?). She counters, demanding to know why he said no to Tuello's offer. She's pissed, and he's defensive, and they argue about which one of them is going to move in this long distance relationship. And then Nick drops the bombshell: Rose is pregnant, which suddenly silences June. She struggles with a complex mixture of emotions, from the gut punch that this revelation is to her heart, to relief that he won't have to navigate the handmaid issue, and finally seems to come to the realization and acceptance of what that means; that he will not be coming to Canada and (at least for now) is tied down to Gilead. Though he's still reacting a bit defensively about "doing what's best for his family", the gentle and simple understanding she shows quickly brings down his guard (as if he could ever keep that up with her!) and he approaches (as if they could ever keep that much physical distance from each other!). They contemplate the mess of it all and look at each other with major heart eyes. Nick inevitably glances down at her lips and in my head I start singing "Kiss the Girl" from the Little Mermaid but goddamnit no luck. Nick sighs emotionally and asks her to tell Nicole she loves her and thinks about her all the time (stop, I'm sobbing). He's looking down like it's too hard to look at her, and saying he should go like he really doesn't want to, and June disarms him again with a small joke. They go all googly-eyed again and say "I love you" to each other in the most heartbreakingly matter-of-fact way (I'm sobbing even harder now). He takes a breath and leans in juust a hair (yes! sha-la-la-la kiss de girl!)...and then maddeningly veers at the last second, leaving June breathless and me like the wailing face emoji. I guess I get it though. It's like if he allowed himself to give in to the smallest touch his resolve would crumble and he'd never be able to tear himself away. STILL EFFING HEARTBREAKING, though. "Hey Nick" she calls softly, still flustered but calm and smiling warmly. "Children look up to their fathers. Set an example" (yes, you realign that Blaine moral compass, girl!). He looks at her thoughtfully, and walks away (nooo). I wonder if he's thinking also of Nichole again (and not just the child he plans on being able to raise) and being internally devastated again (ok, jesus, can I please stop crying yet?). June does that thing she does a lot recently after talking to Nick where she's breathless and crying and smiling and heartbroken and happy all at the same time. It's a detail I love about these two: the way they have specific little body languages that are exclusive only to being around each other

(I’m sorry, can we just look at these heart-eyes again?)

Later on, a super lively engagement party is going on at Lawrence's lair of darkness house (christ, these people could really use a good drinking game or something to get things going, maybe charades?). While the menfolk are busy talking politics and drinking and other things unbecoming of a lady, the women gather in the sitting room and Mrs. McKenzie fawns over a pregnant Rose, telling her how much joy her own (stolen) child has brought to her life. Mrs. Calhoun, meanwhile, is a real negative nancy: mean-girling first Aunt Lydia (she can't sit with us!), and then poor Rose, saying some super shitty things about "being concerned about the baby", "considering". Ok, bitch, you stole your baby from a poor brain dead girl you kept "alive" as an incubator, but please, go on. In Lawrence's office, under the fire-lit glow of a beautiful vagina flower painting (no irony deficiency here!), McKenzie, Calhoun and new beardy commander who I guess is kind of important congratulate themselves on their dick swinging military victory and brag about the fun new friends they’re making, like Russia, China and North Korea. Jlaw makes an "Any club that would have me as a member..." reference, but only Nick seems to appreciate the joke. MacKenzie again talks about "taking care of June Osborne" (but like why is he so obsessed with her tho) and Nick and Lawrence have to try and hide their uncomfortable expressions, AGAIN. Having sufficiently bro'ed out, the men join the wives and Nick is a good attentive husband while Jlaw and Naomi stare at each other like they'd rather be anywhere else (I change my mind, send me to the colonies!). MacKenzie toasts Jlaw as "one of us"(yikes). Nick raises his glass but his expression is  contemplative, verging on wary? If Lawrence is indeed  "one of them" now, is there still a "we" to be had with Nick and Lawrence? Or will their interests start conflicting. Hmm hm hm. Nick may be willing to make some concessions if he believes it is for the greater good, and to protect his family, but I have a feeling he'll soon reach his limit. Whereas I think Lawrence has shown he has no such limits, and is willing to do anything to enact his vision, (which he also sees as his redemption). Naomi looks vaguely terrified as Lawrence grips her shoulder in truly the most awkward way possible affectionately, his wedding ring (to Eleanor) prominently displayed on his finger. In Little America, Mark reads off the names of the fallen soldiers at a candlelight vigil, although it's kind of hard to be heard over the obnoxious yelling of asshole protestors (like can you guys take a break for one night?). Tuello calls up Hot Commander Vance's adorable daughter Emma to lead the pledge of allegiance, but the poor sweetie falters under the pressure and all the stupid shouting. June (who's there with Moira, Luke and Rita), asks Emma's tearful mom if she can help, and kneels by the child's side to recite the pledge together. Just when Emma's getting on a roll and the crowd joins in and it starts getting emotional and inspiring and stuff and even I start being like "God bless America!", suddenly shots ring out and the crowd screams and ducks. Sweet little Emma is frozen in fear, but luckily June goes into mega mom mode, slow-mo diving to throw them both to the ground and shield the kid. Bullets rip through the hanging American flag, preeettty much right where they were just standing, so THAT was close. June's face can confirm. *** Allegiance. Sooo many allegiances. They were broken, formed, strained and renewed over the course of the episode. Lawrence definitively demonstrated to June that his allegiance is and always will be to his mission of "reforming" Gilead, trying to correct his mistake and implement his original utopia (without the religious nutjobs), whatever the collateral damage may be (including his own personal wishes). June's first allegiance will always be to her daughters, and her top priority to see them safe (hey hey, the next episode title!). Lawrence is now at odds with this goal, and so instead  she commits to the fight against Gilead, and working with Tuello. Forming, if not an allegiance, than at least an alliance, against their common enemy.  On the surface, it would seem like Nick's allegiance is now to his family, his "new " family with Rose and their baby on the way. But it's bullshit to say that June and Nichole aren't his family, too, as he makes clear to her later. They both understand that they each have people they care about and need to protect, but the fact is it doesn't take away from their bond, and they also reaffirm their allegiance to each other in their "I love you's". While Lawrence and Lydia seem to be strengthening their alliance further into allegiance, Lawrence and Nick's may be becoming strained, and could soon reach a breaking point. As Lawrence further aligns himself with traditional Gilead in order to gain the power to achieve his goals (including forming a marriage allegiance with Naomi), Nick may start to doubt the "vision of a better Gilead" that I think he badly wanted to believe in (as he has his own guilt weighing heavy on his shoulders), either in Lawrence's sincerity or implementation. A reckoning may be coming where Nick has to draw a line in the sand, and I for one can't wait for that. Tally ho to the finale!

#the handmaid's tale #the handmaids tale season 5 #osblaine #Allegiance #almost there #june osborne #nick blaine #episode recap #episode review #tht #tht s5

[girl4music]

Willow Rosenberg and her relationship with consent - An essay on the theme of ‘consent’ in ‘Buffy the Vampire Slayer’ (BUFFY REWATCH - S01E01/E02 - Welcome To The Hellmouth/The Harvest)

*Outside at school. Willow is sitting on a bench alone in front of a wall taking out her lunch. Buffy approaches her*

BUFFY: “Uh, Hi! Willow, right?”

WILLOW:

*Looks up*

“Why? I-I mean, hi! Uh, did you want me to move?”

BUFFY: “Why don't we start with 'Hi, I'm Buffy,' and, uh, then let's segue directly into me asking you for a favour.

*Sits next to her*

It doesn't involve moving, but it does involve hanging out with me for a while.”

WILLOW: “But aren't you hanging out with Cordelia?”

BUFFY: “I can't do both?”

WILLOW: “Not legally.”

I never actually did a BUFFY REWATCH recap for the pilot episode ‘Welcome To The Hellmouth’ or the 2-parter episode ‘The Harvest’…. but there is an interaction in the first episode that’s significant to the characterization, representation and development of Willow Rosenberg that I really wanted to write about. In fact it’s the very first one-on-one conversation Willow has with the lead protagonist Buffy Summers. This interaction and conversation is so important to knowing and understanding Willow Rosenberg. And it’s very difficult to explain why in a short and simple sentence. It requires a deep dive analysis to explain why this specific interaction connects to the theme of ‘consent’ and Willow’s entire relationship with it. This is going to be an essay in the effort to do just that.

The theme of ‘consent’ is often mentioned in reguards to sexual situations. Most people, when they talk about consent, they’re most likely referring to situations of non-consensual sex. As in situations of sexual assault and/or harassment or even full out rape. And this is certainly valid to talk about with the show and with the character Willow Rosenberg, as I have done so many times already and will continue to do so… however, Willow’s issues with consent expand wider and go far deeper than just sexual situations. Very early on in the show it becomes apparent that Willow does not know or understand the meaning of consent. Of any situation involving or surrounding the theme of consent whatsoever - sexual or otherwise. And there’s many characters that don’t to be quite honest. But with Willow, in particular, this is so interesting to me because she is one of the purest characters in the whole show. Arguably second to the character Tara Maclay - who I reguard as the personification of purity. And a lot of Willow’s issues with consent revolve around Tara and her relationship to her as her girlfriend. But it’s a problem that can be noticed before Tara even makes an appearance in the show. It’s a problem that can tell us so much about Willow.

In order to comprehend where I’m going with this essay we have to acknowledge and address the theme of ‘consent’ directly. What it is, how it works, why it matters. Giving consent is the same thing as giving permission, acceptance or willingness to something happening either to yourself or someone else you’re responsible for that may or may not be able to truly give it themselves. Giving consent to something happening to you or someone else means that if it’s happening to you or them without you having given it - it is a violation against you or them. Unless of course, in the latter circumstance, that person can give consent themselves - in which case,… you might just be violating them by claiming only you can give consent for them - which is often an occurrence in abusive domestic relationships. This opens up a whole other area of conversation in questioning of what actually constitutes as giving consent as the person might express giving it but may still not mean to give it or might be too mentally unstable to give it. But just to address this area of conversation quickly and then close it. Giving or not giving consent is less about saying “yes/no” in the moment and more about whether you have the ability or the option to make a choice of one or the other in any moment. That is to say, is it your choice and is your choice viable or is your choice safe? Are you in a situation or circumstance where your choice to do something or have something being done to you puts you in danger or has you compromise or make a sacrifice in any way, shape or form? If it does, then your “yes”/“no” is not safe or viable to give. It is not true consent. True consent is or should be free of limitation or restriction. It should not be based in stipulation. You are not giving true consent if you are forced to give, if you are not aware of giving, or if you are under the influence when giving in any way, shape or form. This is why the theme of consent is so often mentioned in reguards to sexual situations. Because an agreement/disagreement to the contact with or use of the body is one of the most important human rights there is. And bodily autonomy is the main deciding factor in what constitutes as giving true consent. Simply saying “yes”/“no” is not necessarily giving it because you might not have all of the information as to why you should say “yes”/“no” at the time. You might have made an informed decision at the time… but there might be information you haven’t considered or may be missing or might have even been purposefully obstructed from to influence or encourage you to say “yes”/“no” at the time. To coerce you into agreeing/disagreeing at the time. If so, your giving consent is not viable or safe. Nor it is really YOUR choice because your choice is an on-going part of your right to self-government. That means you have a right to change what your choice is at any time if it directly affects or involves you. Absent information from an informed choice validates and allows for that change of that informed choice. Your “yes”/“no” is not a contract. It does not expire. And any alterations to it can only be verified by yourself or by someone else that you have directly appointed to make alterations for you at a time and place when you can’t make them or verify them for whatever reason.

Right so now we’ve covered that, as I’m sure you can imagine, ‘Buffy the Vampire Slayer’ is rife with situations and circumstances where characters do not give or have not given true consent to something they do or is being done to them. I mean … you could say the entire concept of the show is problematic with this because Buffy Summers never made a choice to be ‘The Slayer’. It was forced upon her as her destiny or fate. She simply learns to live with it being as such. But Buffy is not the character I want to talk about here. Willow Rosenberg is actually the character with the deepest, most problematic and complicated relationship with the theme of consent. And the reason why is imbedded within the lines of dialogue in Willow’s first ever one-on-one interaction with Buffy. And it is so nuanced that you would not pick it up on a first watch or even several. It requires stringent observation and interpretation. Reading between the lines and studying Willow’s character development. Willow’s character development is immense. Her evolution from the shy, soft-spoken sidekick to Buffy to the confident, powerful hero and villain in her own right is without a doubt one of the greatest character evolutions I have ever known in art/entertainment and that I have ever had the pleasure to interact with. I am so happy and grateful for this character being conceived, written, performed, developed as consistently and conscientiously as she is. It really is a rarity to come across a female character in TV with this much realism and depth to them. Especially now. Late 90’s/early 2000’s TV had its ways to go in female representation, sure… but the likes of Buffy, Xena and Charmed stood out and were made a staple for it going forward in TV art/entertainment. And while I can say the representation has gotten better, the writing of it most definitely has gotten worse. If you’re lucky enough to find a female “sidekick” character like Willow or Gabrielle - with this level of written development in today’s day and age of TV - you should appreciate and covet it because they just don’t exist anymore. Either the duration of the TV show is too short for it to exist, or they simply don’t last long enough in the show to develop this much. It’s not necessarily a lack of writing talent or skill that’s the problem. It’s this “cancel” culture. It really limits the potential for well-written and performed female character representation and development like Willow or Gabrielle. And I’d go as far as saying that unless the female character is the lead main protagonist and the show is all about them,… there’s no chance of finding or having it. And that’s if the show lasts longer than one season. If it is only contracted for 10-12 episodes and then just gets cancelled then it’s not even worth investing in. That’s the pro to twentieth century (or a little thereafter) TV art/entertainment. A show in a season was usually contracted to 20-22 episodes. If it succeeded in ratings and popularity, it was usually contracted to 2-3 extra seasons equally as long. There was the time and the budget to develop all side, season regular or supporting/recurring characters all the while developing the plot. There was the capability and capacity to focus on characterization as well as story. And there was the genuine passion to do so as well because writers weren’t as pressured to.

Why are Buffy, Xena and Charmed classics in pop culture TV? They’re character driven over plot driven. And they’re specifically female-represented driven over male-represented driven… which was a big deal when networks would not provide financial support for a show without at least one male protagonist character (likely the love interest/lover for the female protagonist character). It was a whole other kettle of fish to fry… but the writing was always top quality if the representation always wasn’t. Now it’s the opposite. Good female representation but mediocre writing of that female representation. Thus, extremely poor writing of development for that female representation. So… I hold on to Willow and Gabrielle with a vice like grip because these are characters that start off with preliminary arcs. They’re there to aid the lead female protagonist character the show is all about. That literally has their name in the title of the show. Buffy and Xena. But they grow to become characters that are as important, if not more, than the lead female protagonist character. They grow out of the “sidekick” persona and become the heroes themselves. And especially with Willow, become both the hero and the villain and that’s… remarkable. That’s female representation that we don’t even have now, never mind then. That’s something that just stands out in and of itself. That is something that is extremely significant to knowing and understanding the character Willow Rosenberg when it comes to their issues and relationship with the theme of consent because the character is written as somebody that believes they are absolutely nothing. Mean nothing to anyone or anything. Therefore, why would their consent to anyone or anything matter?

The conversation I’ve quoted above is just a couple of lines of dialogue but there’s so much behind them and so much characterization that can be found in them. Willow has only known Buffy for a couple of hours and she already feels like she’s someone she has no right to or business in knowing because Buffy is someone. Granted she doesn’t know how much of a someone yet… but just based on principle of being Cordelia’s friend… she knows that that’s someone that matters. And why on Earth would someone that matters come to talk to someone that doesn’t matter? Ask for her help? Want to be friends? That inherent understanding of Buffy being someone that matters and she doesn’t matter makes her automatically assume that Buffy just wants her out of the way when she introduces herself to her. This is very significant. From the first episode that we are introduced to Willow we notice that she is isolated and secluded. Someone isolated and secluded not by choice but by the deeply imbedded belief that they don’t belong in a crowd so why should they even bother to put themselves out there will automatically understand and accept that their opinion on anyone or anything doesn’t matter. That their choice doesn’t matter. And if they’re told to do something or something is done to them, their giving their consent to it doesn’t matter. How this manifests into Willow ignoring, disregarding or taking away somebody else’s ability to give consent to something she tells them to do or something that she does to them is where it gets really complicated to explain. But I’ll try my best.

People think of low self-esteem as if it’s just a small and simple thing. That it doesn’t have multiple layers to it. These same people do not understand the relationship and connection between mind and matter or between thought and form. Willow was always taught her own wants, needs. emotions, choices and actions didn’t matter. And instead of understanding that teaching as all wants, needs, emotions, choices and actions for EVERYONE matter, she internalizes it as and believes only HERS don’t matter. Introduce someone like Willow - who believes that they have no power or control - that they mean nothing - that they don’t matter - to someone like Buffy - who’s just coming to find out that they have power and control - that they do mean something - that they do matter. That’s incredibly significant to Willow’s entire characterization. Their issues with the theme of consent in ‘Lover’s Walk’, ‘Wild At Heart’ and ‘Something Blue’ stem from it. Their eventual showdown with Buffy in ‘Two To Go’ and ‘Grave’ is built from it. Their final decision in ‘Chosen’ is encapsulated in it. As someone who has always had a very high self-esteem despite also being bullied in school, despite also being abused and neglected by my parents and despite also being a loner, I understand Willow very fucking well. And thus, I understand why she doesn’t understand the meaning of consent and therefore why she ignores, disregards and takes the ability to give consent away. The reason why is because her human right to self-government becomes the main objective for her to accumulate power and take control beyond that of what she can being a human. Being un-super. That’s why using magic becomes her bread and butter for this. She has a natural talent for willing and intending things to go her way but her insecurity and mentality with being the “loser”, “geek” or whatever pushes that natural talent into a more darker and corrupted place because she ignores and disregards that willingness and intention with everyone else. It’s not that she thinks they shouldn’t have it or don’t deserve it. It’s just automatically forgotten about because improving on hers is the goal to achieve. She completely tips the scales from one side to the other. She’s that tormented and tortured in the early days for being the “spaz” (as she puts it) of her society she essentially just corrupts herself. There’s no external or outside influence corrupting her, as least not an intentional one. It’s just years and years of unchecked and unaddressed chronic emotional complex trauma. Basically - to use an analogy - the balloon went pop before anyone noticed it was filling up with any helium. And that’s including the balloon itself. And there’s so many instances throughout the show of this unconscious suppression of violence and rage but no one ever notices it because Buffy is ‘The Slayer’. You never notice danger or threat in the harmless one because you’re so focused on the one that is actually dangerous and threatening. The one that harms a lot. And you would never think for a second that the Scorpio would sting if it is in need and asks for your protection. But that’s just how the story goes…

#buffy the vampire slayer #welcome to the hellmouth #the harvest #willow rosenberg #alyson hannigan #buffy summers #sarah michelle gellar #consent #choice #power corruption #essay #episode recap #buffy rewatch

[lovelyprincessn64]

Sonic X redraw

#art blog #artists on tumblr #redraw #twitter challenge #traditional art #fanart #doobus goobus #video games #sega games #anime #2000s nostalgia #sonic fandom #sonic the hedgehog #sonic games #sonic fanart #hedgehog #blue #anime recap #episode recap #recap #artwork #redraw challenge #redraw meme #redraw art #2000s #00s #early 2000s #2000 posts #2000s anime #sonic team

[summerongrand]

I shared some of my thoughts yesterday about the Chenford scenes

I did this through a repost and I considered whether to make my thoughts visible on the hashtag because of how different my take is from many others, especially my breakdown of the last Chenford scene. In the interest of expression and perhaps encouraging others to share their opinions too, I'm linking my post below.

I will say this: rude comments will be deleted. If you don't have anything kind or neutral to say about my post, scroll by. Leave your comments to yourselves, don't engage, don't do the Tumblr equivalent of subtweeting. If you disagree and feel you must say something, send me a DM and we can talk about it privately. I follow these common courtesy tips too and I hope that others can do the same.

You can read my thoughts on last night's episode here:

#I'm not a mental health professional so I will not be saying that Lucy's overthinking is due to anxiety #overthinking can happen for reasons unrelated to anxiety #don't get me started on her relationship with her parents #that's a whole 'nother post #there's a cultural part to her relationship with her parents that doesn't get talked about much and i don't have the energy to do that rn #maybe i'll write about it in a fanfic #chenford #the rookie #lucy chen #melissa o'neil #tim and lucy #eric winter #tim bradford #tim x lucy #tucy #summer's takes #episode recap

[tvshowpilot]

Here's a recap of Heartland season 16 episode 2 which saw Amy and Logan work with a troublesome horse with an even more difficult owner.

#heartland #heartland season 16 #amy fleming #amber marshall #drew davis #katie fleming morris #baye mcpherson #shaun johnston #jack bartlett #cbc heartland #heartland on cbc #heartland cbc #heartland recap #heartland 16x02 #heartland 16.02 #heartland 1602 #recap #episode recap #lyndy borden

[charthanry]

BBS: Deconstructing the Entire Series (Part 6 of 13)

Welcome to my deep dive into each episode where I break down character motives, P’Aof’s delivery, and general musings of all things BBS. Basically, a scene-by-scene recap with commentary from me, your friendly neighborhood commentator. If you missed the previous installments of this post series, you’re welcome to check them out:

Part 1  |  Part 2  |  Part 3  |  Part 4  |  Part 5

Recapping the recap: We left EP5 with Pat realizing and speed running through his feelings for Pran. He handles his jealously poorly by forcing Pran to acknowledge him in front of Wai resulting in violence. This leads to Pat confessing that he missed Pran when he went away and asking what they are to each other. After Pat confirms that it’s not friendship that he wants, our boys finally give into their feelings and kiss. The episode ends on the immediate effects of their kiss with Pat relieved and ecstatic and Pran pained and tormented. 

Episode Six: Games, Changes, and Fears. Where do we go from here? (or AKA “Whoever falls in love first loses. Deal.”)

I’m tagging this one as not-Wai friendly, but when are they ever? But really, Wai defenders should probably not enter. I can’t guarantee a good time.

EP6 opens with Pran lying on his bed, hours after he ran away from Pat on the roof. Observant sleuths will catch that the clock in Pran’s room reads a few minutes after six a.m. and he obviously hasn’t slept, still reeling from their kiss as his fingers ghost over his lips. I bet he can still feel the lingering reminder of Pat’s mouth against his own. The sweet shape of Pat’s lips and the warmth of his breath are still at the forefront of Pran’s senses. We’re shown a flashback of Pran pulling Pat in for that second, deeper kiss and with this memory, Pran’s face screams what have I done? We hope it’s not regret that you’re feeling, Pran. That your overthinking mind isn’t commandeering your heart? We urge you, in the words of the incomparable Roxette to listen to your heart when he’s calling to you.

Outside his door, Pran’s heart is literally calling to him. I can’t make any of this up, y’all. Pat is calling out to Pran, trying valiantly to get Pran to open up literally and figuratively so that they can talk, but Pran is not ready to face him. Pat stands on the other side, a solid door between them, unable to reach Pran. But for all that we know of Pat, he’s not one to give up once he sets his sights and mind on something. And more than that, his heart is at stake here. Because for Pat, when you realize who you want to spend your days (and nights) with and you learn that the other person feels the same way, you want that first day to start immediately.

Check out Pran’s version of ignoring Pat, by looking at him only when he thinks he won’t get caught. We’re onto you, bro.

We jump to a day later? Who knows how many days it’s been since their kiss; time is such a fluid concept on BBS. Both the engineers and architects are at the unveiling of the completed bus stop rebuild. Their professors are also present, shout out to both Pichai and not-Pichai. Ink is also there taking photos for the school paper. Pat is trying to catch Pran’s eyes, but Pran is still stubbornly avoiding him, making sure there’s always no less than two people standing between them. Sigh.

Not-Pichai gives Pran the floor to give a speech as the project’s leader. Pran thanks everyone for their part in making the rebuild a success and states that he hopes this project can end the conflict between the two faculties. Yes, but what about the conflict between you and Pat? What about that Pran?

After posing for photos complete with cringy heart-fingers, Pat manages to find Pran alone and off to the side. He breaks the ice by asking Pran if he’s going to the sponsor, LogTech, any time soon because he wants to stop by the music shop on the way. Aww, look at Pat trying so hard to extend an olive branch to you. He wants to spend time with you. This is the puppy version of bringing you a ball and hopefully wagging his tail. Aww Pat.

Pran ignores Pat’s question and moves to leave but Pat pulls on his arm and asks him what’s wrong? You can just talk to me. I have no idea what to do here. This is new territory for him, too. Pran finally says what’s there to talk about? And Pat, never one to skirt the issue, goes you know exactly what, about the other night. And Pran responds with I don’t have anything to say about that night. To which Pat responds, well, I do and grabs Pran’s arm to stop him from walking away from this conversation and from him.

Before Pat can get Pran to admit to the circumstances of that night, they’re interrupted by Pat’s dad and Professor Pichai. Pran respectfully greets Pat’s dad while Ming explains that Pichai invited him to see the bus stop and to check out the solar panels they used for it. Pran excuses himself and Pat watches him walk away with concern. The distance to reach Pran suddenly feels much larger than a single door.

To be clear, this isn’t about Pran trying to play hard to get, this is him ghosting Pat altogether. He’s acting like what happened between them didn’t happen. We get that avoidance and repression are Pran’s default coping mechanisms, but I can’t help but feel a little frustrated with him even though I understand what he’s going through. Just talk to the guy, Pran. This isn’t going away just because you’re ignoring him. Pat isn’t giving up on you or what you two have together. He’s here, he’s finally here looking right at you, and you won’t give him the time of day.

What gives me hope though is Pran glances back at Pat as he walks away. His heart truly is at war with his head, isn’t it? Again, Roxette holds all the wisdom, my friend, and you should really listen to what your heart is telling you.

Cut to later, Pran is at Wai’s dropping off his guitar for safekeeping. He tells Wai that if he keeps the guitar close, he’ll inevitably pick it up and play it. Aww. Pran is speaking metaphorically here of his feelings for Pat where the guitar is a stand-in for Pat, he’s telling us that he has to keep his feelings at bay and distance himself from Pat. We’re not sure if you’re aware Pran, but absence only makes the heart grow that much fonder. Haven’t those three years away from Pat taught you anything?

Wai asks if it’s that serious with his mom, if she catches him playing the guitar will she transfer him again? And Pran says that if she finds out (about Pat) she might. Pran has a lot on the line here. He’s at risk of losing it all, his friends, his current life, and most of all Pat if his mom finds out he’s talking to him again, let alone has feelings for him. And the run-in with Pat’s dad is a cruel reminder of all that he has to lose. 

Rather than be separated from Pat completely, he’ll settle for seeing him from across campus because he CANNOT go back to a life without Pat even if all he gets now is Pat only in the peripheral. And here I want to grab him by the shoulders (where’s my ladder?) and shake him a little and tell him, look at all that you have to GAIN instead. But at the same time, Pran has been here before and knows the feeling of losing everything all too well and he just can’t go through that again. We get it, Pran.

“Desiring another person is perhaps the most risky endeavor of all. As soon as you want somebody—really want him—it is as though you have taken a surgical needle and sutured your happiness to the skin of that person, so that any separation will now cause a lacerating injury.”

And we’re now all sobbing at both the noble idiocy of this boy but also just how much more of himself is he willing to sacrifice for the sake of others? Did that 28-second taste of living for yourself scare you? Let Pat in, let him help you navigate all of this. You don’t have to go at this alone anymore. But Pran’s final words to Wai says everything: we already know how it’s going to end, isn’t it better to not start at all? He leaves but not before giving the guitar a yearning look goodbye, telling us this was not an easy decision for him – letting go of Pat.

This is one of my favorite moments of Pran’s because it’s both sad and incredibly noble of him to walk away. He’s resolute in his decision of finally letting go of these long-held feelings, not because he wants to but because he knows he has to, and I find this entirely too relatable. How often have we warred with ourselves to walk away when everything in our body is telling us to stay?

Remember that Pran is working off the knowledge that Pat likes Ink. He heard this from Pat himself. So, even though they’ve kissed, he’s worried that Pat acted in the heat of the moment, out of jealously for Wai. And Pran pulling him in for that second, deeper kiss revealed Pran’s long-held secret that he’s wanted this, wanted Pat. And now Pat knows and Pran is adamantly trying to cover it up by acting like it didn’t mean anything to him when we know it meant EVERYTHING. But what Pran doesn’t know is it meant everything to Pat, too. Only he can’t tell Pran any of this because Pran isn’t willing to listen.

Having lived for so long with the belief that Pat could never return his feelings, Pran can’t fathom that Pat would suddenly reciprocate these feelings now – not when Ink, a better option without any family entanglements, is right there. So, based on what he knows, we really can’t blame Pran for this reasoning, but also just please talk to Pat. This can all be cleared up in about five minutes. 

Sometime later, Pat is at home in his bedroom. He looks out his window and catches a glimpse of Pran across the way, he calls out to him only for Pran to continue to ignore him. Pat says you’re really not going to talk to me? Just watch what I’ll do, you’ll see. Pat, you just pushed an entire fandom right to the edge of our seats. What are you planning on doing?

The next thing we know Pat is outside ringing Pran’s doorbell! OH SHIT! This kid has some cajones. We been knowing this fact, but this right here is proof that fear is not in Pat’s vocabulary. I mean, he wrestles tiny guns away from goons for kicks. You have to commend the guy though for walking right into the lion’s den, or in this case, the lioness’ domain. Pran’s mom comes out to see what Pat wants. Pat greets her and explains that he’s there to see Pran. Dissaya goes what for? Pran has nothing to say to you. And fearless Pat says but I do (have something to say to him). And Dissaya goes kid, do your parents not teach you about manners? 

Then in steps Pat’s dad answering her, we do. We also teach him to be nice to guests when they visit our house. Ooh burn. It’s heating up in here. We are all engulfed and caught in the flames shooting out of Dissaya’s eyes right now. She flings right back at Ming, and do you teach him that when he isn’t welcome, to just stay away? We’re then shown Pran watching all this going down from his bedroom window. 

Dissaya plows on or maybe he came here because he can’t stand you anymore. This whole scene is deliciously taut and uncomfortable, yet we can’t look away. Ming asks Pat what he’s doing there. Pat explains he has a bus stop document for Pran that their professor asked him to deliver. Dissaya responds with tell your professor Pran will go get it later. Ming is frustrated and says he already brought it here, why can’t you just take it? Ming takes it a step further by asking what kind of person are you? And it’s definitely the wrong thing to say as it triggers Dissaya to respond with oh, and you think you’re so great? Do you want me to say it out loud? Oooh, yes spill all the tea, madam. Our cups are ready.

P’Chai’s spidey senses kick in and he rushes in to de-escalate the situation with can I take the document to Pran instead? Ming agrees and Pat hands the documents over to P’Chai. But Dissaya needs to have the last word and asks is your business here done? Ming mumbles that they never had any business there in the first place, then drags Pat away. We see that Pran has left the safety of his bedroom and is standing behind a column listening to the entire thing.

This heated and tense scene confirms for Pran that his decision to stay away from Pat is the right choice. Their parents can’t even exchange innocuous documents without sniping at each other. We’re frankly intrigued by the whole ordeal as this is the first confrontation we’ve seen between the adults, revealing that the issue is not with the two dads but specifically with Pran’s mom and Pat’s dad. Interesting. I love that the show is giving us bits of the puzzle, one tiny piece at a time. It leaves a lot of room for fan theories and burrowing down deep rabbit holes.

Pat returns to his bedroom and sits at his drums banging out his frustration while looking over at Pran’s room. I’m with you Pat, I may need to buy me some drums too especially for what awaits me at the end of EP8. It needs to be said though that this is a lot healthier than avoiding the situation. It also foreshadows to later in the show when Pat vents his feelings on the xylophone. Perhaps music is as much an outlet for Pat as it is for Pran. 

Pa hears the loud banging and comes into his room to investigate. She asks if he’s fighting with Pran again. Huh, apparently this is what Pat does when he and Pran are on the outs. It’s happened enough times that Pa recognizes his routine. Interesting. Pa then incorrectly deduces that the two of them are fighting over Ink. Ha! Pa, not everyone is in love with Ink like you are, girl. You’re projecting. An irritated Pat shakes his head and walks away telling Pa to think whatever she wants. Again, these feelings are SERIOUS if he can’t even confide in Pa.

We cut to campus and see a charter bus with a banner reading Architecture Volunteer Camp on its side. On the bus, Wai sits down next to Pran and rudely yanks out one of his earbuds commenting that Pran is in his own sad music video and asks if he’s heartbroken. That’s a little too on the nose, Waisel. Louis says no one from any of the other faculties joined in the volunteer camp this year. He seems bummed and states the purpose of camp is to travel and make friends from different faculties. Be careful what you wish for, boy-o. And right on cue, Pat pops onto the bus asking, may an engineering student join you?

Pat is out here showing off his huge cajones again. Pran looks on as if to say I can’t believe you’re doing this, but he’s got to be secretly loving that he is, right? I mean, c’mon, Pat is literally joining the enemy’s camp just for the chance to talk to Pran. That has to win him major points. And then we’re given a shot of Wai with his trademark nostril flaring. And I’m just like whyyy, Wai? This has nothing to do with you. Take your pasty, instigating weasel face elsewhere. Stating the obvious, but my commendation of Wai in the previous episode was short-lived. We’re in the Pride Lands now and to me Wai is the uptight Zazu who thinks he’s of greater importance than he is.

On the bus, Pat patiently waits and pounces when Zazu Wai gets up for some water and plops himself in Wai’s vacated seat next to Pran. Ha! Atta boy Pat! You already know that Pran has a difficult time ignoring your proximity, play it to your advantage smart boy.

After some prodding from Pat, Pran ignores him by using Pat’s own earbuds! Ha! I will bet all the money in my pocket that there isn’t any music playing through those earbuds right now. I will raise the ante that Pran is stretching all his ear muscles to hear what Pat is saying, he just doesn’t want to let on that he’s curious. Pat says fine don’t talk, but when I get you to talk that means you lose. The gauntlet has been thrown and sorry Pran, but my money is on Pat.

Wai comes back and demands what Pat is doing in his seat and Pat innocently responds oh you mean this seat? I didn’t know it was taken. Hahaha. Wai flexes some more and Pat gets up with a faux apologetic look on his cheeky face. OHO! Just look at the way Pran is watching Pat return to his original seat. This is not the face of someone who is disinterested. I can almost hear the oh, leaving so soon? not being said.

Pat is looking over at Pran saying this is a game that you’re not gonna win. I will out-stubborn you. I am tenacious P.

They arrive at the zero-waste village and meet P’Tong their de facto camp counselor. The student volunteers are then handed colored tags (red and green) and are randomly divided into two groups based on the color of their tags. We watch and learn much to our disappointment that Pat and Pran are separated into different groups. Pat is red and Pran is green. Note that both boys eye and catalog each other’s tags. Oh, they are both so aware of each other that I want to bust out my karaoke rendition of well, you’ve done, done me in and you can bet that I felt it. I tried to be chill but you’re so hot that I melted. There’s no need to complicate. This is our fate, I’m yours to set the mood music.

Their first activity is learning how to build a biofertilizer by separating food waste into specific bins. Pat decides it’s time to annoy Pran and edges right into his personal space. He squeezes himself in between Pran and another student as if he’s fascinated by these bins and wants a closer look. Haha, look at this cheeky bastard’s face y’all. I can’t with him. And more than that, he and Pran both know exactly what he’s doing. Cue Wai’s nostril flare. Hey, we should turn this into a drinking game! Every time the bull-weasel flares his nose, take a drink. We’ll all be drunk before we even make it to part 4/4.

Their next activity involves charades of some sort. Pat and Pran are paired up with Pran having to guess Pat’s gestures. Pran of course refuses to open his mouth and speak so automatically forfeits. They’re then tasked with picking up trash along the beach and Pat flings debris over at Pran to get a reaction from him, and oh he does react, by ignoring him and walking away. Nice try, Pat. You may have to up your game, bro.

The next activity is one of my favorite scenes of the episode and one that I come back to often. In teams of two, the students have to stand on a progressively shrinking newspaper. You’re out if you can’t get both team members on the paper at the same time. P’Tong explains that the newspapers represent our natural resources and each time we use them, we can see how much they decrease. He then instructs everyone to flip over their color tags to find the name of a vegetable on the back and to search for your match. Of course, our boys are matched with each other, there’s no escaping it. Now it makes sense why Pat and Pran are in opposing groups.

I love how Pran shows some life here by childishly pushing Pat away every time Pat tries to sidle up next to him. Haha. He’s literally trying to keep Pat at arm’s length, but Pat isn’t cooperating. Good for you, Pat. Don’t make it easy for him.

Pat tells Pran you’re good, but just give in if you can’t do it anymore. Talk to me. And we can see Pran at war with himself. He obviously doesn’t want to lose to Pat, the competitiveness in this one is strong, but he also can’t take being this close to him either. Finally, his drive to win pushes Pran to look directly at Pat. And really, Pat is in a win-win situation here. Either Pran gives in and talks to him, or Pran gives in and makes eye contact. And who can resist Mr. Fierce Eyes?

Whoever said BBS is low heat? Please check that you have your bifocals on as I present to you evidence to the contrary.

We can see Pat narrowly closing the gap between them inch by inch. It’s completely intoxicating. I find myself watching this play out through the slits of my fingers because the intensity of them gazing at each other is making my heart do summersaults that my limbs definitely cannot replicate.

Pat only has one foot on their little square of paper and pushes his momentum forward to get the other foot on there as well, but in doing so he gets a little too close for Pran’s comfort. Pran then moves to back up, to put some space between them, and instead finds himself unintentionally falling backwards. Pat instinctively reaches out and cradles the back of Pran’s head to brace his fall – and this has to be the most chivalrous, romantic and most of all telling of how he feels about Pran – move in all of let me catch you if you should fall history. Pat’s priority and intent is to soften Pran’s landing, and I don’t know about you, but I’m over here fanning myself.

I have to ask you, Pran. Is this giving you flashbacks to your rooftop kiss when Pat cradled your head in both of his large hands? I’m gonna come out and just say it. Pran has a hand kink, and more specifically Pat’s very large and very capable hands do it for him. Oh yes, they do. See all the times Pat covers his mouth with his hand and now this. Oh, you’re telling me that it’s not Pran who has the hand kink but me? Oops, my bad. But just look at how Pat’s single hand covers nearly the entire back of Pran’s head and tell me you don’t think that’s hot.

They land in the sand with Pat on top of Pran and I’m visualizing Pran relishing the sturdy weight of Pat’s body above his. Not in a sexual way (for once, ahem, no need to be alarmed, it’s really me guys, I haven’t been mind-swapped) but in a solid, dependable feel me, I’m here, let me be your anchor kind of way. Let me be strong for you. You’re allowed to lean on someone. You just have to let me in. And note that neither boy is in any hurry to get back on his feet. Like I said, intoxicating.

Wai predictably rushes over and pushes at Pat demanding what the hell he’s doing and Pat responds playing a game, which is true on many fronts – in reference to the camp activity but also this push and pull between himself and Pran. Wai gets all worked up and Pran intervenes by saying it was his fault and that he fell on his own.

Wai, I get that you’re being protective of your friend but what exactly do you think Pat is going to do to Pran in front of all these witnesses? And do you not think Pran can handle himself? Stop with this gross display of ownership. If I was Pran, I’d be really ticked off by Wai’s supposed heroics here. Like dude, let me handle my business. I’m not some damsel in distress. I can think and act for myself. And notice that Wai doesn’t rush forward to check that Pran is physically okay, his first thought is to confront Pat. Stop using your friend as an excuse to act aggro, you weasel.

Wai angrily walks off as though he’s the one that’s been wronged, ugh typical victim complex- make this all about you, and Pran gives Pat a look before presumably chasing after Wai to smooth things over. It must be exhausting being Wai’s friend. I love Pat’s smirk here because HE KNOWS, and we know that he’s getting to Pran.

Cry some more, Waisel. Please continue to justify my Wai hatred by being exactly who you are. A sniveling weasel who thinks everything is about himself.

It’s lunchtime and the architects are eating at a table while Wai rants about Pat. Wai blathers on about being at the end of his rope (really?!! just by Pat existing? that’s a short rope you’ve got there) and what the hell does Pat want from them. Uh, absolutely nothing. He’s not here for you, pasty. Why would you automatically assume that he came here for you? Don’t make me laugh. Stop these theatrics and go get yourself some much needed vitamin D. Louis chimes in that the engineers never joined their camps before now and that Pat has crossed a line (how exactly has this imaginary line been crossed? Does your camp rules specifically say no engineering students allowed?)

Pran has heard enough and raises his voice to say Dammit can’t we just ignore him? Yes, Pran! Defend your man. It’s a case of no one else gets to slander Pat but him. And everyone looks at Pran in stunned silence. He then adds that someone like that will quit bothering them once he’s had enough and to just ignore him. Uh Pran, I think you underestimate Pat’s ability to annoy. Right as Pran says this, along comes Pat. Hahaha. He has his lunch plate and is pulling along a chair. He invites himself to join their table and plops himself in between Pran and Wai. OMG, I love the steel nerves on this kid. He takes it a step further by asking Wai if he’s gonna eat the meatball on his plate and helps himself to it. Pfft.

Wai gets up and knocks his chair over as if ready to throw down right then and there. Oh please, you’re just acting all pseudo-macho because your boys are here, and you’ve got backup whereas Pat is alone. Sit your ass on down, your daddy is eating a meatball. Pran finally speaks up and tells everyone, and Wai specifically, to cool down. This is their faculty project and he’ll talk to Pat. YESSS!! Victory is Pat’s!! But then Pran gives Pat THIS LOOK and if looks could kill, Pat would be incinerated on the spot. Pran must have inherited the eye glaring gene from his mom. Fortunately, Pat is too busy congratulating himself over this win to let it bother him.

It’s nighttime and Pat is alone at the beach deep in thought. He’s looking more serious than when we last left him. Contemplative Pat is a sight to behold.

I love this shot of Pat from behind. Something about it sings to me. Is it the lean? The hands in his pockets? The background/foreground of the water? The reflecting lights in the distance? I can’t say exactly what it is that grabs me, maybe it’s all of it. He seems both as sturdy as a pillar here and yet so very, very alone. 

This is another beautiful shot of Pat. Look at those eyes. These are eyes that have a story behind them. One that he desperately wants to tell but only to one very specific person.

Pran approaches and immediately drills into Pat you asshole! didn’t you get what I said? But instead of jawing back at Pran as Pran seems to have expected him to do, we see Pat softly say are we talking now? Aww. It catches Pran off guard and we can see him visibly deflate.

Pat urges Pran to talk to him, to tell him what’s running through his mind. He asks Pran what game he’s playing at and confesses that this tension between them is agony and makes him uncomfortable.

Pran tells Pat that he’s not the only one uncomfortable here and tells him to stop making things more complicated than they already are. Pat seems confused by Pran’s request, especially when Pran ends it with a Please, just leave me alone and walks away, once again leaving behind a reeling Pat.

The next morning, Pat runs into Junior and asks him if he’s seen Pran. Junior leads Pat to P’Tong who is standing by his truck and who should be in the back of the truck but Pran. Junior tells P’Tong that Pat needs a ride to the market and P’Tong readily agrees. Pran seems to be in a better mood today and even laughs at P’Tong’s adorable dad joke. I suspect it’s because he’s not surrounded by his architect friends and doesn’t have to put up as much of a front with Pat since their current audience (Junior) has no idea of their history. We feel you Pran, putting on a mask of indifference when puppy Pat is happily wagging his tail in your face is exhausting. It’s nice for our boys (and us!) to take a break from Wai and his tiresome dramatics.

Seemingly making small talk, Pat asks Junior what grade he’s in and if he has lots of friends. Junior replies that he does. Pat then asks if Junior has a friend that won’t talk to him. And that whatever you say to him you’re met with silence. He ignores your questions, and you don’t know what’s happened with this friend. Junior gives it some thought and responds that he doesn’t have this kind of friend and innocently comments that no guy acts like this, right? Hahaha.

Pran may major in architecture, but he minors in the perfect execution of the eyeroll. Bless him.

Pat smirks and looks over at Pran. He then tells Junior that there is such a guy! And what does Junior think Pat should do about this friend? After some consideration Junior suggests, end your friendship with him? Pat says isn’t that too harsh? Pat tells Junior he feels sorry for this guy because he doesn’t have many friends. Falling right into Pat’s trap, Junior looks over at Pran and asks him if he has lots of friends. Pran replies that he does. And here, I want to affectionately smack the smugness right off Pat’s face. Don’t count all your chickens yet, my guy. Junior then asks Pran what he would do if his friend refused to talk to him. Pran pretends to give it some thought then says he doesn’t know what he’d do because he only has talkative friends. Annoyingly talkative. Super annoyingly talkative. HAHAHA touché, Pran. Well played.

Pat is saved from further demise at Pran’s awesome wit when P’Tong returns with the truck keys. P’Tong asks Pat since he’s going to the market would he mind picking up some printer ink for him. Pat agrees and off they go. Pat asks Junior if they’re really headed to the market and here interestingly, Pran says what, you’ve never been to a market before? UNPROMPTED. P’Tong begins driving and Pat loses his balance causing Pran to smirk and laugh and it’s the cutest thing.

This is the exact moment when Pat loses balance and Pran smirks in response like he can’t help himself. Adorable. This is probably the first time he’s allowed himself to openly react to Pat in DAYS.

At the market we get a song montage of our boys shopping and really, it’s Pran shopping and Pat annoying him by making a simple trip to the market an entire adventure, which is such a Pat thing to do. He’s like a puppy out for a walk with his favorite human. Pat teases him at a vegetable stall and the shop owner comments that they’re cute together. Aww. The shop owner is US! They both BEAM and say thank you.

Look at the boys’ faces as they respond to the shop owner’s compliment. I love that we get two different reactions befitting of their personalities, Pat is basking and Pran is smiling shyly.

On the way back to camp, their truck gets stuck in mud so Pat and Pran get out to push it. Their first attempt is a fail and Junior teasingly asks if that’s all they’ve got. Cuuute. Pat and Pran pretend to take offense and are determined to push the truck out on their next attempt. And they do, but following the momentum of the moving truck, Pran slips and falls into the mud himself. Pat laughs because really, who wouldn’t? Pran gets up and makes a point to wipe his muddy hand all over Pat’s neck as he walks away. Well, I guess that’s one way to feel him up. There’s a funny bit where Pat gestures in response as if to say what did I do? I’m just standing here. Then gestures at the mud as if to say this is who you should be mad at, not me. Hahaha. These two are killing me.

Blink and you’ll miss it, but Pat’s soft smile as Pran walks away after wiping his muddy hand on him is everything. Pat should be annoyed but he’s instead ecstatic that Pran is showing signs of life. He’s so in love, your honor, even dirt is making him smile.

We’re gifted with another montage of Pran at the beach washing the mud off his clothes and Pat ‘helping’ him by splashing him with water. They end up goofing around, splashing each other and all the weight and stress of the last few days recedes with the tide. They’re now simply enjoying each other’s company.

Drying up on the shore, Pat voices the question that’s been on his mind. Will you tell me now what’s been going on with you since that night? Pran responds with Can we not talk about that? Pat says fine and they both fall silent. After a couple of beats, Pran looks over at Pat and asks the question that has apparently been weighing on HIS mind. Do you hate me? Aww, Pran. Has this been bothering you all this time? How long have you sat with the misconception that Pat hated you? Do you go to bed each night believing the one you love hates you in return? Oh Pran, this makes me so sad.

Pat seems surprised at his question but then says I used to ask myself if you ever did anything to make me hate you. When he doesn’t continue, Pran prods him with did I? Pat smiles at him and says ever since he’s known Pran, his life has been a lot harder, that he’s forced to compare himself to Pran in everything he does. And Pran looks out at the water and quietly says you must hate me a lot for that, don’t you? Pat says I should, but then I tried to think it through. You were put in the same situation as me. That’s why I couldn’t force myself to hate you. Pat is saying I had every reason to hate you, I even tried to, but found that I couldn’t.

He turns it around on Pran and asks what about you? And there’s a long beat where they’re both just looking at each other, no pretenses, no masks, and no audience to dictate their response. Pran says when you were the reason I got transferred, I was so angry at you and my mom. Pat takes a long moment to consider Pran’s words and says I’m sorry. Pran tells him it’s fine, it was just anger, not hatred. The two smile softly at each other, the air between them finally cleared.

Fingertips puttin’ on a show, you’ve got me now and I can’t say no ♫ ♬

Pat says without other people around, I can sit beside you just fine but when there are other people, just talking to you feels like a matter of life and death. Pran says what can we do? We were born into this. Pat looks at Pran and asks want to try it for a while? Just sit here and be carefree. Our boys lean back and bask in the warm sun and companionable silence. Pat shifts his weight, and his fingers end up touching Pran’s in the sand. Their eyes connect meaningfully. He asks him why are you so quiet now? And Pran confesses speaking nicely to you, I don’t know how. And this is probably the most honest Pran has ever been with him. Pat laughs and says it’s the same for him. And the unspoken look in Pat’s eyes says let’s navigate this together, how to be nice to each other.

If anyone has read my crack analysis of Pran’s nightstand photo, this here is a replication of that come-hither look. It’s the chin propped on the shoulder that does me in.

After another beat, he says thanks and Pran looks at him as if to ask for what? And Pat goes for saving Pa. And again, what is left between the lines is Pat’s unspoken I know it’s taken me a long time to say this but thank you for what you did to help me and my sister all those years ago. Pa might not be here if it weren’t for you, and I never thanked you for that so I’m saying it now. I hope it’s not too late. And from the look Pran gives Pat in response, it’s right on time.

Pat then asks Pran have you ever pictured what it’d be like if our parents didn’t fight? What would it be like if this rivalry between our families didn’t exist? And Pran starts saying if our families weren’t enemies… but then trails off and just looks at Pat and the two smile at each other, a tacit understanding between them.

Our boys, showered and clean from the beach, look for P’Tong when Junior finds them first. Pat decides to refill P’Tong’s printer with the ink he picked up from the market. He tests out the printer by printing a picture from his phone; it’s of a sleeping Pran. AWW you guys! I can’t handle the cuteness here. You’re telling me that Pat’s camera roll features candid shots of Pran that not even Pran knows about?!

This has to be a photo from Ohm’s camera roll. The bus seats were black not tan. Ohm probably said I have the perfect picture for this scene! I love how BBS has OhmNanon’s footprints all over it.

Later that evening, the student volunteers are drawing lots for where they’ll be sleeping that night. And like the newspaper game, the two people with the same vegetable will be paired together. Pat raises his hand when his vegetable is called and looks expectantly at Pran, but it’s not Pran’s arm that goes up but dun dun dun… Wai’s who gives us a, you guessed it, nostril flare. Drink up!

Everyone queues up for dinner and Pat asks if he can skip the line and moves ahead of Louis who happens to be standing behind Pran. Out of nowhere, Wai comes into the frame and menacingly stares Pat down. And I’m just like, bro, why you be staring at your daddy unblinking like that? Pat stares back not knowing why he suddenly got challenged to the world’s most awkward staring contest. He then helps himself to a piece of squash on Wai’s plate. Oh no you didn’t!! Get a load of this guy. Pat is out here with zero shits to give. I read on twitter that the name of this squash vegetable is a Thai homonym for fuck you and I’m just like Pat, you are enjoying this a little too much, but also hell yeah Pat, don’t let pasty push you around with his foflex.

Anyone catch that Pat looks over Waisel’s shoulder at Pran before walking away? He must have caught something in Pran’s expression that told him to just walk away. I love how they communicate without words and how subtle Ohm plays this small glance.

Chewing on the piece of squash, Pat walks away. Wai tells Louis that he’s had enough (again, I ask enough of what exactly? Of Pat existing?) Louis asks Wai what he’s going to do, and Wai comes back with tonight, Pat’s going to have the sweetest dream ever (read: he’s gonna be knocked out unconscious). Pran hears all this and has a worried look on his face.

Pat is at the next table and notices that Wai and the others keep glancing in his direction. They’re biding their time for Pat to finish eating and to walk off alone so they can follow and jump him. Pat’s not dumb and can read the atmosphere. And so can Pran. Wai and his minions get up on the pretense that they’re off to bed, but Pran questions where Louis is off to since he and Pran are paired together. He then turns and asks the others why they’re all going to Wai’s room (also Pat’s room) if it’s just to sleep. And then he outright asks if they’re going to beat up Pat.

Here's my take on all this: if Wai was going to confront Pat alone, that would be one thing and I’d be like turn up the volume and pass me the popcorn. But instead, Wai is bringing along back up and that’s just not cool. And Louis aside, what did Pat do to the other two other than breathe the same beach air?

If we’re comparing this to EP1 where Pat’s gang chased after a lone Wai, recall that once he had him cornered, Pat gave Wai the opportunity to call his friends for back up. Yet Wai can’t extend the same decency here? The whole bullying incident at Wai’s bar/workplace was immature and beyond idiotic. I still side-eye Pat for that to this day. Pat may not have actively participated but he sure as hell did not put a stop to it either. Wai is right to be pissed about that, only maybe not so much at Pat but more at Korn and the others – the actual perpetrators of Wai’s humiliation that night. I get that he’s grouping the entire engineering gang as one and sees Pat as their leader, but this is very shortsighted of him.

Pat just so happens to be here for reasons unrelated to Wai and is taking the brunt of Wai’s fixation of the engineers. And seeing how the numbers are to Wai’s advantage, this feels like a calculated move. One where Wai is using Pat’s presence at their camp to incite the others to join in his payback. Because nothing Pat has done these past two days justifies a beating unless you consider eating a meatball and a piece of squash as warranted, as those are the only two incidences where Pat did anything to Wai directly. Also, have the architects conveniently forgotten that the bus stop rebuild would not have been completed without Pat and his friends? Pat basically saved their asses on that project. How short are their memories?

GAH! I hate that I’ve spent so much of this recap talking about Waisel. I blame P’Aof for giving him so much damn screen time.

Back to Pran asking Wai and co. if they’re off to beat up Pat. Wai tries to reason with Pran by saying look at what Pat’s done (he dared to eat my meatball and squash, I won’t let this stand! CRY MORE) and they should teach him a lesson. Pran tries to reason that they’re at a volunteer camp and Wai responds that they’ll do it quietly and no one needs to know (you fucking coward). Pran tries to buy more time by telling Wai to wait until they get back to campus and deal with Pat then. Louis chimes in by asking Pran what faculty he belongs to and why is he protecting Pat. Pran denies it and Louis pushes on saying everyone feels that Pran is taking Pat’s side.

The screen cuts to Pat in his room staring intensely at the door waiting for an ambush. He then pushes back his non-existent sleeves in preparation. Oh GOD, GUYS IT’S HERE. The inexplicable pushing of the sleeves.

The music, intensity, and seriousness of Pat’s face in this scene only to be transcended by the pushing up of the non-existence sleeves, is the most bad buddy thing this show could ever do to us. What did we do to deserve this, guys?

Back to Pran and the architects, Wai asks Pran point blank if there is anything going on between him and Pat that they don’t know. For those keeping count, this is the third time Wai has given Pran a chance to come clean about his relationship with Pat. Pran doesn’t answer and Wai seems to take this as a green light to go ahead with the beating. As the guys clear away their plates and leave, Pran blurts out that he has a confession to make. Whaaa??

Later, the architects are surrounded by cans of beer and drunk Wai slurs Really, Pran? Your first love is now in a new relationship? So that’s why you didn’t seem to enjoy this trip. Louis ever the chimer-inner, says You need to move on. Pran responds with we’re on a trip. I didn’t want to bring everyone down and spoil the fun, but now that I have poured my guts out to you, you all must stay with me ALL NIGHT and points at each of them. Pfft, we see what you’re doing Pran.

The others are all well on their way to being four sheets in the wind. And we watch as Pran acts drunk and dumps his beer over his shoulder when the others aren’t looking. I LOVE THIS. Manipulator Pran is the best Pran. Louis continues to console Pran by telling him not to worry, that someone as perfect as Pran won’t stay available for long. He asks him what’s his type since he knows lots of people and can set him up. Unless you know a hot, chaotic goofball, who likes wearing muscle tees and insists on helping without being asked, who safeguards Pran’s beloved guitar as if it were his own, I highly doubt you can find Pran’s exact type. Pran quietly says more to himself than to his drunk friends that he should take a break, that it still hurts. And we can see that he isn’t lying.

Later, Pran is alone walking on the beach. He has his ever-present-Pat’s-earbuds with him and sighs to himself. We watch Pat approach. Pran looks over at him only to find that Pat is already looking right at him. When is he ever not looking at you, Pran? Pran pockets the earbuds and proceeds to walk away and Pat walks forward as if to meet Pran halfway. Pran intends to walk right past Pat and ignore him when Pat stops him with a hand to his wrist. It’s Pat’s way of saying don’t go, please. And the two engage in their own staring contest, one that’s layered with so much want and meaning.

They find shelter against the side of a boat and Pat picks up a stick and writes something in the sand. He says you won’t allow me to talk about it, so here I am not talking. He finishes his sand word with a question mark, and we see that he’s spelled out KISS? He’s asking Pran about their rooftop kiss and what it meant to him.

Pran evades and says it’s nothing. But Pat pushes on and asks what does he mean? Pran says he’s not trying to mean anything, and Pat says if Pran doesn’t say it, how will Pat figure it out? How can he possibly understand him? Pran says Pat doesn’t need to understand him and that Pran doesn’t want Pat to understand him. Pran goes back to his old reliable and tells Pat to just mind his own business. Except now Pran is Pat’s business.

Pat studies Pran for a beat then brings up Ink and tells Pran that he talked to her. He says he doesn’t think that he likes her in that way. This news catches Pran off guard and we see the sparks of renewed hope curling in his chest. Trying not to sound too eager, Pran asks how do you like her then? Aww, he needs to hear Pat say the words. But Pat throws Pran’s earlier words back at him instead and says you don’t need to understand because I don’t want you to understand me either. Touché. Pat is saying you want to tango? Let’s tango.

This is Pran’s face right as Pat tells him that he doesn’t like Ink. We see that he’s trying (unsuccessfully) to school his face, but the spark of reignited hope is working its way through his veins. Hope springs eternal, indeed.

Pran smirks at Pat and tries a different approach. He says he knew it, that Pat is terrible at flirting that’s why no one likes him back. And Pat rebuts with like you’re so good at it. I’ve never seen you succeed at using your charms either. Uh Pat, you’re on precarious ground here, don’t make Pran show you his arsenal of moves, believe us when we say you couldn’t handle it. Pran goes maybe so, but there’s this one guy who followed me here all the way from Bangkok, wanting to make up with me. AWW he’s acknowledging the lengths Pat has gone to for him. I told you it would gain Pat major points! Pat responds with well there’s this guy who refused to talk to me all day. What do you think that means? Oh! I’ve got him confused about his feelings for me. They both smirk at each other not caring that this talking in circles is getting them nowhere.

Pran finally turns towards him and asks why can’t you just admit it? Pat faces Pran and says admit that you like me already, just say it. Pran denies it and Pat says oh, but you do. And Pran shoots back that you’re the one that likes me. It’s so obvious. Pat laughs and says fine, let’s compete then. I’ll show you how I flirt. I’ll go after you so hard and sweep you off your feet. Pran replies with game on, I’ll make you get down on your knees declaring your love for me. OHO! Pat laughs and says someone like you will fall for me in no time. Pran tells him he’s all talk. Make it happen first then you can brag about it later. They both look at each other grinning and then both say: Whoever falls in love first, loses. Deal! And they seal it with a fist bump, which is the best callback to their fist bump, ever.

We’re treated to an end credit scene where it’s the next day and Pat is standing alone munching on crispy seaweed. Pran approaches him and points out that people are preparing to get on the bus. Pat says there are too many people over there, but don’t worry when the bus comes my boyfriend will come and get me. Pran smirks and says who’s your boyfriend? Pat looks at Pran meaningfully and guys I am squeeing so hard at these two. Pran says there’s the bus now, we leave in 15 minutes. Pat smirks and says well, that gives me 15 minutes to put some moves on you right here.

He then offers to feed Pran some of his seaweed snack, Pran declines and says he’s not hungry. Pat proceeds to nom delightfully and makes it look so good that eventually Pran gestures for him to share. Pat holds out a piece and moves as if he’s going to feed it to Pran, who opens his mouth to take a bite, only for Pat to finally get the chance to pull the ol’ Charlie Brown football away at the last second and say I know you want it. Be my boyfriend first. Pran gives him a look and says so that’s your move? But it’s more of a is that all you’ve got?

Pat polishes off the piece of seaweed he offered to Pran and puts his hand in the bag for another only to be halted by Pran’s own hand. He pulls out Pat’s fingers which are now covered with the snack seasoning, stares Pat dead ass in the eyes and proceeds to LICK HIS FINGER. PRAN!!! In public?? Think of the children. He then uses his tongue to taste the seasoning residue on his lip and says you’re right, it does taste good. And the look on Pat’s face can be summed by two words: HUBBA HUBBA. Pran, the almighty and powerful, has rendered him speechless. Pran picks up his bag and says see you later, FRIEND and flashes his dimple like the boss that he is. And Pat can only watch him leave, shellshocked. And we can see all the possibilities swirling in Pat’s head. Pran has just upped their flirting game to a level that has Pat gleefully smiling at what’s to come.

An entire series of screenshots that have no need for captions except to say that Pat, it was nice knowing you, my dude. You brought this on yourself when you challenged Pran to tango, er, tangle.

Look at this face. This is the face of a guy who just got annihilated and is still smiling like the lovesick fool that he is. I will never look at cripsy seaweed the same way again. Y’all ruined me.

This concludes our sixth hour with our boys and oh what a fun hour it was! All the Wai shenanigans aside, for me this was the most enjoyable episode of the show so far. I am a sucker for the chase trope, but here instead of a cat and mouse game it’s an eager puppy and his sourpuss kitty, where at the end the kitty has turned the tables and is biting licking back. I’ve always been weak for the push and pull between characters where they’re both moving towards the same eventuality but one of them doesn’t realize it yet.

I love how smart and patient Pat’s approach is at getting Pran to talk to him. It shows how well Pat understands Pran’s needs and psyche. He recognizes that Pran is at his most comfortable when they’re competing against each other so plays that up for him. He tells Pran to give in if he can’t take it anymore but assures him that even if he’s not yet ready to throw in the towel, Pat isn’t going anywhere. He’s here to stay and showing Pran through his actions that no matter how hard Pran pushes him away or ignores his efforts, Pat isn’t giving up on him. And for someone who is unsure of Pat’s feelings, Pran needs this affirmation that Pat can’t easily be driven way. That on Pran’s worst days, Pat won’t abandon him. He’s in this as much as Pran.

Pat is telling Pran – and again, it’s important that he does so through his actions and not just words – that hey I get it, these feelings are overwhelming and scary, and I know you don’t do well with change, so let’s not change anything. This is just you and me as we’ve always been. But for the record, I like spending time with you, I like sharing your space and breathing the same air as you, so if it’s okay with you, I’d like to continue doing that. To be near you in whatever capacity you want, no expectations, no assumptions. And when you’re ready for more, I’m game for that too. This is entirely your call. But I’m here right where I want to be and nothing you do or say could make me run away. I’m not leaving you. I’m all in.

The confrontation between Ming and Dissaya was both revealing yet at the same time didn’t give away too much. P’Aof and his team are so adept at dangling that carrot stick, giving us just enough that we’re intrigued but not so much that we’ve figured out their endgame. At this point in the show, Pran’s mom is depicted as the villain while Ming, though an ass in his own right, is shown as being more reasonable. We’re pointing our fingers at Dissaya and saying the hostility stems from her, and Pat’s dad is just reacting to the negative energy she’s putting out there – not knowing that the entire script is going to be flipped on us later. And I really must commend P’Aof and his scriptwriters for pulling the wool over us. It makes the story that much more compelling when you’re set in your beliefs of it going one way but are shown that things aren’t always what you see on the surface. Ahem, EP11.

And it goes without saying, but I feel should still be highlighted, that the veteran actors brought their A-game to the series. We spend much of the show singing Ohm and Nanon’s praises (as we should), but the actors tasked with bringing the intensity of Ming and Dissaya on screen are equally phenomenal especially considering that their screen time is so limited. With the precious minutes allotted them, the parents delivered their portrayal so deftly that we feel how high the stakes are for our boys. They aren’t evil caricatures representing insurmountable obstacles but are written as three-dimensional people with their own reasons and justifications for their choices and behavior. So, kudos once again to the BBS casting director and to P’Aof for challenging his actors to translate all this on screen.

Speaking of direction, this episode was a masterclass in gorgeous cinematography. I’ve always favored taking the characters outside of their usual environments and plopping them in unfamiliar territory. This allows not only for a change of scenery but also a possible change in mindset as well. But having said that, there’s a fine line between taking the characters out of their norm just because you can or because it serves the story. And as we’ve learned with P’Aof, everything in BBS is driven by this very specific love story that he wants to tell.

A good question to raise is would Pran have acquiesced to Pat’s efforts and risen to the challenge of their bet if all this took place back on campus? How much easier then would it have been for Pran to ignore him and how many more walls would Pat have had to scale to reach Pran? So, in addition to being a nice change of pace, taking the show on the road made sense narratively in that it forced Pran to confront his fears and face Pat.

I’ve already touched on my personal affinity for Pat standing by the water in the moonlight but wanted to add that the entire truck scene was a feast for the eyes. The coloring was soft and warm in contrast to the starkness of Pat and Pran when surrounded by the architects. And I think this was intentional. Their time with P’Tong and Junior and after on the beach, felt ethereal and almost dreamlike in the sense that by letting go they’ve finally arrived at their personal paradise, however fragile and fleeting it may be. It’s only when they’ve set aside their obstacles, if only temporary, does life seem to take on a far rosier outlook, and Pran especially, needed to see that this was and has always been a possibility if only he lowered his walls for Pat to climb and reached his hand out to him.

Their talk on the beach was long overdue and necessary to move their relationship forward. They needed to both be on the same page, just like in the newspaper game. I thought it interesting that Pran has been worried this entire time that Pat might hate him. It tells us that while Pat may be insecure when it comes to Pran, Pran is just as insecure, needing to know that what Pat feels for him now isn’t some poor substitute for the possible hatred that he may have felt for him then.

Pran needs to know that Pat’s feelings come from a place not born from hate. And I get that. Because when you replace a strong emotion, such as hate with love, you doubt the sincerity and longevity of these feelings and worry that old feelings of hate may one day take over. So, it’s comforting for Pran to hear that no matter how reasonable it would have been for Pat to hate Pran, he was never able to and the same can be said for Pran. And I love that Pat doesn’t sugarcoat his response, he admits that it would make sense for him to hate Pran but couldn’t find it in himself to do so. And Pran needed to hear this.

I’m happy that Pran admitted he was angry with Pat for being the reason he transferred, and that Pat apologized for his part in it. They’re both acknowledging their past to pave the way for their future. Pran, by letting go of his hurt and anger and Pat, by releasing the weight of his guilt. I love this so much for our boys.

Pran protecting Pat from being beaten up by his friends showed us that no matter how upset or annoyed he is with Pat; he could never see him potentially get hurt and not step in to prevent it from happening. It makes me wonder how many times Pran has intercepted on Pat’s behalf during their long history together, because while Pat’s eager puppy personality is sunshine to most, there may be instances where he’s rubbed people the wrong way with his penchant for teasing. In this sense, has Pran been Pat’s protector this entire time? And Pat never knowing? There’s something so endearing about this possibility that squeezes at my heart and refuses to let go.

We’re gifted with a new closing song this episode with Our Secret and it’s the show’s way of telling us that we’re entering the next phase of Pat and Pran’s relationship. Only this time they’re both in on it and the feelings are no longer one-sided. They’ve made amends for their past and look towards the bright future ahead. EP6 was great in that it served as a bridge from the first five episodes (foreplay) to the final stretch of the show (climax).

Pat asking Pran what if, in a perfect world, our parents weren’t an obstacle standing in our way. What then? And Pran answers with it wouldn’t be difficult to imagine how different our lives would be. I love that Pat was brave enough to ask this question and Pran equally as brave to answer it. They’re both acknowledging their feelings for each other here, only words aren’t necessary because they can feel it. We see this in the knowing look and secret smile they share. Being here with you, with the ocean waves lapping at our toes, where the shared silence is equally as welcome as the conversation, there’s nowhere else in the world I’d rather be and no one else I’d want next to me. So, when you ask me how I’d picture our lives if we weren’t born as rivals? I’d picture this. You, me, and an entire ocean of possibilities.

):):):):):):):):):)

And that wraps up my deconstruction of EP6, thank you for reading and reliving the episode with me. I can’t believe we’ve reached the midway point of the show. All said, I’ve written nearly 45k for this DTES post series and it’s mind blowing to me that 1) I have that much to say about two boys falling in love and 2) you all want me to say more. Thank you so much for coming along with me on this journey and encouraging me to keep going. Up next, there’s more fun and hijinks to be had as Pat and Pran try to out-flirt each other. See you then!

#bad buddy #bad buddy series #patpran #bbs #pat x pran #deconstructing the series ep6 #episode recap #ep6 #my stuff #DTES Part 6 #this one squeaked by just under 11k PHEW #at 10970 words #I really thought this would fall under 10k at one point but I sadly underestimated my ability to ramble #A+ to anyone who catches the Macy Gray I TRY lyrics in the title heading #the lyrics were so fitting that I had to use it!

[m-once-oon]

Twinkling Watermelon Ep 5 Recap

Eun Gyeol has now established a few priorties:

Prevent the accident that costs dad his hearing and voice

Make dad go to college? / Make dad happy and successful

Find his mother?

It feels like the son is now the parent of Ha YI Chan - as Ha Yi Chan listed out, Eun Gyeol is now tutoring him, getting him into a band and standing up to Se Kyeong when she mistakenly yelled at him.

I love Choi Se Kyeong’s short letter to Cheong Ah - the glitter at the top especially, but also the kindness and sweetness and effort she has shown so far. I am glad that there’s no love triangle (yet) - our protagonists are sweet and caring. Caring enough that I think Eun Gyeol’s mum, Cheong Ah actually sent the ticket so that Lee Chan can say bye to Se Kyeong for the last time. Unfortunately, her well intentioned act turned out badly, likely because she did not know of Se Kyeong’s disdain, or perhaps didn’t prioritise that?

Ha Yi Chan’s friend and son make a pact to keep Se Kyeong being abroad a secret. Also, I truly love the detail here - HYC’s entire room is filled with books - is this a nod to him actually being intelligent and having potential? It could also be the comic books that he goes to the book shop for. A rather large collection of it.

Awwww, Ha Eun Gyeol validating his father is adorable. Yi Chan’s persistence and eventual success in creating the band shows his

potential, which we see once again because he has finished the homework that his son set for him.

As the tenants (are they called tenants or boarders?) sit around eating outside (an entire vibe), I can’t help but notice that what they are wearing wouldn’t be that out of place today.

Ummmm what? SK has had some styling change and she is SMILING brightly!!!

Cute moments at the breakfast table!!! Adorable!! Father and son being so alike - is this nature or nurture?

And Se Kyeong actually returned? I thought it was a dream sequence, but perhaps Eun Gyeol was dreaming something different? And of course an impromptu hair cut on oneself turns out perfect. How do her parents not know that she is back in South Korea? I imagine even for a rich family, a ticket from New York to Seoul in the 90s would have been a crazy price.

Its our first time seeing her dressed her age - with jeans, and not in the school uniform, or with formal, very feminine dresses.

Fast forward and we get the reason for why she returned. Is it the truth?

At Yi Chan’s work, we get to now clear up the misunderstanding: I am assuming the Cheong Ah didn’t go as she realised it would be pretty useless to go as she’s deaf and instead just gave the whole package away, including the note to Ha Yi Chan.

A 4 way meeting in the rain? Eun Gyeol omma! Dont give up!

#twinkling watermelon #twinklingwatermelon #kdrama #ep 5 #kdrama recap #episode discussion #episode recap #Seol InAh #Seol In Ah #Go YoonHwan #Go Yoon Hwan #Ryeoun #Shin EunSoo #Shin Eun Soo #Choi Hyun Wook #Choi HyunWook