you don’t get it. you don’t get it. i will always think about how shuri all but ran to the ancestral plane, despite not believing in it. how, despite her misgivings, it was a chance to see her mother or brother again;
and i will always think about how she met killmonger instead: someone she deemed an enemy and a threat to those she loved and stood for. always separate and far away, always just a warning—look, this is the wrong path. you should never take it.
and how killmonger convinced her that they were the same. you chose me.
i will always think about shuri after, waking up on that cold metal slab, now hollow in a way no one else will ever be able to comprehend;
how, as she stood up, her loss finally seemed real to her, because even in a place where her wishes to see her family could have been granted, they weren’t. they didn’t come. to her, they chose not to, and so a man like killmonger guided her into her first breaths as the Black Panther instead.
i will always think about how broken by grief she sounded, and angry, and most of all, above all, so utterly alone:
“I saw no one Nakia! I SAW NO ONE! Why did they not show up? Why did they abandon me?”
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i love watching the behind the scenes bits because of the insight it gives you. the death scene was TWENTY EIGHT PAGES LONG in the script and boy did it feel like it. one of the producers mentioned how they “never wanted to take the cameras off the kids because then it’s kind of like.. letting them off the hook” and my writer brain found that supremely gratifying. the complete lack of ‘downtime’ from tom’s call to the press conference forced you to feel some of the tension the siblings did, and it did NOT give you a break because they didn’t get a break. it yanked you in unexpectedly and didn’t let you go for almost a full half hour. it was so masterful and i expect emmys all around <3
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DSOD is such a funny movie. Kaiba comes on screen in his giant fucking space station molded into his company logo and I just laughed. He’s so dramatic. He misses his rival and is so obsessed with getting some closure for once in his goddamn life that he spent well over a billion dollars to excavate a cursed puzzle and build a space elevator to the afterlife but the minute anyone says anything about ‘hey maybe that’s a little unhealthy’ he’s snapping and snarling and telling them to fuck off. Except the cube guy. He’s has a duel disk and is also full of unprocessed grief so he can stay. Yugi Moto looks them dead in the eye and says “first of all, I’m only here because you both blackmailed me. Secondly, fuck you both for that, by the way. Thirdly, I’m gonna kick your ass”. Card games ensue, meanwhile Yugi tries his absolute best to show Kaiba the pharaoh is gone and maybe he needs to spend some time reflecting on his emotions and yes the invitation is still open to talk about Him BUT THEN THE NARRATIVE PROVED KAIBA RIGHT?!! AND THE PHARAOH COMES BACK AND YUGI HAS TO LOOK KAIBA IN THE EYE AND TELL HIM THAT HES SORRY FOR DOUBTING HIM?? WHAT. What Kaiba takes from all this is that a) his horrid coping mechanisms work after all, b) if he just fucks around enough and spends all his money he really can be king of the world and c) the best option is definitely to finish that space elevator and fucking. Go to the afterlife I guess. To duel his “hated rival” or whatever. Fuck off
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They, he and Ice and sometimes Slider too, used to spend hours watching Bradley play around their little garden. He was five, then ten, fifteen and crying over some girl and then some body and then he was eighteen. Then they stopped spending all that time outside because Bradley wasn't around anymore and Maverick was back on a jet far far away to not deal with all the bullshit but still find the way to make peace with what he did.
It's not a garden but a beach, Bradley passed his twentieth birthday by a decade and only Slider is there with him. Some days they laugh about the Daggers and somedays they leave before Penny can send their drink out because, sometimes, Bradley says or moves his head in a certain way and both of them can see Goose and Ice in him so much it's like having them there. Mav knows, and Slider does too, that Bradley is more than just them and sometimes it does good to remember about it and sometimes it only helps as a reminder of what, who, they lost.
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Anyways, thinking about how the musical perfectly translates Christian’s narration into a much more direct way. In the film he has a degree of separation, we first see him in the depths of his despair, we see the aftermath first. The narration is explained by it being his typewriting rather than to the audience itself. On stage you could technically do that, have him start at a desk or so forth but I like what they chose to do. We fall in love with a time and place, with a girl, alongside him.
The musical does follow the same “back in time” idea but to a greater extent. Instead of a screen edit we see Christian literally start the story by raising its title and setting the stage. (Some actors even have him sigh or prepare himself before hand further showing this). There’s a dazzling and mind boggling introduction only for him to stop it- go back to what he sees to be the beginning then directly jump in time again back to Satine’s introduction.
Here he jumps in and out of the story so seemlessly you sort of forget this is being told to you after it had all happened. Christian falls so easily back into the roll of himself, so wrapped in it all that he still has tears or a smile on his face as he talks to the audience.
It’s not a story being told it’s jumping back in time itself- he’s reliving it. It is a self inflicted time loop, no matter what way he tells the story- on paper, in song, or his memory. It won’t change. It may not be a literal time loop but it’s certainly someone settling back so easily into the role. Christian is so much a part of the story that it rattles him to the core when it ends and he has to find some semblance of explanation- he still struggles to end the show. To stop writing. It’s like she’s gone again, there’s nothing left to tell and suddenly there’s no more Satine.
The musical may not start at the end but it certainly does allow that Christian to poke through. When Satine is introduced you see that look in his eye, you see that joy when he explains meeting Toulouse and Santiago. Again the seamless narrator to player in the play. Love.
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currently listening to the director's commentary on iwtv (1994) and whatever the hell do you mean we were robbed from a confession scene???? now supposedly, after louis shows claudia where he found her and drank her blood, he wonders the city, stumbles into a church, CONFESSES AND THEN KILLS THE PRIEST IN BLOODLUST ON THE ALTAR AND IT WAS CUT OUT?!?!?!
we have all been ROBBED and i wish to see the footage i will give away both of my kidneys to see it pleeeease
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