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#someone dying in the beach ep or something
respectthepetty · 2 months
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Pit Babe Colors Ep. 10
I'm challenging myself with this show and seeing how good my color skills really are, so I'm doing my normal thing of watching it double-speed on mute, but now, the captions are off also. It's just colors and vibes here. Also, people stay spoiling this show for me in their reblog tags on my posts, so I know Charles and Jeffrey made a dumb plan but I have no idea what it includes beyond Jeffrey going to Big Red's.
Hand over heart, I think Sonic is really pretty, which is why I haven't fully thought he is a baddie, but I need a reason for him refusing to wear blue! North gets it together every now and then, but Sonic? Boy, quit relying on that face and follow the damn color assignment!
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I'm missing something but I thought Charles and Barbara were fine yet here they are fighting, but Charles spidey sense is tingling, so something bad is gonna happen or will he have sex with Barbara like they did last week? And now the glasses are off! They better not have sex on this track.
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Barbara is racing?! Dean was racing last week! Was Dean informed of this plot twist? Did Barbara get healed having sex with Charles last week?
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You can take the red off the boy but you can't take the red out of the boy. You are acting so sus, Jeffrey! You had a full conversation with Charles and now you are just lurking in the background. Someone spoiled that he and Charles made a plan, but if the plan is murder, he is already failing at not being suspicious.
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Another hand-over-heart moment, I have no effin' idea what happened on that race track because there was so many blues then a car went off the track, and I had no real idea who it was, but I do know JEFFREY HAS SOME EXPLAINING TO DO with his suspicious ass!
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Big Red lives in the same place he has his cult meetings to show off his superpowered kids? Isn't there a rule of not having cult meetings where you spray your EIGHTY MILLION BONSAI TREES! That seems dumb and contradictory, but I'm not a mega villain so what do I know?
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Red is usually an emergency room color, but the red yelling at me as Barbie feels all the bad things that happen in an emergency room is a lot. Charles isn't dead because color-coded boys in love get happy endings, but Barbie is probably feeling everything right now and it probably sucks.
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"Don't be suspicious. Don't be suspicious." Jeffrey, you need to make out with Alan quickly to prove you're gay, because you canNOT do crimes, and are about to be in Kentana territory again. Whatever you and Charles planned, it was dumb and Barbie is now crying.
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KENTANA! Are you in on this too?!
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*Record scratch* Jeffrey went back to Big Red's with the dumb plan he and Charles cooked up involving Charles dying, yes? Yes! Kentana, as Big Red's whatever-he-is, knows of the plan, SO WHY IS HE BEING BEAT UP?! Kentana, break Kimberly out and run away to the beach together. Big Red doesn't even wear red! HE SUCKS! Leave!
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Stuck between the blue and the red, I see. A choice has gotta be made, Kentucky Fried Chicken. Wings or Thighs? Legs are not an option. Legs are reserved for the elite squad of Peter, Alan, and Kimberly. You don't get legs! (WHERE IS KIMBERLY?!)
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Barbie woke up in black. He has no man, but he has his powers, so either he is about to enter his rich widow era or he is going to go Kill Bill on these bitches.
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Horrible take. Awful take. The WORST take, but . . . if Waymond didn't decide to be bad, he would have been the perfect person to comfort Babe and ease Barbie's pain, pero . . . he had to be a little bitch instead.
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Oh, NOW you wanna follow the color assignment, Sonic. NOW?!
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Well, Jeffrey picked up your mantle with his not-all-black outfit and bright ass white-wrapped flowers. This isn't a wedding, Jeffrey! IT'S A FUNERAL! Jeffrey, a note from The Sign's Dr. Chalothon - FAKE IT! Sir, that empty grave is supposed to be your roommate and partner-in-dumb-crime, yet I haven't seen one single tear from someone who just lost their buddy. You're more sus than the entire cast of Dead Friend Forever. How does Barbara not suspect your ass with his spidey senses?!
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Damn you, Saltburn!
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KIMBERLY! AND HE'S IN BLUE! *sliding down the wall and sobbing on the floor* MY BABY HAS RETURNED!
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Wait! Pause! *squints* Why did Jeffrey bring Kim? And why to Alan's house? What in the Chuck E. Cheese is happening?!
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Alan, Jeffrey's roommate is quote-unquote "dead" yet you are living your best life. Can you try to be sad too or are you in on this plan and this is why Kimberly is now looking beautiful on your couch?
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The blue is between y'all, but just like Charles and Barbara having sex on every surface when Kimberly was being held hostage, do y'all have no shame? Making heart eyes at each other immediately after burying an empty coffin that was supposed to be Charles. Shame! At least pretend that Charles is dead! Or fill Barbie in on this dumb plan.
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Vegas' Hedgehog, you pretty bitch. I hate you.
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Barbie is watching the crash, and Jeffrey and Alan are playing footsie over Charles' quote-unquote "grave." But I already know I'm more upset for Barbie than he will be for himself because he'll forgive everyone for this bullshit lie in less than two minutes.
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Does Barbara think Waymond killed Charles?! He might be shitty, but he is backed by the blue. He ain't guilty! Go speak to your boyfriend's roommate and his new boyfriend, Barbie!
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Oh shit! I wasn't expecting you to actually go talk to them! Hold up! Is that blue on Jeffrey?! Does he actually not have anything to do with Charlie's quote-unquote "death"?
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SONIC IS WEARING BLUE IN THE BACKGROUND!
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Like I know shit is going down right now because Decanus sabotaged ANOTHER car *Pikachu face* but I don't think he is in on the dumb plan to "kill" Charles so . . . Kimberly wore blue this episode and Sonic is wearing blue (even though I think there is a shimmer of red there), and I'm crying in the club because this is all I wanted, and sorry to all of y'all, but the show could end right here, and I'd be happy.
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Oh no. My man is crying. I am no longer happy. I am in pain. Why is he crying so hard? Was Dean his best friend? His brother? This feels personal. Jeffrey, come give our man a hug! Right now! RIGHT FUCKING NOW, JEFFREY!
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Seeing Alan cry hurt way worse than anything else that happened. Charles isn't dead, so I'm just upset that Barbie has to cry and more upset that Barbara is going to be cool with whatever dumb plan Charles made without telling him, but Alan's tears were unexpected.
However, Sonic is back on his bullshit next week, so I can't stay in my feels too long.
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And I get to see Peter while someone fully commits to the blue.
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Oh, and we get to see the dumb-plan-that-made-Barbie-cry in more detail. *Arthur fist* Be upset at Charles for just one episode, Barbara. Just one damn episode, please. He didn't try to assault you like Waymond, but Charles has played with your emotions several times, and I just need you to knock 👏🏾 his 👏🏾 ass 👏🏾 out 👏🏾 too 👏🏾.
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effieandtim · 4 months
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At this point im most interested in knowing what was the last straw for tim like he kept coming back to hawk till 70's so what finally happened between them that created this bitterness we're seeing in the 80s scenes. And as they're skipping '57 there was something big there too but tim was obv not that bothered (the 70s beach photos showed them quite happy). So i dunno im speculating maybe whatever hawk did, maybe tim didn't properly learn about it till in the 70s so that's when they separated for good. Who knows man. the weekly releases are torturous!!!
me too, i was saying this to someone but while tim still loves hawk, he is also angry and there is a bitterness as you mentioned in him that i havent seen in younger tim
ofc younger tim hadn’t seen the world like 80s tim has, plus 80s tim is dying of a disease that was disregarded by the government and the patients were ostracised so i am sure some bitterness is due to that too
but tim’s conversation with hawk in the bathroom in ep 3 was v telling bc he literally said - ‘have you come looking for forgiveness bc i dont have any left to give, i’m too angry to forgive anybody’
shows that whatever hawk had screwed up it must have been big for tim to say that. even hawk implied that kinda with the ‘to fuck it (another chance) up again’ line.
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alieinthemorning · 4 months
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On the Other Side of the Horizon [Nanami Kento]
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Content: Major Character Death, Jujutsu Kaisen 120 Spoilers, Jujutsu Kaisen S2 EP 18 Spoilers, Emotional Hurt/Comfort, Soft Nanami Kento, POV Second Person
Pronouns: None
Header: @/nikki101pistar on Twitter
Reblogs: Let me know that you enjoy my work and want to see more, so don’t forget to like and reblog (and comment in the tags. I love seeing people’s rambles in the tags)!
This work’s concepts, plot and original characters are my own which means I do not allow any sort of creative theft nor do I allow my work to be entered into any sort of A.I. bots. Thank you for respecting my space and boundaries.
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You met him on the beach.
He was standing close enough to the water that when the waves met the sand, it lapped softly at his feet. His shoes were his hands and despite the fact that his pants were rolled up, they still were getting wet.
You approached him. "One hundred yen for your thoughts?"
He startled, "Huh—what?"
"You looked like you were in pretty deep thought there. I thought you might want to talk about it a bit."
He frowned, borderline a grimace, then gave you a slight bow. "...no, thank you. I'm fine."
You shook your head. "No, you're not." You ground your toe into the wet sand. "When ever I'm feeling bad, I come here to clear my head. It doesn't look like it's doing that for you, though..."
He turned back to the ocean, and you followed him, content on waiting with him if he didn't feel comfortable enough with sharing with a stranger like you.
After a while, he sighed, and you thought he was going to leave, but instead he spoke.
"My friend...Yu, he—he's dead."
You nodded, pursing your lips. "And you're sad about that, right?"
Now, he actually did grimace at you. "Well, of course, I am."
"Did he live his life to the fullest?"
"How full can life be when he was only allowed to live for seventeen years..." It wasn't a question, he believed that the answer was that it couldn't be full.
You thought different, however. "So? He lived for seventeen years—there are people who can't claim that. So, I'll ask you again: Did he live his life to the fullest?"
He was quite, eyes searching the waves and when he finally turned back to you there was a different look in his eyes—a small glint of something, you smiled.
"Yes, he did."
"So don't mourn him. Continue living for him and for you."
He nodded. "I will. Thank you." Then he turned and left, but before he got too far, he addressed you one last time. "Do you think we'll meet again?"
You looked toward the horizon, watching as the sun touched the waves, dying the water an orange-red.
"Yes, I believe we'll meet again just like this."
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You just never expected to meet him again like this.
"Oh." He said your name. You never told him your name, but despite this, it still sounded like he had said it one hundred times before.
You glanced up, your eyes widen, and your mouth opened in a bit out of reflex, but after a moment your features softened and you smiled.
"See, I told you we'd meet again, Kento." You gestured to the ocean, "Just like this."
Kento gave you a soft smile of his own. "Yes...you did, didn't you."
"I saw him again." His voice cut through the soft waves crashes. "He had to remind me why I lived." He chuckled, "If the two of you met, I'm sure you would have been good friends."
"He sounds like a very good person." You leaned back on your hands. "So...did you live your life to its fullest?"
He didn't hesitate. "Yes, I did, and I'm sure those who I left behind will continue living on for me, the others and themselves." Then he leaned back, fingers brushing against yours. "And did you live a full life?"
"Yes." And then it was quiet.
You knew Kento wanted to ask how long you waited here for him, but you also knew that he knew that you wouldn't answer him. So instead the two of you turned your attention away from what was gone and instead focused on what was now.
And now it was just you, Kento and beautiful beach before you.
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Later, someone else joined you, and you had to agree. The two of you would have made good friends. Well, it was a good that you could start now and time could never be a constraint.
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I was supposed to do something for Twisted Wonderland, but I was given this task by the divine (Apollo) and I shall fulfil it.
By the way, I am writing this with only the knowledge of clips and still frames. I have not watched nor read about this specific event yet. AND YET I KNOW I'M DOING IT JUSTICE!
Also, WHOOPS NEXT FIC WILL 100% BE THE SUGU/SATO/READER FLUFF THAT I PROMISED Y'ALL FOREVER AGO AND I'M NOT EVEN JOKING. I decided that it'll be my 200th (fucking wow) work on AO3, and because of that nothing else can be posted until it is posted.
Hopefully I will see you all soon. :)
Also also! Yu is older than Kento, DON'T SAY SHIT TO ME. ESPECIALLY YOU, GEGE (Unless it is to agree with me).
Ko-Fi | Commission | Masterlist
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sweetdreamsjeff · 8 months
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Jeff Buckley “was creating something bigger than the song”
Buckley's friends and collaborators tell the full story of his rise
ByTom Pinnock
13th November 2015
In 1993, Jeff Buckley released his first EP: four songs, played live and alone, that introduced an extraordinary new talent to the musical world. Soon, he would create a debut album, Grace, that suggested he could do anything. Buckley, however, wasn’t so sure: “Jeff,” says his best friend, “was incredibly insecure about everything.” From tribute shows for his father, through the clubs, record labels and studios of New York and London, to the salons of his heroes, Jimmy Page and the Cocteau Twins, Uncut charts the tempestuous first moves of a lost legend. Eternal life guaranteed… Story: David Cavanagh. Originally published in Uncut’s June 2013 issue (Take 193).
Jeff Buckley’s Grace tour lasted 21 months, visited Europe four times, racked up almost 150 North American dates and finally ended on March 1, 1996 in Sydney. The venue was a picturesque spot for the last goodbye: a club in a seaside hotel overlooking Coogee Beach. Among those there was Belinda Barrett, a 26-year-old producer for a Sydney film company, who’d become a Buckley fan the year before.
“Jeff’s two tours of Australia were a life-defining time for me and many others,” Barrett says today. “Jeff was someone you wanted to become a devotee of, and I did. He had incredibly loyal followers who really connected with his essence and spirit.” She remembers looking around at gigs and seeing people gaping in astonishment at the stage. Two years on the road had honed Buckley’s setlist into a hypnotic, invocatory, near-holy performance. “There were moments of coalescence in Australia,” recalls his drummer Matt Johnson, “when new worlds in music felt like they were being glimpsed. Moments I’ll remember until my dying breath.”
Buckley was in good humour at the Coogee Bay Hotel’s aftershow party. Belinda Barrett asked him for his autograph. “Steely balance,” he wrote, adding: “Patti Smith”. But behind the smiles, the long tour had taken its toll. Johnson, suffering from exhaustion and depression, was leaving the group; he’d complained bitterly about the ravages of the “rock machine”. Under contract to Columbia, a Sony label, Buckley had committed to one of the most gruelling itineraries of the MTV-dominated ’90s. The promotional conveyor belt stretched from Paris to Perth, and Buckley had had to learn when to acquiesce and when to resist. It may be one explanation why “steely balance” – a phrase more befitting a wine list – popped into his head as he was approached for an autograph.
“We always said to him, ‘If it gets overwhelming, let’s take a breath,’” says Paul Rappaport, Sony’s former vice-president of artist development. “But you have to understand, people at the company were constantly fighting over him. ‘He’s got to go to France next.’ ‘No, he’s got to go to Australia!’”  The conveyor belt paused; a Sydney hiatus in a New York story that had begun five years earlier.
It was a tale straight out of Dick Whittington. Buckley’s first visit to New York, in 1990, had ended with the 23-year-old Southern Californian fleeing Manhattan in despair after being accused of shoplifting. But in the spring of ’91, the bells coaxed him back. A phone call from Brooklyn invited him to sing at a tribute concert for his father, a man he’d hardly known. This time his arrival in the city would have an impact. Soon everyone from Marianne Faithfull to Allen Ginsberg would hear about him.
Held in a Brooklyn Episcopal church, “Greetings From Tim Buckley” was Jeff’s equivalent of a debutante’s coming-out party. He sang four of his father’s songs in the familiar Buckley vocal tone and range, dumbfounding anyone who’d presumed Tim’s multi-octave voice to be unique. The key moment came in “I Never Asked To Be Your Mountain” when the lighting designer projected Jeff’s head onto a stained glass wall at the rear of the church. It was, says the show’s producer Hal Willner, something akin to a visitation from Jesus. After that, there seemed little to keep Jeff in Los Angeles.
“He became a sponge of New York culture,” says Willner, who took him under his wing. “He jumped into the arty circle initially. I took him to see the Mingus Big Band at the Vanguard, and another night he went to see Sun Ra.” Buckley based himself in the Lower East Side, where he found “a village of freaks like himself” (in the words of actor-musician Michael Tighe, who would later join his band) and lived a monastic existence, burning incense and contemplating a small Bodhisattva on his windowsill. “People who were attracted to New York were not of the norm,” Willner adds. “They came here because of what they could do, which they couldn’t do anywhere else.”
Buckley cut his hair short and sang in Gods And Monsters, a virtuoso raga-rock outfit led by former Captain Beefheart guitarist Gary Lucas. At first, the collaboration was fruitful. Buckley wrote lyrics for a pair of Lucas instrumentals (“And You Will”, “Rise Up To Be”), turning them into “Mojo Pin” and “Grace”. Lucas, angling to sign Gods And Monsters to the BMG-financed Imago Records, envisaged success on a grand scale. Buckley – 14 years his junior – was his final jigsaw piece, his Robert Plant, his Jim Morrison. Gods And Monsters organised a March ’92 showcase gig at the same Brooklyn church where Buckley had honoured his father a year before.
“I was so pissed off at Gary,” remembers Kate Hyman, an Imago Records A&R executive. “Jeff was amazing – you could tell he was a star. But every time he came to the front of the stage, Gary would jump in front of him and play all over him.” Buckley began to feel mismatched with Lucas but was unwilling to confront him, a typical trait according to friends. The band’s bassist, Tony Maimone, proved easier to confide in. “He says, ‘Y’know, Tony, I’m not sure if I’m gonna continue with this,’” Maimone recalls. “It was a little bittersweet. He was kind and gentle, but I got the impression we weren’t going to be playing with him for much longer. He had his own vision to pursue.”
Steve Abbott, a New York-based Englishman who owned a London indie label (Big Cat), saw Gods And Monsters play in a club. Abbott immediately identified Buckley as their most interesting member. “He looked quite sulky and moody, whereas Gary was very in-your-face. Jeff came back on at the end and did a song by himself. It was one of those moments where you haven’t quite heard anything like it. It didn’t fit into any musical format. I spoke to him later and he told me he had some gigs at a place called Sin-é.”
Anyone who attended Buckley’s concert at London’s Shepherd’s Bush Empire on March 4, 1995 will remember the dreadlocked black man who walked onstage to duet with him on “What Will You Say”. His name is Chris Dowd and he’d like to delete that night from his memory (not to mention from YouTube) – he admits that he was horribly drunk. Dowd, a founder member of LA ska band Fishbone, was one of Buckley’s closest friends. After Dowd left Fishbone, he and Jeff lived together for a time in New York, Dowd fielding phone calls for Jeff while he was out. “It would be Chrissie Hynde or Elvis Costello. ‘Hello, is Jeff there? Tell him Elvis called.’ ‘Er, OK.’”
Buckley had become the darling of Sin-é. Sin-é was a café in the East Village run by an Irishman (its name, pronounced “shin-ay”, is Irish for “that’s it”). It had a small bar and no stage. Buckley appeared at Sin-é almost every week in 1992, leaning against a wall and singing, accompanying himself on a Telecaster plugged into a little Fender amp. It was casual and informal (nobody paid to get in), but the customers agreed that something extraordinary happened when he sang. His voice, which he was modifying all the time, was sensual and gender-ambiguous. It could make people cry. It could make them feel elated. It could – and he would insist on this – eliminate conversation from the room. He alluded to his Sin-é period in a 1995 interview with Melbourne’s RRR radio station: “What I’m trying to do is just sing what comes to my body in the context of the song. And if you go by the emotion of the song, it’s almost like stepping into a city. Cities have certain customs and rules and laws you can break, and that’s what I was doing.”
“He would do mostly covers,” Michael Tighe told Uncut in 2007. “Nina Simone. Nusrat Fateh Ali Khan. I was very impressed with his knowledge. I thought he had really good taste. What really sent me was when I heard him do ‘Hallelujah’. That’s when I felt I was in the presence of genius. That made me see white flashes.” Buckley had heard Leonard Cohen’s hymn-like “Hallelujah” in a version performed by John Cale on a Cohen tribute album. It had become a feature of Jeff’s floating Sin-é repertoire – “Strange Fruit”, The Smiths’ “I Know It’s Over”, Bob Dylan, Edith Piaf – which grew by the week.
“I remember him opening once with ‘Sweet Thing’ from Astral Weeks and closing with ‘The Way Young Lovers Do’ from the same album,” remarks Nicholas Hill, a radio DJ for New Jersey’s WFMU. “To have the gall even to attempt something from Astral Weeks – usually that doesn’t go over great. But this guy could reinterpret songs, sing them completely differently every time. He was investigating where they could take him. He was creating something bigger than the song. For the first three minutes, you wouldn’t even know what the song was.”
Transported but relaxed, Buckley would talk, do impersonations, comment on what the clientele was wearing (“Nice sandals”) and sing adverts and jingles that he remembered from his childhood. “The motherfucker was so funny,” says Chris Dowd. “He was like… if somebody took Lenny Bruce and Jim Carrey and mixed them into one person. A really dark sense of humour combined with an incredible ability to mimic everything. He had a photographic memory for music.” Nicholas Hill concurs: “Everyone was drawn to Jeff’s personality. He was extremely magnetic and charismatic. Men fell in love with him. Women felt he was their future husband. It was just like, ‘Holy shit, this is a major dude.’ There was just no denying it.”
“Sin-é was this teeny little place with a couple of tables and chairs,” says Kate Hyman, “but it was a magical, fun time because there was no pressure. I was an A&R person, but I was enjoying listening to Jeff and not having to think about the business.” Steve Abbott of Big Cat, who lived a two-minute walk from Sin-é, chatted to Buckley one night and was intrigued to find they shared a love of The Groundhogs – as well as a taste for Guinness. Abbott said he’d like to do a record deal. Hyman, too, wanted to sign Jeff to Imago at some point. But things were moving quickly. One night Hal Willner showed up at Sin-é with a friend named Steve Berkowitz, an A&R man for the major label Columbia.
Abbott: “I left New York to go touring with Pavement, who were on my label. Within the week and a half that I was away, the record industry discovered Jeff Buckley. He now had a lawyer. There was one ridiculous night where I saw three limos outside Sin-é. You didn’t see limos in the East Village. This was when we still had muggings and killings, before the area was gentrified. I couldn’t even get in the door of Sin-é. I kept getting pushed back out again.”
Hyman: “When the limos started showing up, it was funny and silly and none of us took it seriously. But suddenly there was a bidding war. I was in there for a minute, but I was at a small label and there was no way we were going to beat out the majors.” There was another stumbling block for Imago that Hyman is slightly reluctant to reveal. “Well, I guess it doesn’t matter now,” she says. “My boss, Terry Ellis – I took him to see Jeff and his comment was, ‘He’s really good, but he has no charisma.’ He actually said that. Really.”
Buckley’s Sin-é apprenticeship didn’t end in formal goodbyes – he appeared there many more times, including a gig with his band shortly before recording Grace – but the innocence had been lost. “His initial crowd were disappointed because they couldn’t see him in a club with eight other people,” says Willner wryly. It was too late. The cat was out of the bag.
Buckley signed with Columbia Records on October 29, 1992. The lure was a promise of artistic freedom, but their historic catalogue (Dylan, Springsteen, Cohen, Cash) inevitably influenced his decision. It took Sony’s Paul Rappaport all of five minutes at Sin-é – Buckley was singing a Van Morrison song at the time – to be convinced that Jeff was potentially a figure of equal stature.
Rappaport: “Donny Ienner [Columbia president] said to him, ‘I know you’re getting offered more money by Clive Davis [Arista] but I’m not going to give it to you, because it’ll mess your head up. I’ll give you half of that, and I’ll make a deal that we won’t pressure you.’” Sure enough, the first thing Columbia did after signing Buckley was… absolutely nothing. They left him alone for months. A hands-off policy was regarded as essential to his development.
“He still hadn’t written many songs,” Rappaport points out. “We had no idea, really, whether he could write or not.”
Brenda Kahn, a ‘punk-folk’ singer-songwriter on a Sony label called Chaos, was introduced to Buckley by her A&R man. She and Jeff giggled at the multi-million-dollar Manhattan world they’d accidentally infiltrated. “We both felt like, ‘What are we doing here? We belong on the Lower East Side.’ We were both in a giddy sort of realm.” They became friends (and briefly lovers), Kahn finding Buckley surprisingly precise – she uses the word ‘intentional’ – about all aspects of his creativity. He already knew the importance of leaving a legacy. He talked of needing to improve his lyrics. Kahn: “I was in awe of his abilities. Have you heard his recording of ‘Satisfied Mind’? The way his voice and guitar work together? I was like, ‘God! I can turn a phrase, but look what you can do.’ And he was like, ‘Sure, I can sing the crap out of anything, but how do I say it?’”
It was in Buckley’s nature to fluctuate between resolve and hesitation. On top of his ongoing worries about being sold to the public as Tim Buckley’s son, he was anxious to be perceived as a fan-based, credible artist, not some major-label hype. It was entirely characteristic of him to phone Nicholas Hill, who ran a 7” label, and tell him he wanted to record six indie singles immediately. It was also characteristic of him to change his mind and forget the conversation had ever happened.
Chris Dowd: “Jeff was the kind of person who was incredibly insecure about everything. His ability to play his instrument. His voice. When I first met him, he didn’t think he was good-looking. It was, ‘Women don’t like me,’ all this stuff. Later on, he was embarrassed to be voted one of People magazine’s ‘30 Most Beautiful People’. I think one part of him secretly dug it, but the other part – the artist, the musician – was like, ‘What a fucking goofy fag you are.’”
“He was a bit dorky,” says photographer Merri Cyr, who shot the covers of Live At Sin-é and Grace. “That’s what made him charming. I think he was initially unaware of the effect he had on other people. Later, though, he became much more savvy about how he behaved and presented himself. I remember he acquired a stalker or two. He was scrutinised and was in the public eye. His demeanour changed over time. Perhaps he became a bit suspicious of people.”
Live At Sin-é was recorded in July ’93. Buckley and Columbia agreed that a four-song live EP was a smart, subtle way to introduce him to the public and the media. Following several planning meetings at Columbia, he was about to spend six weeks at Bearsville Studios in Woodstock recording his first album. Chris Dowd: “Steve Berkowitz was being very protective of him. The pressure was probably more on Steve than Jeff. But the other thing is, Jeff could walk into a meeting with Donny Ienner and all the Sony people would be mesmerised by him. There’s no other word for it. They knew they’d signed a guy who was going to have a prolific, 30-year career. Fishbone were on the same damn label and we couldn’t get them to do anything. But Donny Ienner would have tattooed Jeff’s name on his penis if Jeff had told him to.”
With studio time at Bearsville booked, Buckley told producer Andy Wallace (Nirvana, Rollins Band) that he wanted to make a ‘band’ album. Wallace: “I thought that was a good idea. Over the course of a career, you want to reach out to more complex musical presentation, and he felt he wanted to do it right away.” Mick Grondahl (bass) and Matt Johnson (drums) were hand-picked because Jeff felt an affinity with them on both personal and musical levels. “He was very particular about who he was looking for,” says Nicholas Hill. “He wanted guys his own age who didn’t have baggage, who weren’t hot session guys. He’d done all that with Gary Lucas.”
Buckley, a brilliant guitarist, recorded most of the album’s guitar parts but invited Lucas – in a conciliatory gesture – to play on “Mojo Pin” and “Grace”. Buckley-written material rubbed shoulders with covers of “Hallelujah”, “Lilac Wine” and Benjamin Britten’s “Corpus Christi Carol”. It was rock meets Sin-é.
Chris Dowd was one of the first to hear it. “He had a cassette. He put on ‘Lilac Wine’. He was like, ‘I’m going to play you something… OK?’ I could see in his eyes he was insecure about what I was going to say. I started crying when I heard it. There I am, his fucking best friend, and he’s made this album and he doesn’t even believe how good it is. I was like, ‘What are you worried about, man?’ Either a song showed his depth of understanding as a musician, or it showed his sensitivity as a human being. There wasn’t a song out of place. That album became a sonnet for the tortured.”
Live At Sin-é was released in America in November ’93. But Columbia’s counterparts at Sony in London declined to follow suit, feeling the EP had no commercial potential. Instead it was given a UK release by Big Cat, which had signed a licensing deal with Columbia. The next step was to bring Buckley over to promote it. “We knew he was very good live – that’s how he was sold to us by the American company,” says Luc Vergier, a Frenchman who ran Columbia’s marketing in London. “We decided to put him on the road, on his own, for a short tour.”
Buckley arrived in the second week of March ’94 with his Telecaster and Fender amp. He played in Sheffield, flew to Dublin and then hit London for a series of gigs that are still spoken of in hallowed terms 19 years later. On one particular Friday night, he gave a three-hour performance in two different venues, beginning at Bunjies, the folk café, where he handed everyone a flower with mock solemnity as they took their seats. When Bunjies closed, Buckley led the audience (still with their flowers) to the nearby 12 Bar Club where he played for a further 90 minutes. He took requests, accepted a joint and sang until he almost collapsed off the stage. “Live At Sin-é came out on the Monday,” recalls Abbott, “and sold nearly 6,000 on the first day. The word of mouth from those two gigs was crazy.”
Buckley returned to the UK in August with his band. Five days after Grace was released, they played the Reading Festival in a mid-afternoon slot beneath Cud and Echobelly. In hindsight, their lowly billing symbolises the size of the mountain Buckley still had to climb, and the extent to which Grace would struggle to assert its identity – let alone its audacity – in the year of Parklife, Alice In Chains and Hootie & The Blowfish. There was a unspoken subtext to the ensuing 21-month tour: Columbia’s abiding disappointment with Grace’s sales in America.
“It never broke in an immediate way, the way other bands’ records did,” Mick Grondahl told Uncut. “It grew. To us, that was the point. We didn’t want to do something fashionable. We wanted to do something that had a nice feel to it. Feel was the key word. Never mind that it was this style or that style. It was more about, how does it feel? How does it touch you?”
One man who loved Grace was Jimmy Page. There was arguably no-one whose opinion Buckley valued more. He’d sung Zeppelin songs at Sin-é. He’d amused Tony Maimone at Gods And Monsters rehearsals by thumping out “When The Levee Breaks” on the drums. Buckley’s music on Grace, and in his band’s live shows, embraced androgynous vocals, ’70s rock, power chords and heroic drumming. One might even say there was a transference of Zeppelin energy taking place, a blessing or endorsement from afar, from the older men to the young. When Page and Buckley met, it was clear they understood each other on a profound level.
“Jeff told me they cried,” says Chris Dowd. “They actually cried when they met each other. Jimmy heard himself in Jeff, and Jeff was meeting his idol. Jimmy Page was the godfather of Jeff’s music. A lot of people thought Tim was the influence on Jeff, but it was really Zeppelin. He could play all the parts on all the songs. John Paul Jones’ basslines. Page’s guitar parts. The synthesiser intro on ‘In The Light’ – he could play it on guitar and it would sound just like it. And then he would get on the fucking drums and exactly mimic John Bonham.”
Perhaps Page also recognised in Buckley – whom he considered the greatest singer to have emerged in 20 years – a rare courage, an elemental intrepid streak, a fearlessness and a gung-ho spirit that allowed him to reach heights of expression that many of his ’90s contemporaries were too self-conscious to risk or too uninspired to imagine. In that sense, Buckley was a true son of Zeppelin. Matt Johnson, in a comment that is all the more poignant given the circumstances of Buckley’s death, remembers him as an adventurer in music and in life – a man “well suited to jumping into raw experience – unprotected, raw experience. He seemed to have a quicksilver flexibility and an ability to adjust.”
Since the day his body was found in the Mississippi River in June 1997, appreciation of Buckley has soared (“Grace was way more successful posthumously,” Johnson notes) and in many people’s eyes he’s become the timeless heritage artist that Columbia believed they’d signed in 1992. Others feel he was only just finding his feet. “It would have been amazing to hear his fourth or fifth album,” says Brenda Kahn. “I don’t think his music had been totally fleshed out yet.” Hal Willner thinks about that fifth album, too. What conceivable directions would Buckley’s voice and guitar have taken?
“I have to say he’s still hard for a lot of people to listen to,” Willner continues. “His mom, Mary, got me to edit together some tapes that he made in his early New York days. The stuff with Gary. And what was interesting about those tapes – what was really heartbreaking – was hearing him sing the way he sang when he came to New York. He changed it later… became less studied. But it’s hard to listen to it. It’s too sad.”
Buckley left his New York home on June 1, 1994 to tour Grace in America. “Keep the next year free,” the band were advised by George Stein, Buckley’s lawyer-manager, a comment they would later laugh about. First France became enchanted with them (two tours in ’95) and then Britain wanted them back. And even when they’d toured America twice, three times, and been to Japan, there was always Australia waiting in the distance.
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n7punk · 2 years
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i think adora being ahdh is semi-canon (since nd got tested and diagnosed for it after he was told that "the traits you say you share with adora sound like adhd"), but do you have any neurodivergent hcs for her, catra and any others?
yeah, ive said this before, i think there were neurodivergent people on crew and a number of the characters come across as nd-coded because the characters ended up displaying those traits from who wrote them since thats just the way they Know Existing To Be. i've talked about how i generally headcannon the cast before, but heres some deep-dive stuff with adora and catra (under a cut because its fucking LONG):
adora i could see adhd, ocd, and/or autism (its worth noting they have a lot of overlap and are often comorbid. for instance, i probably have all three lol). theres also the addition of things like her suicidal idealation and anxiety. most AUs i write with the intention of her being ADHD and maybe OCD (this is also how i generally write her in canon, and with the developmental damage of growing up in the fright zone), but some AUs i focus on autism instead (most notably OTOS where its a plot point and ASGNE where she and light hope are both autistic in a way that clashes and made their relationship difficult at first because Communication).
regardless of what she has, that girl stims. she doesn't do it a ton in the show (although animating someone fidgeting takes longer, and auditory stimming messes with the clarity of dialogue in a show), but all you need to do is look at the mystacor ep to see she's barely able to stand existing without stimulation. when laying on the beach she immediately starts fidgeting and vocal stimming because she is without stimulation and thus Dying. i've been there.
i often have her hum, fidget, bounce on her heels, etc. shes also "secretly" jealous of catra's purrs/growls/etc because they offer her stimulation just to hear and seem like they would feel nice to do (not that she's totally aware of all that). idk if there's a separate word for this or really how to explain it, but certain sounds are good to hear and can help with anxiety and the like. just hearing them is a form of stim. i heavily headcannon adora as getting instant satisfaction hearing catra purr, or even growl.
Adora also has some obsessive stuff going on. look at the princess prom planning episode for that. she needs to deconstruct everything, but at the same time, it looks like fucking chaos. i think she has a Clear System in her head, even if that system is piles. shes also probably obsessive about "weird things" that "dont matter" because, either by being told so in the fright zone or by internal logical leap trying to satisfy her superiors, she thinks it's really important that like, her bed is perfectly made or she always brushes her teeth at 6:15 or something and she gets distressed if she doesn't manage those things.
oh yeah her hyperfocus is something so obvious i feel like i dont even have to say it, but the way she gets obsessive tunnel vision, decides one thing is a solution and then keeps trying to work her way back to somewhere where that can still be the solution instead of, you know, coming up with a new solution that works with her current circumstance... yeah, she's got that single-minded focus you can see with adhd or autism. its not really a headcannon its just a factor when writing her.
this is already super long so im going to breeze through catra and stop, though i have less to say about her in general here. i dont consider her depression to be a headcannon, thats documented, but for catra, it does feel weird to kind of ascribe "disorders" or whatever to her because shes a Cat. like i know, technically, adora is an alien too, but catra is the one where you actually see behavioral results from it (Being A Cat) and biological differences, so i tend to think of a lot of things being different for her that aren't necessarily unusual for magicats, but might end up that way in general society.
in a way, all that is in-and-of-itself a metaphor for neurodivergency though, which leads me into my next thing, because catra's different experience operating in a society dominated by other races who are Physically Different, and likely mentally too, from her is a big reason i relate to her from a disability and neurodivergency standpoint.
i dont Technically headcannon her as autistic, but... i do relate to her from that perspective, with her unusual behaviors and senses. i've talked about that before and i dont have the energy to go into it again so go hunting if you want it XD ive seen a post about how "cats should be the poster child animal for autism" going into all the behaviors they have that are similar, and catra embodies an intersection of that for me.
anyway i drafted this a week ago thinking id "finish" it but. this is what i've got ive talked about this all before anyway and its too tiring
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mangacat201 · 1 year
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6x10 In a flash - some disjointed thoughts
Not me over here looking at all the posts on 6x10 screaming about the Buckleys being sus af and thinking ... well, if there’s coma!Buck then there’s presumably also decisions to be made about possibly taking someone off life support if a long enough time has passed and who’s got that decision making power of attorney and next of kin and WE THOUGHT THE GUARDIANSHIP BATTLE TO COME MIGHT BE ABOUT CHRIS AT SOME POINT DIDN’T WE BUT WHAT IF IT’S ABOUT BUCK. HUH?
WHAT IF THE BUCKLEYS SAY LET HIM GO? AND EDDIE IS LIKE NOT ON MY WATCH YOU MOTHERFU...
*Michael Jackson popcorn gif*
*rutger hauer dying in the rain gif*
sth sth OH MY GOD ALL THE BUCK WITH KIDS SCENES IN THIS EP. The fucking forshadowing. The fucking proof of how good a dad he is (and the whole firefam knows it because they just let him be the designated kid wrangler at the beach scene knowing he’ll do a good job keeping those kids from being even more traumatized, the way he cradles that baby boy in the car wreck but has absolutely no qualms giving him back over to Bobby because he has his basic trust in him instead of his own parents, the way he seems to be so mature and put together now on the donor issue but you just feel that there’s something brewing underneath the surface, I CAN’T I CAN’T I CAN’T).
Anyway, did I say I was normal about this? Oh I beg your pardon, normal? Don’t fucking know her.
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sixstepsaway · 2 years
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Thinking about Izzy problems in terms of a massive failure of leadership on Ed's part. He intentionally withheld his knowledge about the fog in ep 4 for drama or to upset Izzy, causing Izzy to nearly leave. He set forth the kill-Stede plan, but looked like he would fail to follow through so Izzy and co. had to meet with him about it. He refused Izzy's offer to do it for him, failed to follow through, and then didn't do anything when Izzy challenged Stede to a duel.
Oh yeah!! Absolutely. He doesn't communicate at all. In fact, Edward doesn't really communicate with anyone really well up until the beach scene, and even that's a bit iffy?
Like, he decides he wants to meet Stede but he doesn't tell Izzy that, so Izzy is like, "So what's the plan? Murder?" and he's like "nahhh invite him aboard" and Izzy's like "okay but what" but Ed doesn't really get into why he wants to meet him? He doesn't say, "He's fascinating, I want to meet him to understand the choices he makes."
Which, in the way the show is presented in Episode 3, can be explained away in a doylist manner of, "We don't know Blackbeard doesn't mean Stede any harm, so he can't tell Izzy that on screen," and that would be fine and make perfect sense except that this perpetuates throughout the show.
He doesn't tell Izzy, "I don't want to do the plan anymore," he doesn't tell izzy, "Actually I have a crush so I kinda want to keep him around at least until I can get dicked down," he doesn't tell Izzy, "Look, I want something new out of my life," so they can try and figure out what that means together (he only says he's bored and then goes on about dying and at that point if you're Izzy your brain has shut off because none of it makes sense).
Then when Izzy challenges Stede he goes, "We're not doing this!" and Izzy is like, "You're not doing this, I am doing this," and Stede doesn't just order him to stand down. Which, he absolutely should have done. Izzy would have, I think, if he'd said, "No, I've decided the plan is off and we're carrying on like this. Stand down," because the main issue is that Izzy (and co, but probably mostly Izzy) has been doing all of Edward's active murders this whole time, which leads Izzy to think that's what's expected from him now, too.
Then there's the fact Ed doesn't tell Stede how he's feeling, he's just like, "Eh eh eh I should go," so Stede will ask him to stay (sort of), he doesn't communicate a damn about what is happening in that stupid gorgeous head of his, he just coasts along like those around him can somehow read his mind (and thank god for Actual Psychic Lucius Spriggs tbh).
Even in the final episode he's pretending someone else is miserable, he just can't hide how upset he is.
My thinking is: Edward was a god damn excellent captain and leader. He collected together the best pirates on the seas, he got the best first mate who fills in all the blanks where he's struggling, and he was the best. And then, over time, because everyone knew they didn't stand a chance against Blackbeard, he stopped having to try, they all did.
They'd sail up next to whatever ship they wanted to pillage, the flag would scare them into surrender, and they'd do whatever they wanted, then move on. At that point you don't need to be a good leader, everything just... works by itself.
So when you throw in the wrench of Stede and his entire muppet crew, everything changes and suddenly you do need to communicate.
And neither Ed nor Izzy remember how.
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qrbits · 3 years
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“I’m sorry”
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mindmeltonabun-blog · 3 years
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Doom At Your Service: Analysis & Theories for EPs 9-10
Anyone mentally exhausted from watching DAYS? Well, you’ve come to the right place where I do the thinking for you, so you don’t have to! As always, if you have any questions, feel free to click on the ask question button! Happy Readings !
The Contract Revisited
While reviewing the contract, I realized there was something major that I had completely missed! Anyways let’s go over the contract again to clear up some confusion.
The Contract is as follows:
1) Dong Kyung must ask for Myul Mang to destroy the world before she dies (It could be rephrased as Dong Kyung must ask for Myul Mang to destroy the world before her tentative expiration date)
2) During Dong Kyung’s last 100 days, Myul Mang will prevent her from feeling any pain
3) Myul Mang has to grant her one real wish
4) If Dong Kyung breaks the contract (does not wish for the world to be destroyed) then the person she loves the most will die
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If Dong Kyung does not violate the contract as in she wishes for the world to be destroyed, the person she loves dies anyways because you know.... the world is non existent. If Dong Kyung does violate the contract, meaning she does not wish for the world to be destroyed, the person she loves dies too because her doom is transferred to them. Some have also wondered whether she can has to ask for the world to be destroyed in order to get her one real wish to be granted. In my opinion, I don't think so. I think she can still get her one real wish to be granted regardless of whether she wishes for doom upon the world or not. Other things to note is that nothing will happen to Myul Mang if he does not stick to the terms of the contract (i.e keeps Dong Kyung pain free and granting her one real wish) because as Dong Kyung said "If I violate" not "If either you or I violate".
Now something to pay close attention to is #4. In Ep 2, Myul Mang had said he would take Dong Kyung’s doom (brain cancer) and transfer it to someone she loves. This is the part I missed! I’d thought that all Myul Mang was doing was transferring the death that was meant for her, not that he was actually removing her source of death which was her brain cancer. Therefore, if Dong Kyung breaks the contract, she will live because her brain cancer is removed and is subsequently transferred into the person she loves, causing them to die instead. I feel incredibly stupid for missing this important piece of info. In light of this new info, I will therefore retract my previous theory that Dong Kyung’s one wish will be to cure her brain cancer.
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For those who were confused by that scene of Dong Kyung going to the beach and staying away from everyone, here are my thoughts on that. Dong Kyung was trying to find a loophole. The loophole was that she was planning on violating the contract while protecting the people she loves. This means that Dong Kyung was planning on ending herself at the beach (you can't wish for doom upon the world if you're already dead) and accepting her doom (her doom can't be transferred to anyone else because she accepts it in herself).
Who’s Going to Get Dong Kyung’s Brain Cancer and Die?
I recently had a eureka moment a few days ago before Eps 9-10 aired that led me to formulating a new theory -- it's actually Dora who will inherit Dong Kyung’s brain cancer and die. Let’s think through some things first, “the person you love the most will die”. The most obvious choice is Myul Mang. However, if you think about that statement in a more abstract way, you can see that if Dong Kyung loves her life, then the person who will die is Dora. Remember that Dora is basically the personification of life.
To further add evidence that supports this theory, I present to you Exhibit A, Dora’s massive nosebleed. We know Dong Kyung has a rare type of brain cancer and it’s located in her frontal lobe. As days pass, the brain tumor is growing or metastasizing. In theory, the tumor could grow into nearby areas such as her nasal cavity and cause Dong Kyung to have nose bleeds (FYI: In real life, I’m a scientist with experience in the field of oncology and most of the time brain tumors don’t grow outside of the brain. It can happen, but it is very rare!). Now, think about the events that occurred before Dora's nose bleed. For example, Dong Kyung was out and about enjoying her time with Myul Mang and her family and friends. Essentially, Dong Kyung was beginning to love her life. This causes Dora to suffer because she is taking in Dong Kyung's illness into herself. Subsequently, this leads to Dora experiencing some of the symptoms of Dong Kyung's brain cancer (e.g nose bleed). Thus, as Dong Kyung is beginning to live, Dora is beginning to die.
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Exhibit B: Adventures of Pinocchio. At the end of the story, the Fairy (Dora) heals an ailing Geppetto (Dong Kyung) as a reward for Pinocchio (Myul Mang) becoming a good boy. Following this, we don’t hear much about what happens to the Fairy except that she’s in laying in a hospital on the verge of death. It is implied that in order to heal Geppetto, the Fairy had to take his illness into herself. Afterall, nothing is without consequences, someone must pay so that others can be happy. Much like the story of Pinocchio, Dora is doing the same thing as the Fairy. Dora is taking in Dong Kyung’s illness so that Dong Kyung can freely love her son, Myul Mang, without consequences (e.g Myul Mang dying).
Exhibit C: Dong Kyung walking around like she didn’t have brain cancer while in seclusion. You would think that since she didn’t see Myul Mang to recharge, she would be experiencing some severe symptoms, but nope she was walking around as if she was cured! I wonder where her cancer went.......DORA!
Exhibit D: Dora telling Dong Kyung to be madly in love and live. Basically Dora saying, "Love my son and live, don't worry about your brain cancer or him dying because I'm taking care of it."
Why Dora Didn't Want Myul Mang To See Her
For those wondering why Dora didn’t want Myul Mang to see her, here are my two cents. One explanation is that Dora probably didn’t want him to figure out that she was inheriting Dong Kyung’s brain cancer. It would’ve made him feel guilty to see that his mother was willing to take on even more pain just so he could be happy. Another explanation is that Myul Mang still has a lot of growing up to do (to become human). Dora didn’t want him to get the idea that he’s out of the clear just yet. Meaning if Myul Mang had found out that Dora was doing this for him then he would’ve thought life was a breeze now and have no further motivations to want to grow, thus ruining Dora’s plan for him (to grow up to become a good human). There’s no better motivation to make someone grow than the thought of their love ones dying.
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Final Theory on Dong Kyung’s Wish
In my previous post, I had discussed that without knowing the limits of what one could or could not wish for, it was difficult for me to accurately predict what Dong Kyung’s wish would be. However, in this week’s episode, I was finally given the limits: the wish must be a wish that is doom in nature. I thought to myself, what could be a good thing to end? Oh, that’s right, Myul Mang’s immorality. Dong Kyung must say “I wish for your immortal life to end” or something along those lines. The combination of Dong Kyung’s wish + Myul Mang’s willingness to sacrifice himself for her + Dora’s plant = the rebirth of Myul Mang into a real boy....oops I mean real hu-man.
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The Ending of DAYS
So, what kind of ending will DAYS have? Prepare yourselves. I think it’s going to be a bittersweet ending because it goes with the one of the main themes DAYS which is dualism. I think Myul Mang will be reborn as a human, but still have his doom responsibilities (so more like a fake human). He will probably end up becoming like Dora in the sense that he gets to experience the cycle of life and death over an infinite amount of time. Dong Kyung won’t be reborn in his next life cycle (remember Myul Mang tells that crazy lady there’s no afterlife; humans only have this one life). I guess the notion that the love he and Dong Kyung share will always be with him and forever serve as a shining beacon even in his loneliest days is sweet, but still I want a happy ending!!!
Now excuse my language, but to hell with dualism and what is logical! I want a happy ending where Myul Mang becomes human, lives with Dong Kyung, and when he dies that’s it. No coming back to doing his doom job in a different life. Dora can create another herald of doom. Dora did it once before and she could do it again lol. Or if Myul Mang must come back in a different life, at least allow Dong Kyung to be reborn at the same time. I mean you can grow the same plant again…. EVER HEARD OF PROPROGATION DORA?!! Metaphorically speaking, if Dong Kyung is a sunflower, then wait until she dies, harvest her seeds and grow her again…. it’s that simple Dora!!!
Some Thoughts on the Writer of DAYS
The writer (Im Meari) of DAYS is at best, pretentious and at worst, derivative. She’s more or less just rehashing the works of other great philosophers (Nietzsche, Schopenhauer, Deleuze, etc). She presents DAYS as a collection of major philosophical concepts with the intention to differentiate herself from that of other kdramas writers. She goes onto placing great stress on the idea that in order to innovate or bring about a new beginning, one must deviate from the norm, yet she herself does not diverge from the ideas of other philosophers. She does not present any philosophy of her own. In this aspect, she is a hypocrite to the very ideas she tries to preach. Oh well, to each their own. Who knows, maybe my opinion of Im Meari will change by the end of the series. Anyways, I’m still here for the romance between the actors and actresses and solving mysteries!
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Ep 11 Preview Predictions
Here are my predictions for Ep 11 based off of the preview, they may or may not be correct !
Dong Kyung takes back the bracelet from Myul Mang after their conversation on the beach. Honestly, I’m growing tired of this whole giving/taking the bracelet type situation lol.
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Dong Kyung enjoys a nice vacation with Myul Mang on Jeju island.
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Dong Kyung returns from the vacation because she finds out that her aunt is sick (probably from worrying about Dong Kyung). Dong Kyung beats herself up about it.
Dong Kyung is sick again (probably from hating life...remember that I had theorized that the more Dong Kyung loves her life, the sicker Dora will be become) and Myul Mang in his desperation pleads with Dora to help him, but Dora’s version of helping him is to …. surprise surprise… teach him another lesson. The lesson is that the grass isn’t always greener on the other side and that Myul Mang and Dong Kyung complete each other for the better. Dora shows Myul Mang what their lives would've been like if they had never existed in each other’s lives.
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Dong Kyung having never experience any kind of suffering would live a healthy life but become the most unappreciative and spoiled person ever. She may go on to finding that life was pretty meaningless and would want to put an end to it all. And Myul Mang having never met Dong Kyung wouldn't have any motivation or desire to grow as a person and so he would remain stagnant. And who knows… maybe at some point, that Myul would’ve became so angry with humans that he would personally go around killing every last one of them.
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dotthings · 3 years
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Let’s talk about why Dean dancing with a lamp is subtext, but it’s subtext that supports textual arcs. Dean dancing with a lamp is not random. Meta on why Dean dancing with a lamp is part of the build of a textual arc for Dean, thematically, which also connects to his relationship with Cas. This symbolic moment being tacitly about Destiel will only feel like reaching if you ignore context, ignore canon, ignore long arcing, ignore textual material surrounding it. This isn’t just me talking about a ship, this is an important arc for Dean himself emotionally and the way canon’s working, Cas has become the star player in this specific emotional Dean arc about yearning. 
Here are some canon quotes. I could just leave these here and not write another word of meta because the canon wrote it for me. But I’ve added some further commentary to spell out clearly what I’m getting at.
Dean in 8.14 “Trial and Error” by Andrew Dabb:
“You see a light at the end of this ugly-ass tunnel. I don't. But I tell you what I do know – it's that I'm gonna die with a gun in my hand. 'Cause that's what I have waiting for me – that's all I have waiting for me. I want you to get out. I want you to have a life – become a man of Letters, whatever. You, with a wife and kids and – and – and grandkids, living till you're fat and bald and chugging Viagra – that is my perfect ending, and it's the only one that I'm gonna get.”
Dean in 10.16 “Paint it Black” by Eugenie Ross-Lemming and Brad Buckner:
“You know, the life I live, the work I do…I pretty much just figured that that was all there was to me, you know? Tear around and jam the key in the ignition and haul ass until I ran out of gas. I guess I just thought sooner or later, I’d go out the same way that I live – pedal to the metal, and that would be it....Now, um… recent events, uh… make me think I might be closer to that than I really thought. And…I don’t know. I mean, you know, there’s – there’s things, there’s…people, feelings that I-I-I want to experience differently than I have before, or maybe even for the first time.”
Sam and Dean in 11.04 “Baby” by Robbie Thompson:
SAM: Really? You don't . . . Ever want something more? DEAN: I'm sorry, have you met us? We're batting a whopping zero in domestic life, man. Goose eggs. SAM: You don't ever think about something? Not marriage or whatever. But . . . Something? You know, with a hunter? Somebody who understands the life?
Sam and Dean in 13.23 “Let the Good Times Roll” by Andrew Dabb:
DEAN: But on a beach somewhere, you know? Can you imagine? You, me, Cas, toes in the sand, couple of them little umbrella drinks. Matching Hawaiian shirts, obviously. Some hula girls. SAM: You talking about retiring? You? DEAN: If I knew the world was safe? Hell, yeah. And you know why? 'Cause we freaking earned it, man.
Sam and Dean in 15.08 “Our Father, Who Aren’t in Heaven” by Eugenie Ross-Lemming and Brad Buckner:
DEAN: Look, man, I didn't want to say anything, okay, 'cause I was kind of in in a bad place, and, uh, yeah, I didn't want to jinx it or whatever, but, you know, I tried the family thing, right? SAM: Yeah, me too. And that's not for us. DEAN: No, not really. But I'm just saying if it was to work, Eileen, you know, she gets it. She gets us. She gets the life. She's hot. SAM: Dean. I mean, I'm not even- DEAN: Look, all I'm saying is you- you could do worse, okay? And she could certainly do better. Like, so much better. I'm happy for you, Sammy.
Dean and Garth in 15.10 “The  Heroes’ Journey” written by Andrew Dabb:
DEAN: You know, I gotta say, aside from pincushion in there… this is pretty nice. GARTH: Yeah, better than I ever thought I'd get. I mean, hunting -- I figured I'd be dead before I'm 40. You know, go out young and pretty. But now I've got a great wife, great kids. I guess...sometimes things work out.
Dean in 15.10 “The Heroes’ Journey” by Andrew Dabb:
Dean, wistful, watching through the window as Garth and Bess dance: You know, I always thought I could be a good dancer if I wanted to be.
Ok, let those roll around in your brain for moment. 
Now: CONTEXT. CONTEXT. CONTEXT.
There’s this long running arc about maybe Sam and Dean could each find a significant other, not white picket fence, but...something, with someone already in the life, who gets their life. There’s Dean’s move from despairing and believing the only ending he could have, the only ending any hunter could have, is dying with a gun in hand, to Dean’s enthusiasm for the concept of retirement, Dean’s wistfulness about finding a significant other, for what he thinks he can’t have, and he starts the cycle all over again, if he can’t have it, then he wants Sam to have it, so Dean encourages Sam with Eileen. Saileen, the Dean-blessed, Dean-approved Sam ship. Dean ships it. And that is how the canon is trending, complete with Sam and Eileen kissing goodbye and saying “this is real” and even God himself saying their feelings were real, “that was all you,” even if God manipulated events around them. Which is an overt mirror to Dean and Cas and Dean’s expressly stated doubts about what’s real and what isn’t, and Cas telling Dean “we are.” 
Much the way Sam has been witness to Destiel, and has often pointed out Dean’s Cas feelings. Dean’s got a front row seat to Saileen and approves; Sam’s had a front row seat to Destiel and approves. 
Let’s throw in Robert Berens’ work in The Trap here, since that’s relevant to this specific topic as well, because why did Sam and Dean in the potential future timeline where they’d killed Chuck give up and cave in to their vampire instincts? The world being overwhelmed with monsters...and losing Eileen and losing Cas. It’s right there in the dialogue. I’ll give you the quote and everything:
Sam and Dean in 15.09 “The Trap” by Robert Berens:
SAM: You want to quit? What's happened to you, Dean? Ever since -- DEAN: Ever since what? We lost pretty much everyone we've ever cared about? Ever since the Mark made Cas go crazy? Ever since I had to bury him in a Ma'lak box? Ever since then? Yeah. You know why? 'Cause the monsters -- they're everywhere. Everywhere! What we do -- it's not even Hunting anymore. It's whack-a-mole. We don't even save people. Every friend we've ever had is either dead, or they got wise and they packed it in. SAM: Jody's still fighting, and Bobby -- DEAN: Bobby has a death wish, and you know it. And Jody -- ever since what happened to Donna and the girls, she does, too. And after Eileen... so do you.
“Ever since” Dean had to bury Cas in a Ma’lak box. “After Eileen...so do you.” 
So there’s this canonical long, long thread across multiple authors (and those weren’t even all the quotes, I’m sure people could dig up more) about Dean in particular yearning towards finding a significant other, some contentment, with someone who already is in the hunting life, who gets it, who understands.  
An episode that flat out shows how losing their significant others is the final straw that rips out Sam and Dean’s last will to fight, and they lose themselves, and after they’re turned into vampires, they just...give into the darkness. Where Sam gives up their shot at destroying the big bad because losing everyone they love is too high a cost. Where losing Cas makes Dean lose hope, where losing Eileen sends Sam into a death wish mindset. Sam and Dean don’t just need each other. That’s not canon, it never has been.
And then right after that, along comes meta episode The Heroes’ Journey. Sorry if you don’t like The Heroes’ Journey, but it’s what the canon did, it’s textual, along with everything else I’ve pointed out here, and in among the crackish humor are some real emotional narrative points. 
In The Heroes’ Journey, Dean gets to see Garth’s life. Garth found his significant other, Bess, and she’s another werewolf. Now, Garth’s life resembles the traditional white picket fence idea a lot more than what Team Free Will are headed for. Garth has a big house with a porch, and he’s a dentist. He’s also a werewolf and his wife is a werewolf and his kids are werewolves because Bess is a pureblood werewolf, Garth didn’t exactly leave the life, and he helps Sam and Dean on a case. But nothing’s been indicating to me that anyone in Team Free Will is headed for that kind of settling down, with a house, becoming a dentist. However, the canon has been practically shouting now, as we near final episodes of SPN, to make the point about a desirable outcome--some kind of stability, contentment, and a significant other. Dean gets a front row seat to seeing a hunter can have that. Garth’s a hunter who turned into a werewolf and he can have that. 
When EP’s talk about how they aren’t headed for a white picket fence or driving off into the sunset or settling down, none of that rules out them finding...something...with someone, and some form of stability and contentment.  Nope, I can’t really imagine them in the suburbs becoming dentists. But canon sure is putting up big neon arrows to...something. Think outside the box. This isn’t about the white picket fence. 
And in The Heroes’ Journey, Dean, conked out on the good gas so Garth can fix his teeth, has a trippy dream where he dances with a lamp.
Rewatch the ep. Look at how the dance is choreographed not just the use of light, because that’s a clue too. The whole dance could have been Dean and Garth being dancing bros, but Garth fades off the stage, and Dean dances alone...until he grabs the standing lamp. In a season where Dean and Cas’s relationship is an A-plot, define it how you like, it’s A-plot. Their breakup and their reconciliation, which played like a marital breakup and reconciliation, are tied to major mytharc beats. In a season where a long-running textual theme about Dean’s developing hope for retirement and his wistfulness about “things...people...feelings...” is getting further play. Where Dean and Cas’s relationship continues to be one of the show’s most central ones.
Dean dances with a lamp. While his emotionally fraught, intense close relationship with Cas--A BEING MADE OF LIGHT--has a long-running arc and recently more and more textual level content spelling out the sublimated romantic interest in small words, while there’s an arc about Dean’s yearning for that stability, contentment, a significant other.
CONTEXT. 
We don’t think Destiel’s “going canon” because Dean dances with a lamp, it’s that Dean dancing with a lamp is kinda loud serving as reflection of canon textual arcing. Sometimes subtext adds a layer. Sometimes subtext is directly tied to the surface layers, an echo, a highlighter.
I’ll just be over here, crying because Dean danced with a lamp.
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literaryfic · 3 years
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Chapters: 4/? Fandom: 빈센조 | Vincenzo (TV) Rating: Explicit Warnings: Creator Chose Not To Use Archive Warnings Relationships: Vincenzo Cassano | Park Joo Hyeong/Hong Cha Young Characters: Hong Cha Young, Vincenzo Cassano | Park Joo Hyeong Additional Tags: Alternate Universe - Canon Divergence, vincenzo leaves, set five years after he left sk, Angst, Angst with a Happy Ending, vincenzo and cha-young are exes, they were in a relationship before, Fake/Pretend Relationship, Jealousy, Exes, Getting Back Together, Not Canon Compliant, i wrote this before ep 20
Summary: Sipping on his third — or fourth, he’d stopped counting a while back  — whiskey of the night, Vincenzo fantasised about snapping the neck Cha-young’s fingers were delicately wrapped around. 
To Vincenzo, regret was like an old friend. He’d become accustomed to its familiar weight over the years, learnt its intricate shapes and colours. More than that, he’d learned to welcome the intimate ways in which regret accompanied his every step. 
The blood on his hands, his mother, her… Yes, it seemed regret was the recurring theme of his life. Alas, in spite of all the years he’d spent acquainted with it, he could not silence the wails of anguish of his heart. 
“Mmh.” A simple sound had sufficed to sink his soul to slumber.*
He’d always known this was a possibility. He’d thought about it endlessly, convincing himself that he wouldn’t care, that being in her life was enough. But Vincenzo was a greedy man, and he’d never desired anything more than he desired her.
Her. Cha-young. His Tesoro. 
Rarely did Vincenzo say or even think of her name when his mind wandered back to her. He treated it like a jewel, a precious gem meant to be tucked away in the corner of his soul, only to be let out under extraordinary circumstances. 
Her name on his lips would not be said in vain, for he was a pious man and her, a Goddess. He’d converted to her cult the moment she’d kissed him, her lips initiating him to her worship. 
And so, he prayed to her. When he’d reached the edge of the cliff, the troubled waters calling out to him, whispering in his ear that drowning would put out the fire that consumed his being, he prayed. 
He’d go to a small Catholic church in Milan, high ceilings and stained-glass windows glimmering in the evening sun, and he’d sit in the last row, his hands clapped together. He’d recite his prayers, confess his sins and plead. I love you. Forgive me. Wait for me.
The Goddess, however, was a capricious being, and it seemed she had not heard his pleas. Or maybe she had, but had deemed him unworthy. 
Vincenzo had wondered if she had found someone else, if she had been happy without him. Wasn’t human nature so contradictory? He had been sure that leaving her was the most selfless act of love he’d be capable of, yet that ‘Mmh’ had set his soul on fire. 
He had promised himself that if it were to happen — if Cha-young had forgotten about him, if leaving really had been the gift he’d first thought it was — , he would be content with just seeing her again. Even if all he’d get was a furtive look, that alone would be enough to satisfy the thirst he’d been dying of for the past five years. What a naïve thought. He knew the moment he’d seen her again, that night on the beach. He needed her. 
Now, watching her slow dance in someone else’s arms, Vincenzo thought about torture. He’d inflicted it on many of his enemies before and knew the myriad of ways in which the human body contorted itself when in agony. 
Vincenzo reaches for the gold lighter in his pocket, the reassuring clicking sound helping him organise his thoughts. 
He would start by pulling out his teeth one by one. Then, he’d move on to his fingers. It’d make a mess, but he wouldn’t die right away. Vincenzo would be able to enjoy the fun for quite a while, actually. Would the man scream until his vocal cords bled? Would he convulse, his body distorted by tremors, eyes rolling back?
Sadly, the only one getting tortured is him; the only cries of pain, his heart’s. 
Sipping on his third — or fourth, he’d stopped counting a while back  — whiskey of the night, Vincenzo fantasised about snapping the neck Cha-young’s fingers were delicately wrapped around. 
 Like moths to a flame, Vincenzo’s eyes were inevitably drawn to the pearly white of her thigh, revealed by the split of her long, form-fitting dress. She looked otherworldly tonight, her hips swaying to the slow beat of the love song playing in the background. Here she was, with her straight, shiny hair reflecting the dim lights of the ballroom, her red lips complimenting her flushed cheeks  — a fallen angel gracing them with her presence. 
The man holding her in his arms was in his late thirties, and while he was the same height as Cha-young with her heels on, he had broad shoulders and large hands. He looked down at his feet whenever he laughed, which made his glasses slide off his nose ever so slightly. After a while, he’d readjust them and run his hand through his short hair, the start of an endless loop.
He wondered what she saw in him, if it was something in his eyes or in his voice. Did she kiss his knuckles whenever he was working on some paperwork, lost in thoughts yet reluctant to let go of her hand? Did she kiss his neck and whispered ‘I'm here, it’s okay’ whenever he had a nightmare? Did her fingers trace ‘I love you’s’ on his shoulder blades while they were laying in bed? 
And if she did, was it because he looked at her like she was the most precious thing on this earth? Was it because he had secretly learned her favourite recipe, the one her mom used to make when she was sick? Was it because he held her tight when she cried, stroking her hair and murmuring comforting words against her skin? 
He looks harmless, Vincenzo thinks. The alcohol is getting to him.
‘Is he a good person?’
‘Mmh. He is.’
He shakes his head, banishing memories of yesterday’s conversation from his mind. That’s a relief. Cha-young deserves to be with an ordinary man who lives a righteous life, away from all the murders and the evils of this world. Yet, his heart aches every time she smiles at him. 
Him, who is everything he’s not. Him, who’s making her laugh, and smile, and blush. 
The man leans in to whisper in her ear, and Vincenzo can’t take it anymore. He pays for his drinks and leaves, the sound of his lighter not enough to ground him anymore. He needs to get away, far from the sway of her hips and that man’s hand on her lower back. Before he knows it, he’s out of the hotel, on the beach. 
Stuck in his own personal hell, Vincenzo considers atoning for his sins. Surely, the fire blazing inside his body, boiling his blood and heating up his skin is worse than the Inferno he’d ineluctably be condemned to. 
Without thinking, he takes off his shoes, his trousers and his shirt, and dives into the ocean. He needed to put out the fire before he got burned alive. It’s a warm evening but the dark waters feel ice-cold on his heated skin. He swims until the cacophony of the waves crashing against the shore lulls him. He swims until he’s about to drown, limbs too heavy to float. How he manages to get back on the beach, he doesn’t know. He collapses in the sand, exhausted. The distant moon looks down on him, her inquisitive eyes strangely offensive. Tonight, the heavenly body is mocking him. Look at this fool, she laughed. Did you really think she’d wait for you?
Vincenzo wants to scream at her, or maybe at himself, but instead he cries. He doesn’t have the energy to fight it, or to feel ashamed. He is guilty of leaving her and he has no one else to blame. Regret might be an old friend, but guilt is his greatest foe. 
He forces himself to get up, knowing he’d get buried under the weight of his conscience if he stayed any longer. Putting back on his trousers only, Vincenzo carries his shoes and his top until he sees the hotel lights. Were they still dancing together? 
He stops before going inside, lighting a cigarette. He’d taken it up again after going back to Italy, another one of the nasty habits he indulged in. He stood near a huge palm tree, just at the entrance of the main building, probably why he didn’t see him. Cha-young’s… someone was standing there, smoking on the other side of the palm tree. Vincenzo holds his breath, not sure how to react. The man is on the phone, and although it isn’t his business, he can’t help but overhear his conversation. 
“No, no… I told you, nothing’s going on with her...Yes, I promise. I told you, she paid for all her employees, it’s a group thing. Mmh. Don’t worry. I’ll see you soon. Me too.”
Forget torture, Vincenzo is killing this man with his bare hands tonight. 
*‘Sink Not Yet My Soul To Slumber’ is a Christian Hymn SINK not yet, my soul, to slumber, Wake, my heart, go forth and tell, All the mercies without number That this by-gone day befell: Tell how God hath kept afar, All things that against me war, Hath upheld me and defended, And His grace my soul befriended.
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yellowbluemoonshine · 3 years
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When akito punched momiji in beach arc i was just simping for her i finded him pretty annoying cuz story of yadada u know so i didnt feel for him n when watching reaction of that ep they were like what did he do to tohru n momiji that bastard or any scene of her and i was JUST simping for her on any scene i was like 'akito she looks so good here *show kyo traumatived face* OMG NO KYOO anyways akito looks good here' kinda feel bad for zodiac n tohru cuz i would be SIMPING for akito if i was there
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Actually, i have different thoughts about this. Like i dont care her looks that much, to me, her position in this sitution and who she really is matters me more.
And Akito-Momiji scene. First of all, i dont easiely hate character, especially when i dont know much about them. Also, Akito is 'the villain/antagonist' so as reader, you would expect them to make trouble. (And stories are entertaining when there is trouble.) She is acting as abusive and exchange, she is treated as villain anyway. Of course she did wrong thing but eventually it backfires to her anyway. (And its important to remember that people are capable of making mistakes and later they can change).
I also dont think this is part of her personality, whole reason her acting cruel is because of how warped her personality became. More than 'this is who she is', its like 'she lost her sense of self'. Which is again very sad.
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Its not that i didnt feel empathy or sorry for zodiacs or Tohru but more like, i just have more empathy for Akito, her feelings and even her actions.
Tohru, Rin, Momiji, Kyo, Yuki, Hatori etc they all have their own sad stories and have their own issues but why would i be sorry for them?
During the story, they are allowed to healing, spending time people they care about, people are worried about them and empathize with their situtions. Of course, there are times you feel sorry for them but everyone is busy with being happy and idolizing Tohru. Eventually, they have very entertaining scenes and happy moments. Good for them. GOOD FOR THEM. Really. I am glad for them.
And guess, who never has those things during the story?
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Akito.
During the story, she was never part of those happy pictures. She doesnt have any entertaining moment. She is constantly upset and depressed.
Oh No, Akito is here, now they have to take a break from their happy moments but Akito goes, they hug each others and continue their happy lifes. Meanwhile Akito continues her sad lifes without knowing how to interact with people, she is dying out of loneliness.
How can i not feel sorry for her when there is literally noone who actually empathize with her?
Lets look at her position.
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Almost every day, she is being abused by Ren and has to listen how much her mother hates her and will anyone bother to do something about it? Nope, they dont. Noone protects her when she nees. They only comfort her after that.
She spends most of her times in that clan, she doesnt have interaction with outside world that much, she almost never get out of her room (LOOK AT HOW EMPTY HER ROOM IS) and older zodiac is criticising her, the hell somehow she could change in that kind of environment.
Imagine the ones who supposed to love the most says 'loving her is a curse'. Imagine the most closest person to you is thinking like this about you. Imagine the people who was supposed to be your family is constantly trying to get rid of you, treating you like a curse.
Of course, its understandable, especially from younger zodiacs perspective but that doesnt change the fact that Akito is also suffering so much.
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And i think the reason people dismiss this because they think 'zodiacs escapes Akito because Akito hurted them', not really actually. In the past, Akito treated them nice, she silently sit on her place and wait someone to talk with her but noone did. Older zodiacs only stayed with her when she needed. Sh*gure was obsesed with her. Ayame ignored her. Yuki didnt want to be friends with her. Other zodiacs tried to not interact with her. Why? Because she is god. Zodiac were trying to escape her even when she didnt do anything wrong. Again, its understandable from their sitution, of course they wouldt want to have god but think about it from Akito's sitution. How many time she waited someone to look at her, talked with her, she didnt want anything more than this.
She was always suffering and suffering. She hold everything inside of her until she couldnt. Watching her mentalbreakdown was so saddening for me.
Thats say we understand why younger zodiacs didnt understand her but look at the older zodiacs.
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Kureno stays with Akito when she needs it. Hatori only goes to Akito when she is sick. (Also notice that Hatori was about to leave at first which is ooof). Like, its good thing that they dont leave her when she is having hard times but being with someone only when they have hard times....no wonder Akito doesnt take care of herself well. After all, to be able to be noticed/seen as person, she needs every day to be bad. Otherwise, she will be lonely again.
Sh*gure pities himself and say i am the most cursed of all cause i love Akito. He seems to understand he traps and harms himself but he never look at how his relationship with her hurts Akito's herself. He is constantly making her inscure and has a big responsible for her unable to trust people.
Story make it looks like Kureno made wrong choice for staying with Akito, even though, if he didnt, things would be worse. And somehow Sh*gure's playing with her mental state is shown as okay which is messed up.
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Akito didnt have to break to be able to heal. Akito didnt need someone who will blindly obey her, she didnt need someone to pity her, she didnt someone who will only be by her side when she needs, she didnt need someone who will play mind games with her. She just needs to go outside and interact with people. She nees healing in healthy environment. She needs someone who will love her as her own person.
Not only position of older zodiacs made it sound like Akito cant be loved as her own person, they also acted like Akito's being stubborn. Even though, she was dealing with severe of mental illness. Even though, there is just so many things going on with her.
Imagine she is having bedridden for days but Hatori casually says it, like its normal. Or he says Akito is good at being sick hmmm i wonder why. Or Sh*gure saying that Akito is idiot for not understanding, the hell she could from her position, real fool is Sh*gure.
Etc etc so many things.
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She literaly believes that to be able to remembered by someone, she has to be fearfull, like she is so sure that she wont be loved. If this is not tragic, nothing else it is.
Even in that scene, Kyo pretty much stand out against Akito pretty well, especially compared to zodiac. Akito looked so powerless in this scene lol.
Or even her scene with Tohru. Her hatred and jeolousy towards Akito is so relatable. Tohru has everything Akito couldnt have. She had lovely family, faithfull friends, normal highschool life and now even zodiac etc.
This reminds me a story. Just like a kid who lives in streets. He doesnt have family, he is lonely, hungry, wants affection but he doesnt have one. Then he sees happy family in house that looks like really warm. He throws a stone and break the glass of window. Child ran away and family is freaked out but eventually, street kid turns to his miserable life and family returns to their happy moments anyway. Who is the one really pitifull here?
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Of course its the street kid. You cant help but envy people who have the things you dont have. You can even develop hatred, its only natural to feel that way. Akito is that street kid. Watching Akito's scenes with Tohru and zodiac, thats what i felt, she was causing trouble but not because for the sake of it, she was extremely lonely and wanted to be noticed.
I am not surprised by fandom's reactions cause many people dont understand mental issues at all. All they see is a character hurting their favorites but during the series, i just saw her screaming for help and being ignored. Again, i am glad for zodiacs, Kyo and Tohru but i always worried about Akito cause she was the one who always being left behind. From beginning until the end, i always felt sorry for her the most. From outside Kyo, Yuki, Rin's trauma looks sadder for others, of course its all sad, every pain is valid but people wont become victim forever. Kyo, Yuki, Rin etc they are allowed to healing and loving as person but same thing didnt happen with Akito so of course, the ones who couldnt have a chance to heal is in harder position than the ones who are allowed to heal. Its only natural that i feel for Akito.
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I understand how you feel, anon because she deserves to be protected, loved and cared. They messed her so badly, its only natural to wanting to protect her. She deserves so much better than this. Actually, if she interacted with people ouside of clan, she would change anyway. She wouldnt have supernatural power against normal people, this is why she was afraid of real world and going outside, thats how clan system worked and controlled Akito. She is capable of changing, actually very kind and caring girl, she just needs to be allowed to grow, just like every other person.
And she is deep amazing character who is also related to theme of story so of course, i would love her.
This became my rant but anyway. I love her and she deserves better.
(Btw, i might not answer all anon asks cause i would like to answer to the ones i can talk about/make an analysis.)
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aliresix · 3 years
Text
 I’m watching One Piece
Episodes 1-50
In the very first scenes, Nami doesn’t have such an exaggerated body. But as time goes by it gets worse.
For some reason I think Usopp and Hanji (from snk) would get along well??? Just… I don’t know, science buddies and major nonbinary vibes.
I’m dying they’re spelling Luffy as “Rufy”. H e l p
How does Zoro talk in an understandable way so casually while having a fucking sword in his mouth????????
I can’t look at the tag for this fandom and I won’t be able to for 3 to 5 months. I don’t think I’ll resist that long.
Ep. 45 was just everyone going “awww baby’s first wanted poster”
Now that I think about it, how is taking several trees with you on a boat a good choice, Nami?
I want to appreciate all the voice actors
Luffy is the master of sleeping when he’s in danger/has almost died.
Zoro was straight up ready to lose an arm just to get a good sword. And they don’t have - yet - a doctor with them? What
Fuckin hell ep 50 gave me a dejavu but I love my lying son Usopp so worth it
Episodes 50-100
MY BABY SANJI FOUND THE ALL BLUE. Good for him, good for him.
Luffy. Luffy I love you. But how did you survive after getting struck by lightning and falling from something so tall??????
The marine trying to set the Merry Going on fire while it rains: yeah we brought gunpowder but we need more cause it got wet VS That one guy from Buggy’s crew: trying to light a match under the rain.
Every time someone learns they are pirates they’re super scared. then they get to know them and they’re like “ah”.
Please tell me at some point Luffy has/will come back to the whale. The poor thing deserves it.
LUFFY WHAT MAKES YOU THINK EATING WORMS IS A GOOD IDEA
Oh my god Luffy sleep-talked and the others anwered I can’t
Zoro: * is about to get turned into a wax statue*. Also Zoro: gotta look good while I’m at it 
Luffy went up a vertical mountain, in the snow, barely dressed and barefoot. While carrying two people. My boy is strong as fuck.
Me: no I won’t cry. Chopper’s whole backstory: hi.
Only Luffy’s brother could not be bother by Luffy having a reindeer in his cruise.
I want one of those turtle-seal things. I’ll keep it with me and cherish it forever.
Episodes 100-150
Places Luffy has fallen asleep at: a pit he created, the middle of a square, a beach after falling from a cliff.
Luffy, insulting a crocodile by calling it a “damned banana”. Gotta love him.
Luffy: almost dies. Also Luffy: M E A T
The lesbian energy just radiating from every interaction between Nami and Vivi is killing me (the bath scene??? help)
Love that despite them risking their own life, Nami still puts her maps first.
 They just keep rescuing people they find in the sea and help them out
This time they’re just chilling around in the boat of the people trying to catch them (also I kinda want to cook/eat curry rn)
Their reactions when Luffy was interested in a book were priceless
I can’t believe this old man  defeated the marine with GOATS
Hey remember that one time the Merry Going came out of a rainbow mist flying?
hOW IS KEEPING A CIGARETTE WHEN YOU’RE IN A DIVING SUIT A GOOD IDEA, SANJI??????’
Mh so falling asleep in critical situations runs in the family, right, Ace?
Episodes 150-200
The only other reaction to the straw hats is "these idiots are dumb and therefore weak" and then getting your ass beaten.
THEY JUST GOT YEETED IN THE SKY BY WATER AND LUFFY'S LIKE "FUNNY". WHAT?
What the actual fuck is happening in the clouds I'm very concerned
They said a lot of money but Sanji converted it in rice I’m dying over here
Single parent Usopp having to deal with all the problem children (expect Robin. In this house we stan Robin.) is a mood
Same thing goes for Nami hitting that dude in the face with a boat cause the price was too high
BIg brain time and it’s just “what if Robin knew how to fight with a sword”. She’d be even more unstoppable. Also woman with sword so
Luffy: gets attacked by dangerous wild animal. Luffy’s first thought: Hey Sanji can we eat it?
Once again, Luffy’s priority are well set: throw that golden necklace away, look for meat instead.
Fellas is it gay to trust a man you never met with the lives of your whole village, get mad at him and then forgive him while running in the water and telling him you’ll wait for him, and protect your land thinking that you need to be there for when he'll return? Asking for a friend.
WHY DID THAT ONE TELL THAT NORLAND WAS A LIAR FUCK THAT ONE IN PARTICULAR
I did some calculations (that are probably worng but shhh nobody needs to know that) and anyways remember the big golden ball attached to Luff’s arm for, like, 5 episodes? Well, it should weight somewhere between 140-150 kg and 200 kg. WHAT. Luffy supremacy, once again.
Pfft look at those idiots trying to escape with the gold while the citizens run after them to give them more.
How isn't anyone in Navarone recognizing them istg it doesn't make sense they are wanted by the law
Chopper decided to risk his life for the lives of complete strangers. What a good doctor.
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laikuh · 3 years
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12, 30, 33 for the ask game if you like :)
yesss!!! i do like!!! thank you so much for asking <3
12. Which season do you think is best written? Which is your favourite?
oh man. ohhh man. it's hard to separate out a season when i think the entire pacing of s1-5 are incredible and build on each other so perfectly. but best written might be 2 or 3? my favorite is probably s3. it's just one fucking incredibly ep after another.... my fav seasons are probably 3, 7, 4, 5!
30. Is John Winchester redeemable? Is he complex? Is he in love with Azazel?
oh, john. i think i answered this last time, but i can talk about john winchester until im frail and gray, so im happy to answer this again.
idk what redeemable means. idk that redemption is something any of us decides as viewers. idk, i've thought a lot about forgiveness this year, and i've thought a lot about sam and dean and john and whether they've forgiven john for how he raised them and treated them. and honestly, i think the show can't decide if he's forgiven either, which is why these later seasons are so wishy-washy on how john gets referenced. how you can have the boys home and dean saying things got dicey and sam saying dean protected sam from john, while also having an episode like lebanon that intentionally calls back forgiveness feelings sam expressed all the way back in season 1, and yet ALSO gives us a deleted scene where dean calls john by his first name for the first time and sam seems shocked they'd choose to honor him in the same breath as mary and bobby and cas.
and i guess what i'm trying to get at here is that even if the show had somehow found a way to make john seem like a good father, i wouldn't be the one to decide if he's actually redeemed or forgiven. and on top of this, forgiveness is an incredibly difficult, complicated, and personal experience. we forgive people for different reasons but ultimately for ourselves, because we can't go on living with the hurt of what happened to us anymore, which is how you can forgive someone without them knowing you had a problem or someone who's long-since died. and why i bring this up, is because even with john depicted as he is, even if the show didn't try to "redeem" him, i get the sense sam and dean have forgiven him anyway, and that's more than enough for me.
as for if he's complex, that's a hard yes lol. i just rewatched the henry episode, and i think that ep does a really great job of complicating john further, even complicating dean (and to a lesser extent sam). so yeah, i think john is complex. i think he's layered. i also don't think that excuses anything, and that's where other people's takes sometimes irk me a bit. john isn't either good or bad. there's no fucking excuse for what he did to his kids, but i can hold that truth in my heart the same way i can hold an absolute tenderness for a man who loved his boys and loved his wife and had no blueprint for being a good father.
lol is he in love with azazel? yeah, that's a no from me, but y'all have fun with the ship i support you 10000%.
33. Ideal Supernatural ending, when, where?
sam and dean on a beach. dean says the same speech he said while dying, but this time he says it with his toes in the sand at sunset, watching the waves, drinking a beer with sam.
if im choosing an existing finale as a place to end the series, then that's also easy: s11.
thank you again for asking! if anyone else wants to send an ask with one of these questions, i'd be so happy :)
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ae0nx · 4 years
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FRUITS BASKET S2 EPISODE 7 RECAP AKA ‘TOP TIER FURUBA SHIT’
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An accurate representation of me getting ready to talk about this episode. 
My guys... this episode pretty much hit all the points for me in what I expect of a Fruits Basket episode... and more! I loveeee this episode. I gotta admit last week’s episode was a bit of a shoulder shrug for me cos it was mostly a set up for the beach ‘arc’ but this. episode. I have way too many screen caps, I don’t know how I’ll do this. 
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And we open up with a big ‘fuck no’. I love the flash forward just to prepare the audience for a whole lot of hurt. Excellent. *pours myself a glass of wine*
- Hiro: “Yeah, yeah, yeah, Mum, just don’t trip over, ok?” Sorry about that guys, I just found out my Mum’s pregnant Everyone: Whaaaaa?!
Hiro’s nonchalance of it all had me dying 😂
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I appreciate the ‘dog’ fan. Definitely accurate in more ways than one. Strike one.
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Strike TWO. The fact he said that in front of not only Tohru but KISA AND HIRO is so gross. I’m not even joking. It’s just gross. Not a great joke at all. Poo poo.
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STRIKE THREE. Akito... please come get your dog. It’s the only useful thing you can do rn anyway
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Wow, Yuki. I actually teared up a little at his realisation. This whole episode should just be called ‘call 999 for these kids’.
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Hiro’s mum just sounds like a Furuba fan tbh 😝😂 Also... are the zodiac members born in their animal forms? Or is it just in the first instance they are held by a parent of the opposite sex? Cos if it’s the first option, that’s pretty... messed up. But, theoretically hilarious at the same time!
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Ohhhh... Tohru’s one of those people who like to push aside their own problems and focus on other people’s instead... Except, it’s not in an annoying and judge-y way at all. However, I am beginning to question whether she is actually that selfless and the real root of it is that Tohru needs a distraction from her own pain. Either way, it’s sad and I don’t think she’s doing it consciously at all which makes it even sadder.
Oh, Tohru.
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Also, appreciation for Momiji being a human backpack at all times. And I love his cat eared hat! I want one! Our Outfit Appreciation Winner this week. 4 stars.
- Kisa/Hiro being a mini version of Kyoru was basically confirmed this episode and I am happy.
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Such a gorgeous moment. Pretty much met the feelings and emotions I got from reading this moment in the manga AND MORE. It’s golden. And I love it. ...‘nuff said.
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Oh look, Dad’s here too 🤣
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*looks into the distance to a far off future...* ANYWAYS
- Kyo being so open and honest and vulnerable with Tohru to a point where he mistakenly already thinks he told Tohru all about his parents already is just... everything to me. Especially from someone like Kyo who’s constantly carrying all this baggage around. But jeez, we always forget that Tohru’s got baggage she’s carrying around too! Tohru and Kyo on surface level look like such opposites in every way but remove some layers and they are so similar, it’s uncanny! 😍🤡
I just love developing relationships. 🥰
- Kyoko definitely wanted to destroy that flowerpot 😈 We love her. We miss her.
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He’s so in love with her, I can’t. I’m gonna cry. <3 Also, that expression feels like a very Kazuma expression, is it just me?
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*spontaneously combusts* 
But anyway... just cos we can’t have anything good for too long...
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Tbh if I knew a Shigure, that’d be how I’d start every conversation.
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I love Hatori. :) I mean he wouldn’t actually slice his gut open but it still means a lot to me that he said he would...
This go around of Fruits Basket has made me realise how much I relate to him and his position in the family. Every anime has a character that’s in their twenties and just... tired and I always relate best to them, shoutout to Keishin Ukai from Haikyuu.
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Even though I hate Akito, I have an appreciation for the subtle shit the animators/designers do whenever they come onto screen. All of Akito’s actions have a kinda feather-lightness/almost ethereal feel to them and the way Akito is contrasted against not only the scenery but the other characters around them is... so gooood. I’ve already talked about how I love the emphasis on the presence of Akito in their first appearance in the anime but... I’ll still be talking about it cos it’s great. And I can’t wait to hear Colleen Clinkenbeard in this ep, but Maaya Sakamoto was stellar in this episode (fun fact: did you know she also played Haruhi in OHSHC?!?).
But yeah, I still hate Akito. Sorry.
- Kisa’s little sigh of relief that Tohru doesn’t have to meet Akito was already HEARTBREAKING but mixed with this moment....?!?!
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...
I...
I just really need someone to explain to me how you could like Akito. Even after the ending of this whole series. Like...
I just don’t get it. I don’t... 
Look, I’m gonna malfunction if I don’t move on.
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Oh?
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This is the start... of something new... it feels so right... to be here with you... 
oooohhhh 🎶 
 👀
- Kinda sad that Kyo and Tohru had the house to themselves but there was so much weird and bad energy in the air that they couldn’t even really enjoy their pancakes :(
- That Akito and Shigure and Hatori (and partially Kureno) scene just really... disgusted me. To see someone have that much power in their touch and their words is... freaky and unsettling. And I love it cos it’s interesting but I also hate it soooo much. I have nothing more to say about it besides that really. I was more interested in the Shigure and Hatori moment afterwards...
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That’s a nice way of putting it...
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Maybe this was to be taken mostly as a joke, but do you think that Shigure actually wants Hatori to remind him how much of a shitbag he’s being? Most of my problem with Shigure (and why I actually liked 2001!Shigure but let’s not go there again) is that out of everyone in this series, he’s the most untouched. And yet he schemes and manipulates and seems to get everything he wants. AND what makes it even worse and annoying and spectacular, is that Shigure’s little nudges and pushes of the chess pieces which are the zodiac members aren’t so obvious to the extent that you could only blame him for it. It’s almost genius, if it weren’t so repulsive. 
*sighs* I just really want him to either repent or feel some kind of guilt afterwards. 
...Hence why I’m most interested in where he’s at after the end of this all.
All I want is a scene between him and Tohru, somewhat like this:
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👀
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...Ok, this moment made me like Shigure just by 5% more this episode. Still trying to figure out that Shigure/Akito relationship literally a decade later tho...
BACK TO SOME KINDA HAPPY(?) STUFF!
I love love love love love this moment between Yuki and Tohru. It was gorgeous!
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I wish this scene were longer so I could make an AMV (if I really felt like it) with Coldplay’s ‘A Sky Full Of Stars’. The lyrics match the moment so much and I definitely cried.
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Oh, Yuki...
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It was such a beautiful way to end this episode. Wow.
And Yuki’s words to Tohru that ‘she’s just like the sky’ has so many meanings to it and I want to go into it but I’ll start really explicitly going into spoilers. So, I’ll just leave it as poetic cinema.
Perfect.
God, this was such a good episode, guys! I’d probably put this episode on the same level as the True Form episode. It gave us furuba shenanigans, it gave us kyoru, it gave us disgust and hurt and it gave us a moment of someone rising out of the ashes!
I love this anime. :) See you next week!
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startwithbrooklyn · 2 years
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THE GREAT ND REWATCH OF 2021 / OCTOBER 4, 2019 // the party
again w the first 2 minutes of the next episode to keep the dates 🙏🏻
"if only i could get myself a new father, too" WELL SWEETIE! here ya go! 😅 ("you already have a barbie dad at home" "thats a fake dad, i want a real dad")
-"ohhhhhhh" charlie 😂
-"someone needs a spin on the chore wheel" - i honestly cant see victoria doing the chore wheel. it definitely sounds like a george thing. what if george went to parenting classes with victoria drunk/asleep taking the notes to help raise her sisters
-"with the exception of one vandal" i was SO CONFUSED by this statement for ages but i finally figured it out 😅
-"kate would have been happy to see it" oh nick. if only you knew her truth
-ace surrounded by all these romantic interruptions lmaoooo
-"hi bessie!!" 😍😭💙
-"need any help?" i get that this quote is to show how george has parenting well in hand but this also reminds me of when george went to the beach in ep 2 to help the crew w the morgue and then overheard nancy and nick talking and left
-"with everything that's happened" so does owen know?
-"my closest relative is not my blood relative" i get that shes had like. 12 hours to process this but this statement acknowledges a relationship for nancy and carson not based on blood which is very against what nancy said/felt previously and throughout
-"yours is like a moped with a roof" in ep 3 ryan mocks carson's "dad car" but in the end ryan's the one with the dad car 🙂
-BESS 😂😭🙈 and "lets hope the agleaca doesnt feed off of negative energy" it kinda does tho!
-what was ace decrypting for owen? paperwork diana is going through from the next ep? (similar stuff to tiffany's flashdrive? how did she get thet stuff btw? and when were she and ryan married? how long has she been digging up skulls?)
-ryan omgggggg i hate how his kid has to take control of the situation bc he cant handle adult interaction appropriately (and "i'm sorry for your loss" im sure ryan is sick of that phrase by now) ryan + women/losses v gains : losing lucy, tiffany, george, potentially his mom (disappointed d/t everett) and gaining nancy (and regaining lucy via)
-"do you think you would have tried to-" i really wonder what she was gonna say here. i guarantee it was gonna be some version of "ask for help" as in "do you think you would have tried to get some other adults involved or ask for opinions from a social worker or something" and enter carson & kate. i guarantee she was trying to envision a situation in which ryan had her but carson and kate featured anyway
-ryan vs carson -->nancy<-- ryan vs owen : asking ryan to help save carson (ace/poisoner) / wondering if owen dies here / would ryan have saved carson in that ep if he knew they had taken nancy or would he have treated him like owen and let him die? (also, ryan is weirdly prophetic about owen's death here)
-"what the hell is wrong with you?" ryan to everett and "what is WRONG with you?" nancy to ryan
-"don't blame genetics. because people make choices."
-she seems SO shocked that ryan would actually leave her there after she screamed at him lmaoooo like sis the entitlement
-"i dont even understand some of the words you're using" CARSON 😂
-DIANA damn bc of a wedding speech?? i fuckin love her tho and her actress too soooo classy
-owen: -sees nancy- -immediately dumps other people to go to her- // shades of blue again! (+he wants to introduce her to the family 😭)
-okay but babies DO look alike
-"and are they haunted by lucy sable?" **
-"what if you hadn't needed me?" parallels how nancy wasn't going to be told either- ryan and nancy are equals in their haunting in ways that carson was unequal to nancy in grief. *this and the previous statement i will explain de jure at the end of tomorrows ep to recap the whole season
-"that's the first time i've believed you actually cared about something" vs "finally. a straight answer"
-"are you alright?" she finally doesnt lie
-ryan and carson sizing each other up lmaooo and ace with the save as always
-"they're not my friends" vs "i need you to save my friends"
-nancy's pain during ritual echoes lucy's birth giving (pain & noises) but nancy is with ryan this time while lucy had to go through it alone
-how many fucking times does bess put her foot in her mouth??
•"murderer on the loose" in front of nick
•bess in george's office with ryan
•"you slept with my cousin!" in front of nick
•"george slept with nancys dad" to george
which is honestly contrasted with george, who makes the succinct observations: "you mean do it for you?" "oh, so this is a thing" "you mean rehab?" but george also outs peoples secrets like nancys mom dying and bess's van living to nick (only to nick tho lmaooo 👀🤔)
-so all these portents are things that happened to odette? hair shorn, bound and choked with rope, drowning in water with crabs and maggots crawling all over her, occasional fish hooks getting caught in her as she sinks (+dead in the water being so appropriate here, sadly)
~~~~~
-"i trusted you to be kind but look what it cost me"
and lastly:
-again with the truth telling and the straight up rejection! thats 0/2 lisbeth and john sander cancelling the supernatural
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