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Wild take, but when Style says, "It's okay to love," I really don't think it's actually about love at all.

Let's consider the context leading up to this point: Fadel drives Style to an abandoned factory in the woods and leaves him alone to go and brood for a while. At least part of Fadel's goal is to scare Style, to give him a hint that Fadel is more dangerous than he seems.

But Style doesn't back down, doesn't go running, evidences no sense of self-preservation or worry; and at least on some level it's a clear sign that he trusts Fadel. Despite Fadel literally punching him in the stomach; despite Fadel mocking Style's honest and wanton desire; despite Fadel chasing him away, he still trusts Fadel to keep him safe.

Imagine how frustrated Fadel must be feeling. Style was only gone for one morning, but it was enough for Fadel to become painfully aware that he did not actually want Style gone from his life. He knows now that he won't have the strength to keep refusing Style's relentless pursuit, so he needs Style to be the one to walk away from him instead.

And I think this was a final, last-ditch attempt to make Style run away.

Notice that Fadel starts out rather threatening: "I don't like you messing up my life. My life has been planned out. You're disrupting it." At this point, Fadel could have still turned this violent; attack Style and leave him injured in an abandoned warehouse, and I'm not sure that wasn't still on Fadel's mind at this point. He's incredibly aggressive at first: shoving Style back against the bar, caging Style in between his rigid arms, rattling the metal frame behind Style to show his anger.

But oh, in the heat of the moment, the truth slips out. Fadel is admitting that Style has the power to bring change into his highly regimented and structured life. He's admitting that his desire to keep Style in his life has eclipsed his need for control and structure, in spite of himself.

The truth breaks Fadel open in ways that none of Style's machinations and schemes could. He finally recognises that it is his own feelings that are the true cause of his anger and frustration.

This is the point when Fadel finally gives up on the idea of hurting Style to chase him away. His voice softens (fuck, Joong's delivery of "I miss you"!!), his shoulders finally relax, he stops caging Style against the bar and instead it's almost a tentative suggestion of a desire to hold Style.

And I think Style understood this on some instinctive level. Because if you watch Style very carefully, there's a moment of genuine fear when Fadel first shoves him against the bar and then he takes a grim breath like he's fighting off a sense of despair at the at the start of Fadel's rant. Like he could tell this one was going to be a 'make or break' kind of situation.

But when Fadel begins to unravel, when he admits that he was looking for Style when he was gone, there's this almost hopeful, anticipatory look that slowly blooms on Style's face. He's so hungry to see where this goes, and he's gets this intense almost wild look on his face when Fadel pauses to search for his words.

It's incredibly important that Style waited at this point. Style, who talks endlessly and without thought. Style, who demands that his story and his thoughts are aired first. Style, who has been telling Fadel this lie time and time again before Fadel’s feelings made it true... Stops. Waits. Stays silent. Because Fadel had to get there himself or not at all.

Dunk does something incredibly subtle here, but it blew me away: Style does not blink once throughout the entirety of Fadel's rant UNTIL he says "I don't like that I miss you". And that's when Style finally blinks as if it’s finally safe to take his eyes off Fadel. As if there's a wave of relief washing over him as the tension (and sense of danger) finally breaks.

He also does this incredible thing where he softens the look he's giving Fadel right before he drops his eyes down to Fadel's lips. (Joong has always been excellent at this, but Dunk didn’t really get that many opportunities to do this in previous roles). Style is treating this moment so carefully, and there's a purposefulness to this kiss that was entirely absent from the ones Style initiated in the locker room in episode 2.

I also think it's really important that Style was the one to kiss Fadel here. Not just because it juxtaposes the kiss in the store room, but also because Style has shown a strong preference for Fadel taking the initiative. He has been constantly creating opportunities for Fadel to lay hands on him, right from episode 1 when he put the Heart Burger pin on his chest and put his arms behind his head in welcome (and surrender).

But for this to be a functional relationship, Style has to take ownership of his own desire for Fadel. He cannot remain physically passive any longer, because this is the start of something bigger than just the thrill of being wanted. Style is looking beyond what he wants, potentially for the first time, to what his partner needs.

And I wonder, is this maybe the first time Fadel has allowed himself to be kissed since his ex left? There's something so fragile in the wide-shot. The way Fadel only has one hand barely touching Style's hip, while he's still got his other hand clenched tightly around the metal bar like he's desperately holding onto a lifeline. I have so many emotions about this.

Which is why I think this line wasn't really about love at all. This was Style responding to the vulnerability he sees in Fadel and offering reassurance in return. Because Fadel is strong and doesn't need protection, but oh yes he does, for it is his heart that is in danger of shattering.

There's an incredible line in episode 13 of Love In The Air, when Sky (in the aftermath of an extremely traumatic event and after finally revealing the full truth that he was sure would drive Prapai away) turns to Prapai and asks, "P'Pai, can I really love you?" Sky is asking if his fragile heart is really going to be safe in Prapai's hands.

And I think this is exactly what Style is getting at here: He's telling Fadel It's okay to love me. That Style is safe to love. That Fadel can take the risk to let Style into his heart because Style isn't going to take it lightly.

And it's this reassurance that finally allows Fadel to let go: both figuratively (as he starts to take control of the kiss and the encounter) and literally (as he transfers his hold from the metal bar to Style's body). Even the contrast in the wider shots between the kiss before Style says "It's okay to love" and after is startling.

This wasn't really a love confession, not in the conventional understanding of it. But for Fadel, who's mother "loves" Bison and himself for their utility and usefulness, perhaps the assurance of safety is more important.

And for Style, who seems so naive and inexperienced and ignorant of the way the world works in ways that suggest he's never truly had to grow up, this is far more significant. Because he's taking responsibility of someone else's heart for the first time in a way that I don't think he's ever allowed himself before. I said before that Style would be forced to grow up and I do believe this is what we are seeing here.

So no, I don't think this was the moment of "falling in love" but I do think this was the start of something real and meaningful and purposeful that could have eventually blossomed into love for the both of them.

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don't think I've ever gone from "it's a no from me dawg, i dont like this" to "OMFG I AM LOSING MY SHIT SAT WAITING FOR THE NEXT EP COS THESE TWO ARE MY CURRENT ULTS!!" so qucikly, and I love that for me.

so find me here for the foreseeable...

The Heart Killers' Colors ? - Ep. 2

I only have two episodes to go off of, but I'm still trying to see the colors in The Heart Killers, and even though I'm confident that Fadel is a Black Brooder, the others are up in the air.

I still feel secure that Bison is a Red Rascal (warm), but I think he intentionally hid it this episode.

Bison was blue most of this episode around Kant.

And he just kept getting lighter.

But @visualtaehyun mentioned that when they first met, Kant stated that Bison needed to let him be in control, so I think Bison is faking a color and a personality because even though he wears blue, the red is still there, right at his core.

And once Kant participates in the dancing competition solely because Bison tells him to, the red is back.

In The Taming of the Shrew, Bianca (Bison's character) is not the titular "shrew" to be tamed; therefore, she is never tamed. In fact, Bianca becomes more assertive and manipulative throughout the story.

Because Lucentio is whipped.

So we know who is really in control and pulling the strings in every version of this story. It's the Red Rascal.

So now on to Kant, who is supposedly a (Dark) Blue Boy.

The blue would make sense because being whipped implies an extreme level of loyalty, but much like Bison, I think Kant is intentionally hiding it.

The entire plot is based on Kant trying to swindle his way to freedom via exposing Bison and Fadel with any means possible, so of course he wouldn't show his real color.

But, once again, IF Kant's real color is dark blue, it's interesting where and when his and Bison's color emerge.

Kant was dark blue in the first episode before he entered this deal for his freedom.

And he was feeling Bison's red.

So Kant, in his true color (IF it's his true color) likes Bison's assertiveness and aggressiveness.

Even if he doesn't realize it, the (dark) Blue Boy is following the Red Rascal's lead.

Which leads to Kant's wild friend who wears wild (printed) clothes.

Style is supposed to be a (light) Blue Boy.

Which means, just like Kant, he would be loyal and committed (to the bit).

But I initially thought Style was flesh/skin, which might seem odd since that's not a color, but I think it is very important.

The reason I'm confident Fadel is a Black Brooder is because he always wears black and he is hellbent on keeping his secrets, which the black color symbolizes.

So I don't think Director Jojo just wants to show Dunk's body (which I wouldn't fault him if he did because . . . well, Dunk's fine). I think Style, with his crop tops and eagerness to take off his clothes at any given moment, represents openness and vulnerability, which are two things Fadel struggles with.

And this is also why I think this is an intentional choice by Cinematographer Rath to light each scene as it was: the sauna is warm with Style baring himself for Fadel and exposing all his perfections (and flaws) transitions to the locker room being dark so Fadel can sneak up on Style and threaten him about his secret.

And it all ends with Fadel, in his darkness, turning to the warmth.

The light he faces has no shade. It is merely a fully exposed light bulb.

So Fadel, the "shrew" in this story, doesn't need to be tamed as much as he needs to be exposed, but not in a negative sense.

He needs to be allowed to be vulnerable. He needs to be able to lay himself bare. He needs to be free from his secrets.

But the problem is Fadel, just like his brother, would never willingly give up the control. But unlike Bison, Fadel's control is over himself, not others. Bison told Kant that where Bison is laid-back, Fadel is high-strung, so he would never allow himself to be vulnerable. He would never openly lay himself bare. Because unlike careless Bison, he would never expose himself. Much like when Style fixed Fadel's Jeep, Fadel was upset that Style fixed other issues. He didn't like Style looking where he wasn't supposed to. He didn't like Style changing things he wasn't aware needed to be changed. He didn't want Style looking deeper.

Which is why Style has to annoy him. Regardless of Style's color, he is a mechanic whose job is to look under the hood to see the problems and get dirty in the process, so he is the perfect man for this job. He would never know the real Fadel because Fadel would never allow that.

So Style has to get under Fadel's skin to see the real him.

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ice on my teeth...

catch me down in Venice, spending like a menace, i'll have you dropping that chemise (?), won't do what you tell us (pushing the pronunciation here to rhyme a little), drop shot I'm tremendous, serving aces don't be jealous....

yes these aren't great but c'mon tennis and tennis? is that really the best they had?

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It's my 11 year anniversary on Tumblr 🥳

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ohhh october be kind. on god be kind

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So. The Time of Fever. The story is pretty simple, but it was elevated by some choice cinematography and music... sooooo let me take two seconds to gush about the two kissing scenes.

Both scenes are shot to convey something very specific (how special the characters are to each other) and although not much is said, a lot is implied. I don't know how intentional it was, but they also end up almost a perfect "reverse" of each other.

The bare bones of the two scenes are as follows:

Kissing Scene 1: infirmary (public setting, neutral white, Dong-hee takes care of Ho-tae's wound)

tension, uncertainty/confusion, complicated feelings (shaky cam, tense dialogue)

something sets it in motion ("hyung")

music starts

slow and steady - dreamlike atmosphere (tension released)

outside interruption, music stops - back to reality, tension back up

Kissing Scene 2: bedroom/house (private setting, heavy color-coded, ends in pain for both of them)

comforting, easy-going, chill vibe (steady cam, silent book reading)

something sets it in motion (hand feeding)

no music

shakiness, quick movements - raw, not romanticized (tension goes way up)

minimal music - self-interruption - got a lil too real, tension goes down

If you watch them back to back it's even more obvious, I love iiiiiit. The contrast of it all!! YES. Sorry for my ugly GIFs, I just wanna illustrate my points lol

In the first scene, Dong-hee and Ho-tae let down their guard and enter a bubble of peacefulness, before it bursts. The scene starts off with quick, nervous dialogue, no music. The shots go from tight to even tighter, and the camera shakes a lot, reflecting the ambient tension.

The music, gentle and hopeful, starts as soon as both of them "fold". Ho-tae agrees to use the hyung honorific for the first time since ep1, and Dong-hee gently goes in for the kiss. The scene is drenched in white, the camera movements slow, to the point it's hard to notice whether they themselves are moving slowly or if there's a subtle slow-mo effect applied. It's unhurried, like they have all the time in the world.

The music swells into something very airy and dreamy as soon as their lips touch; the camera steadies, the shakiness fades—the surroundings too. Even when the camera pulls back a little, the framing is minimal—you can't even distinguish where they are anymore (in a school infirmary, behind a curtain, against a window). The only thing in focus is their faces, the rest is slightly blurry or washed out. It's not just visually that things fade out, there's also barely any background noise: no ruffle of their clothes, no school chatter, no bird chirping. it's just them, floating on a cloud, the heaviness of the moment gone, the initial anxiety soothed.

The moment, the music, the kiss—everything is interrupted abruptly by an outside element: the school bell. The bubble pops, like a dream they both wake up from—signaling the end of recess, back to harsh reality. Their eyes open, they freeze, and just like that, the camera shakes are immediately back.

The scene unfolds smoothly and clearly: it takes the characters from a moment of tension, to sweet release, steadiness, and calmness—it starts from something complicated and changes to something pure and easy, like a knot being unraveled—and then snaps them back to reality.

The contrast with the second kissing scene, happening in the same episode (!) is nothing but art tbh. Like I said, it looks like the reverse of that first scene, but it unfolds the same way. This time, it starts off quiet and gets thick with tension.

First, they're at home, not in a public space. It's not day-time. They're lying down. The private, safe atmosphere of the scene is reinforced by the warm colors. It's late autumn, it's getting cold. They set up a space-heater (it casts a reddish brown hue over them), place a comfy (red) carpet on the floor to keep the heat in and to laze around on. The camera is steady, the framing comfortable, no shakiness.

They're still facing each other, one is on his back, looking up to his book, the other one is on his stomach, looking down as his own. Everything conveys a cosy, relaxed but intimate vibe, without any agitation. Ho-tae is snacking absentmindedly on some seasonal fruit (clementine/mandarin). There's no talking. There's also absolutely no music. You hear everything, from the distant creaking of the house, to the pages rubbing together, to the crickets outside.

Then, comes what sets the scene into motion: Ho-tae feeds Dong-hee some fruit. Dong-hee takes it into his mouth easily. The mood switches. A lot of close-ups, and the camera movements become shakier, more chaotic: tension goes from 0 to 100. Where there was a lightness, softness to that first kissing scene, it's pretty much the complete opposite here. It's more intense, but there's a sort of ache, an urgency to it that was completely absent in the first scene. The breathing gets heavier, louder, no music to cut through the reality of it. It's been a while since I've seen such an erotic scene, without it being explicit.

When it does come, the music kicks in very slowly, just a few low notes of piano, not enough to cover the noises (the kisses, the breathing), the initial warmth of the scene becomes almost stifling. And just a few seconds later, everything abruptly stops once again, but this time, Dong-hee himself is the one putting an end to it. The camera very slowly tones down the shakiness, back to steady.

In this scene, the characters' comfort and peace crumble, the kiss doesn't appease, it lights a fire. Gets them inflamed and exposed. Takes them from innocence and easiness to desire and hurt, from sanity to fever. The hazy, nice moment catches fire and burns up too fast. Like Ho-tae's fingers twisting knots into Dong-hee's sweater, the feelings gets tangled up, and both end up getting hurt.

The first kissing scene was the beginnings of some clarity, they both let go of what holds them down, while that second scene is charged with angst, it weighs heavily on them. The parallel was just so good I needed to get this out.

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also #myfivelovelanguages

classiccccc

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say it louder for the people at the back! TMS is just a prequel to TMS2!!!

TO MY STAR 2: OUR UNTOLD STORIES (2022) dir. Hwang Da Seul

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Reblog to cure his depression

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good things will happen 🧿

things that are meant to be will fall into place 🧿

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This is the lucky clover cat. reblog this in 30 seconds & he will bring u good luck and fortune.

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Was tua ending unsatisfying and kinda predicatable? Yes and, yes, and whilst i'm not a fan of it i can forgive it, BUT what i absolutely cant forgive is Five x Lila, which still has me screaming tbh and to quote Michael Scott no, god please, no, no, NOOOOOOOOOOOO!!

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Ending Idea

Setting: Everyones in the living room of The Umbrella Academy, deciding they are all gonna sacrifice themselves when Victor say "No, I can take your marigold.."

Victor takes the marigold from their bodies, while TC is coming, they all protest saying you can't sacrifice yourself like this for us and he says "We are a family I'd do anything for you guys" cue tears and Allison saying "Viktor stop!" as he's absorbing all the marigold, it looks like he's gonna explode but he manages to regain control and falls to the ground, they pick him up and huddle together. Big bang noise and they look and see TC is behind them smashing through the wall of the house, they all get scattered about the room. Coming to they see TC moving forward so they rush to get up, then suddenly they see Ben's face moving in TC and he manages to say "Run!!". They all rush to Five except a weak Viktor who looks back at Ben and a small flash plays through his head of old Ben, he rushes toward TC, powers gearing up and screams as he tries to pull the marigold out of Ben inside of TC. He shouts louder and uses more of his power to suck more marigold into himself, until we slowly see Ben, coming back to his normal self, pushing forward out of TC, until he slides across the room, breathing heavily. He sees The Umbrellas to his right and Viktor floating in the air to his left, powers swirling all around him, slowly loosing control of it all, seconds from being enveloped by not only his powers but also TC and he asks "Why? Why would you help me like this? We aren't even a family" to which Viktor replies through a pained, strained voice, "Because you saved me once and even if that was a different you, your still my brother". Cut to The Umbrellas all emotional as they frantically grab Ben and pull him towards them. TC pulses as it's growing, Viktor shouts "Five now! Get them out of here". They share a look of farewell and Five reluctantly blinks them out of the room to the subway where their family is, Allison and Klaus are shouting to go back but they are pulled onto the train by Luther and Diego. Cut back to The Umbrella Academy where Viktor is still floating and we cut to his face and see a shift in his eyes, he closes them and we see a small montage of clips of Sissy, Harlan and The Umbrellas, then he lets go and in slow mo falls backwards as it explodes again, and he lands with a smile on his face into TC. Cut to year later in the new timeline, TU are gathered in a park for their birthday, everyone is there, Klaus & Dave, Luther & Sloane, Diego & Lila are together and she has her original beaded bracelet on, Allison smiles at Claire who's playing with her cousins, Ben & Jennifer are together, Luther looks around and says where's Five? they all moan about him always being late. Cut to Five rushing, walking through the entrance of the park, he bumps into a young woman and he drops the bag he's carrying, she helps him pick it up and as he looks up, his eyes meet hers and it's love at first sight, she says sorry and smiles and just as he's about to speak a voice calls out "Dolores" and she turns and says "I'm so sorry I have to go, sorry again". We cut back to TU as Five joins them with a big grin on his face. Cue some playful ribbing from the rest of them as Five is never normally smiley like this. Five brushes it off then gives them each a beer from the bag and Dave jokingly says "Hey!" and switches out Klaus' beer for a soda and Klaus loudly says "Awww isn't he the best everyone" to which Dave is instantly embarrassed. Then Ben says "We're here to today not only to celebrate our birthdays but to remember those who aren't with us and whilst we never actually acted like siblings they were all still my family, so here's to Marcus, Fei, Alphonso, Christopher, Jamie and.. Viktor". They all raise their beers and together say "To Viktor" as Five adds "To Viktor who was truly the best of us!". I think we're alone now starts to quietly play out if a boom box on the table, Klaus shouts "I love this song" and turns it up, and they all start dancing, we slowly zoom out of the park as the song plays and we see marigolds growing all around. Cue the bts.

Instead of having just everyone die for, well, what? Why not have Viktor who was always treated as an outsider, never allowed to be an Umbrella or be included in the family, be the one to save everyone - it's not ideally what I would want to happen but at least this way there is ~meaning~ to what is happening. Thoughts?

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Instead of having just everyone die for, well, what? Why not have Viktor who was always treated as an outsider, never allowed to be an Umbrella or be included in the family, be the one to save everyone - it's not ideally what I would want to happen but at least this way there is ~meaning~ to what is happening. Thoughts?

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tell me something more iasip coded~

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someone write a fic where Jongwoo realises he has all the power and makes Moonjo come crawling on his knees for... anything really.

goddddd

the frustration, surrender and relief on jongwoo's face vs the complete and utter raw adoration and knowing on moonjo's,, they're so dear to me.