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.
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Omg I actually enjoyed this episode quite a bit!!!
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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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“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.
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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
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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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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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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.
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good morning world
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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
having to look up at his coach 😭 cannot imagine
why is he copying his motions lmao??? bonus gay little stef
coach and his mini me <33 !!
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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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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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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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what is it with this era of DC's obsession with Joe Chill
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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.
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.
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.
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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