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#it could have been extraordinary
jaskefer · 10 months
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Obsessed with the idea of Extraordinary Things being a back and forth between Jaskier and Radovid, with Jaskier trying to draw him out in the first verse, and Radovid finally answering him in the second.
Cause like, with Radovid, Jaskier meets someone who he can't fully read properly. He knows there's something under the front of a drunken, bumbling prince, but he doesn't know him well enough yet to be certain as to what.
So, he tests the waters a bit. throws out a line to see if Radovid will take it—and he does. A little bit. But it's so interesting to me, because it doesn't just feel like Jaskier is trying to nail down Radovid's truth in this verse; it feels like he's injecting elements of his own mask into it, as well.
"Keep your words on ice, your gaze lights the fire. They say 'keep on playing nice,' but I have no desire. Why waste our words when lips were made for extraordinary things? It's not a want, it's a need, it is paying no heed to what others say to sing."
This is Jaskier's read of Radovid as he knows him so far: a man hiding more complex wants beneath the veneer of a drunken party boy. But it's also Jaskier admitting that he knows this about Radovid because he wears the exact same mask himself.
Much like how Jaskier and Ciri speak through Geralt and Yennefer in order to process their own feelings about them later in the season, Jaskier sings through himself in order to comprehend who Radovid is. Jaskier is using the performative persona he's crafted for himself in an attempt to coax Radovid out of his.
All of it leads into the main intention of this song: "The greatest songs are made up of unspoken words of love. Of them, I've had enough. with you, I am enough." I am tired of having to put up a front. I want to be understood. I think you understand me. Prove me right.
And Radovid sees what Jaskier is doing. He comments on Jaskier's ability to see people for who they are and not who they pretend to be. But there's still more he wants to understand. This still feels like a game, in a way.
It's only after Radovid sees the brutality of Dijkstra and Philippa up close, watches them orchestrate the assassination of the queen and threaten to incriminate him if he doesn't fall in line, that he then grasps the vulnerability in Jaskier's lyrics. Jaskier is also caught between multiple conflicting desires, that of his loyalty to Geralt/Yen/Ciri, and that of his work as the Sandpiper & how said work is backed by his continued commitment to Redanian Intelligence. That internal conflict and the desire to escape it is also highlighted in the song's first verse ("they say keep on playing nice, but i have no desire"). Only after all of this, when true fear begins to take over and the game stops being fun, does Radovid truly begin to truly understand Jaskier.
And so, he seeks him out. And he responds.
“Drop the sweet disguise, your heart’s beating too loud. The fairytales and little lies can’t drown out all the sound.” You were right. I do understand you. I know what you really want, because we're the same. You can’t hide it behind a façade of a song and a story and a persona.
“Take this heart and break this heart for extraordinary things.” I don't know what will become of this, or us. I still don't fully know if we can trust each other. But no one has ever seen me in the way that you have.
It's not a want, it's a need. With you, I am enough.
#angel.txt#the witcher#jaskier#radovid#radskier#meta & theories#angel.doc#twn spoilers#i never wrote my wpb meta so have some extraordinary things meta instead shdfdfddfd#i truly think that first verse is so complex and multi-layered and can be read in multiple ways (both in-universe and externally)#like this is what i meant by 4d chess like how the FUCK can i explain what jaskier's doing in that first verse#its also little things. the background vocals that pick up in the second verse.#the way the second verse is omitted from the diegetic performance of the song which could imply jaskier hadn’t written it at the time#the way that we hear this song over the credits only after they get together in ep 4 and it's an extended version BUT#the extended version is entirely instrumental after the first half ends which also imply that the second half hasn't yet been written#as a whole i think that a lot of twn songs can be read through both internal and external lenses to enhance their existence in the narrativ#the fact that some of them have different names in-universe as opposed to on the ost. the choices they make in diegetic song placement.#im not very inclined in musical terminology but my brain is going insane over what this show does with its songs and how joey himself write#(and tbh i like to think of the sountrack/ost versions of songs as smth separate or alternate from the ones seen directly In the episodes)#idk. just very much intrigued with the idea of this song as a conversation#the entire song being an illustration of the masks they both wear#the truth that lies beneath them‚ and the way they both try to chip at each other until one of them drops it first.#obsessed with certain choices and going a little too insane about them <3
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sskk-manifesto · 8 months
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Omg I actually enjoyed this episode quite a bit!!!
#It wasn't... Particularly extraordinary but it still felt almost meeting the season 4 standard#Things are still going super super fast 😭😭#Like it may be that I'm just... Slow to process info but I seriously feel like I can't keep up with what they say#I can't believe at this point they've basically caught up with the manga 😭😭#In the next ep they'll reach the moment when *I* caught up with the manga when I read bsd for the first time which is just insane to me.#Like my brain can't conceive it#It's such a shame to think that means we aren't getting another bsd anime season for another five years... My heart cries#Even more since at this point it's probably going to stop right before sskk meet again and it's going to be so frustrating for me#But the Aya / Bram scenes were so cute!!! In them I felt like the pace was actually okay for the first time since forever.#It may be that they weren't very information packed so they kind of flew smoothly but I thought the pace was enjoyable–#and the animation too was pretty good!!!#There's always a black shadow wrapping my heart tight whenever I notice the animation gets better–#because I can't help but mourn what the sskk fight could have been and can't stop the resentment...#But in the end I'm happy if the budget goes to a little girl that's what she deserves :')#In the next episode we're probably going to get a little Atsushi screentime too!!!!#Man I'm so starved for Atsushi screentime every time he appears on screen for 0.06 seconds there's a whole crowd cheering in my head#random rambles
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sisterdivinium · 4 months
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Jillian heaved in ecstasy.
“You… Surprise me,” she breathed out.
“Do I?”
“The stereotype… Of passionate Italian seems just right. Either that or… Nunhood and celibacy… Quite inspire you.”
Suzanne stifled a snort.
“Come può una donna così intelligente come te dire certe stupidaggini!"
Jillian pulled her in for another kiss.
“You must admit it’s an uncommon combination,” she said.
“As uncommon as an Englishwoman who forsakes her stiff upper-lip or a scientist who sets reason aside?” Suzanne teased.
Jillian laughed. “I was complimenting you, you know!”
She rolled them over.
“Zealot!”
“Heathen!”
Their provocations merely melted into renewed love.
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robinsteve · 2 years
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“lucas, i’m scared. i’m so scared. i’m so scared. i don't wanna die. i’m not ready. i don't wanna go! i’m not ready.” if the duffers kill max in s5 after that we will be having words.
#not only would it destroy the message of hope and perseverance in the face of personal struggles- the message that’s been a consistent#thread through all four seasons- it would make max’s first “death” scene incredibly pointless when it could have been#so impactful had it been real#obviously i very much want max alive and healthy and happy but there’s something so cinematic and so awe-inspiring about that#shot of max in lucas’ arms with el by her side and the blue light bouncing off their blood-and-tear-soaked faces#before the camera draws back and begins to spin over them... anyway. my point is:#i will be very angry if they end up killing max via coma when they had OPTIONS. well. one option. but it was a really extraordinary option.#her death in s5 despite /everything/ would cheapen the final season immensely and would come off as almost laughably#desperate- but above all so so CRUEL to max and her friends#if she can't live and she can't just die in the attic don't prolong her and her friends' suffering for a far less impactful departure#and furthermore if she can’t live don’t purposefully degrade the meaning and remove the consequences#of a visually and emotionally stunning moment to string along viewers who want to know if max is going to be okay either!!!!#they're already on thin ice from the whole 'el revives max' thing (which i will expand upon in another post) but i've made my peace with it#because it kept max alive and it would actually tear me in two if she died for real but even so. thin fucking ice. to drag max over to#another season after all of that fragile ice walking- only to pass on resolving her arc in a careful way- would be devastating.#in terms of emotional and visual impact we have ‘max actually dying in the creel attic’ up /here/#(imagine my hand hovering slightly above my hairline)#‘max pulling through the coma and learning to survive and thrive’ right /here/ (hand at eyeline)#and ‘max dying at the hospital’ allllll the way down /here/ (hand at stomach)#which would really fucking SUCK#to be clear i think she’s going to pull through the coma (thank god) because a) the duffers are cowarddddds and b) narrative reasons that#i don’t have enough time energy or tag space to elaborate on#but i also have trust issues from this season so i can envision a scenario in which they metaphorically pull the rug out from under#us and we all riot at dawn together <3#max mayfield#stranger things#s4 spoilers#**#millie talks#st 4
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something something about how the rings not just symbolised Yuuri and Victor's bond and was not just an omamori for them something something Victor was the first person Yuuri wanted to hold on to and share his dreams with and depend on after fighting for so long ALONE something something the rings symbolising this exact same thing something something about how Yuuri's arc still is wonderful even when he didn't win the gold because he finally learnt to actually depend on people, share his dreams and aims with them and not fight alone which is something he struggles with for the whole show
#yuri on ice ///#I am not sure about how to intrepret the whole of yuuri's arc but that's purely because I've watched the show only once#It always felt a bit off to me when the whole winning gold was a bit rushed in the last episode#And of course you could blame that on the pacing and you could say that there was flaws in the writing/the writers got confused#I've seen multiple posts about it and while I personally disagree I do think it is a valid interpretation#But I want to work with what DID happen in canon so I can be at peace with the episode lol#I choose to intrepret his arc as being one where he learns to not beat himself up over his failures (In lack of a better way to phrase it)#His anxiety plays a huge factor in it too though#One could argue that maybe winning gold would've given him that final push in believing that he is in fact extraordinary and not just#A dime a dozen skater (and I think that would have been wonderful too!)#And yeah they could have made him win gold AND have him not retire! But I don't think what we got in canon is inherently bad writing#(I mean excluding the scoring which from what I hear was inaccurate? But it doesn't bother me because Idk anything about scoring lmao)#Or maybe it's because this is a lesson I personally am struggling to learn and accept - that regardless of whether you win or not you#can and should strive to be better and better without losing hope#also a bit related to this but to me the emotional climax in the finale was actually Yuuri's free skate and him breaking the record#It was what further cemented my#thoughts about Yuuri's arc being about him and his need to be satisfied with his skating regardless of winning or losing#also fyi the takes I talked about aren't inherently ones I came across lol I just was thinking of various counter points#The whole reason I am writing this si because I want to understand this whole thing myself gdishsjshdh so writing it down seems like a good#thing#n rambles#Also hopefully this post doesn't show up in tags djsbdjbdjd
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disaster-j · 2 years
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So I'd seen a lot of posts about how the show villainises Tae Su Mi for her actions and talking about how the father is being manipulative but the show is legitimising it and now that I've finished ep8.... I don't see either of that happening here???
Like! Are y'all not sympathising with Tae Su Mi? How can people claim she's intentionally being framed as a Bad Person when they literally showed her pain and conflicted feelings for everyone to sympathise with? Also with the father, the situation is definitely not as black and white as some of y'all want it to be with the whole "he's so evil he forced her to have the baby then made her into a villain" thing. He tells Young Woo that BOTH of them were immature and inexperienced at the time, that they made mistakes and didn't know how to handle things. Like, these people exist in a world where there's a lot of pressure and moral implications around not just abortion but sex before marriage and having children out of wedlock at all. Depicting the realistic sentiments of that time/society doesn't mean it's actively agreeing with it? Not to say you can't dislike the father for begging Tae Su Mi to keep the baby, but to me I saw it as a moment of emotional weakness on both their parts. It makes sense for the characters, especially considering the kind of environment they lived in at the time.
Idk I feel like people are passing surface level judgement on the show when the way it has depicted Tae Su Mi so far hasn't ever shown her as Bad Person, but simply a complicated yet admirable woman. Young Woo looked up to her because of her skill and charisma and even after finding out the truth she doesn't say she resnts her but instead talks about how she enjoyed that one good moment she had with Tae Su Mi. Young Woo also grew up listening to her grandmother's vitriol without any actual context and that made her feel insecure. Any child who grows up knowing a parent walked out of their life is likely to feel that way, irrespective of how legitimate the parent's reasoning had been. Showing how Young Woo was effected by her upbringing, to me, doesn't demonise Tae Su Mi. It just shows that there are many different sides to the situation and everyone is allowed to feel differently on it.
Again, not saying you can't dislike xyz character or scene for however you interpreted it but deciding the show is definitely saying this or that about Tae Su Mi when we're only halfway through and the whole mother-daughter situation has only just begun to unfold is a bit annoying to me. At least wait to see how it all ends??
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sweetestlamb · 2 years
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Wow. That kiss was cinematic perfection, 10/10 the light flickering made it so sensual and intimate but I also love Young-woo putting her little hands on Jun-ho first, they couldn't hold hands but she definitely wants to touch him in other ways. 🥵🥵A HN indeed.
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mariocki · 2 years
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Play 20: Phaedra's Love by Sarah Kane
First performed: Gate Theatre, London, 1996
Quote: "There's a thing between us, an awesome fucking thing, can you feel it? It burns. Meant to be. We were. Meant to be." (Phaedra)
Stage direction: [Opens her mouth. No sound comes out.]
Notable cast: the original Gate production included Andrew Scott in a minor role. Laurence Penry-Jones starred in a 2005 revival at the Old Vic.
Notes: Only Kane's second play, Phaedra's Love was commissioned by the Gate Theatre, who asked for a drama inspired by a classical text. Reworking Seneca's Phaedra, Kane produced a clipped, precise distillation of tragedy as narrative. A paean to self-destruction which comments on voyeurism, faith and the inadequacies of love; critical reception was muted when compared to the histrionic moralising that greeted her first play, Blasted (1995). Featuring scenes of astonishing violence and horror, contemporary readings often focus on the brutality and nihilism of Kane's dialogue - but they're missing an extraordinary tenderness which unfolds alongside it. A masterful, troubling work from one of the greatest (and most sorely missed) voices of a generation of theatre.
Read: for the first time, but definitely not the last.
#100plays#phaedra's love#sarah kane#modern drama#modern theatre#seneca#phaedra#andrew scott#laurence penry jones#gate theatre#Kane was just 25 when she wrote Phaedra's Love‚ but her work was already both highly regarded by some champions in the established theatre#(Edward Bond was a mentor of sorts‚ Pinter an admirer) whilst simultaneously provoking outrage among critics and audiences#a remarkable work from an extraordinary playwright‚ one of the most significant voices in British theatre and a burning visionary whose#untimely death robbed us of who knows what kind of incendiary work. Sarah's work has been much reevaluated and appraised in the years since#she took her own life‚ and her current critical standing is beyond anything she could have imagined in her own lifetime; but still academic#work on her texts focus on the perceived nihilism and bleakness of her work‚ equating the graphic violence and strong language with her own#struggles with depression. i think there is some truth there‚ certainly‚ but what I think is missed is the flipside: the tenderness in the#scenes between Hippolytus and Strophe is rarely written about with as much zeal as the horrific scenes which close the play. Blasted‚ the#play which both made her name and brought astonishing condemnation from the press and government‚ remains a distressing and#disturbing work; but again‚ it's rarer to find critical commentary on the revolutionary act of kindness which ends the play. Sarah captured#something deep and true about humanity‚ something cloaked in deep ugliness and terror and violence‚ but at its heart something still very#human and capable of kindness and love in even the most grotesque of situations. and in that she found a unique voice that sees her work#still performed and written about and appreciated as something startling and new and different‚ nearly a quarter century after her death.
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olivesjaw · 2 years
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rczc · 2 years
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good morning world
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jrueships · 2 years
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this looks like a dad coaching his son's pee wee team why is mckenzie so small... me and my oompaloompas
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having to look up at his coach 😭 cannot imagine
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why is he copying his motions lmao??? bonus gay little stef
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coach and his mini me <33 !!
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eatingbugsanddirt · 2 years
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If Victor Frankenstein had to interact with Rodion Raskolnikov I don't think they'd have a civil or crazed discussion I think Victor might just fucking disintegrate. Like "shame u didn't step over your crime of nature" "????? vibrates like a wet dog"
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tenshindon · 2 years
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I did not anticipate Super Hero making more money than Broly. Then again, the Broly movie was like 60% fighting, 20% flashback and the rest is introducing a few new characters who barely have any lines. I suppose Super Hero is better for being the rare, slice-of-life movie, and having more callbacks to the original series. But still, I did not anticipate the results.
broly and SH both excel in different fields: they're both fun and enjoyable movies, though evidently for different reasons
broly was meant to be a canonizing rewrite of a preexisting character, so it's not surprise that for an action-oriented anime the movie would focus primarily on the action
with SH, we're already familiar with most of the cast- cast members who are considerably more relaxed next to the likes of goku and ve6eta. it makes sense SH feels more slow, but in a comfortable sense- like it really is just Another Day In The Life Of Piccolo and Co.
it does bring up a good question though: what about SH was its selling point ? was it really just the movie focusing on gohan and piccolo ? i'm skeptical the movie would have gotten the same reception had it focused on another set of characters due to how much of an afterthought the side cast typically is...
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shock · 2 months
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i want to hold my tongue and not share the depth of my opinions about the two-headed cow but it upsets me so much every time i see it, i really do hate the narrative of 'rooting for' an animal like this to live despite it being unable (and will be unable, for its entire life) to do the most basic of things life has to offer, even breathing, eating, moving, to prioritize the savior myth that everything can and should be saved, that every living creature should be treated this way as though its not one of the greatest mercies that we as humans have the ability to enact a quick and painless alternative to a slow and miserable life that ends in slow and miserable death on our livestock when they can't advocate for themselves, the ability we have as humans to see the research and make a prognosis and decide that the spectacle is not worth the extended misery, but this life is worth the dignity of a peaceful death we have the capacity to grant
because there is a difference between helping a baby animal in the first legs of life knowing it has a chance to have a quality of life worth fighting for, not a life doomed to be painful that we KNOW is painful knowing all that we know about animals who come with this specific type of physical abnormality, what we see on the surface is only a fraction of much more malformation and deterioration on the inside that we can't just decide is not happening because they 'look' fine, and what we see on the surface is already a life from start to finish without any experience an animal like this should have by virtue of being alive, with no life at all and no understanding of why it is going through this
the assumption that there is no suffering despite eating, breathing, moving never something that this baby will be able to do unassisted, despite knowing the longest a two-headed cow has ever survived was not even a year and a half and that record hasn't been broken in over thirty years, that's not even a quarter, an 8th, a 12th, a 15th of a cow's normal lifespan, and doubtfully much of that was pleasant or comfortable, and even if this cow does get to the point of being able to stand on its own, we can't ever know the full range of agony this animal is going through, all we know is there is and there will be agony, and we need to not see life as inherently successful or painless just because something is going in one end and coming out the other, that isn't what defines an animal's quality of life to me
the two-headed calf poem is beautiful to me because it's a miracle that something so rare (luckily) and so doomed could see one extraordinary thing before passing. the sky ceases to be beautiful when forced to live every day for the sake of social media's voyeurism, it makes me so sad that someone who raises livestock would put public attention over their duty to their animals ☹️
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alto-tenure · 10 months
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what is it with this era of DC's obsession with Joe Chill
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crocsfroggo · 7 months
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The way simon finally realized that betty sacrificed everything for him was...wonderful
I mean, Simon sacrificed himself for her too, but he never really realized what she left behind by staying with him. Even when Fiona asks, "So you got on the bus with her?" he responds, "what? why would I do that?"
And after spending time with Beth and reading Casper and Nova's book, Simon finally understands. He finally understands everything Betty sacrificed for him and his choices. He finally understands that everything could have been different if they had followed the path of Betty's choices.
And in the flashback scene, he tries to change that, he tries to go with Betty on the trip, but he knows that's not what happened. And he know that this cannot be changed.
And I think after all this time, he might finally let her go, when he stayed behind instead of going with her on the bus.
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The metaphor of betty leaving on the bus and leaving simon behind was magnificent. But the metaphor of Simon being like Betty's dandelion was also extraordinary.
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I mean, Betty blows him away like a dandelion, wishing he could finally live his life on his own, in peace, and the way he wants, in the happiest way possible, without having to worry to bring her back at all costs. Cuz everything that's done is done, and you can't go back.
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And the way they looked each other in the eye and said how important they were, I guess this time, it was a goodbye. Not forever, but still a goodbye.
Like, they'll never stop caring about each other, and they'll always think about how each other is doing, but now they can finally live in peace. Knowing that despite the bad choices they made during their lives together, there is nothing to regret.
I saw this fan-comic other day that showed that Simon always picked up objects and pointed them at the sky, because he thought that Betty might be watching him from up there... and I like to think that's what's going to happen. They will live their lives, but they will still be looking out for each other.
After all, they are doomed yuri (hehe *crying*)
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