#MY ANALYSIS*CRIES*

[your-zipper-is-down]

I saw people in the UU server discussing how Tella's speakers work, so now I'm gonna give my main hc here since I'm too shy to write it down there directly lmao.

SO. It all started with this extra:

The red part says: "Holes like Nico's" which made me think that, actually, Tella's speakers and Nico's pods work quite similarly:

They both are connected to their brain; the pods allow Nico to store and get information, the speakers allow Tella to transmit his thoughts into words and, on a physical level, both are capable of levitating.

On a meta-level, that could be the reason why Tzk decided to match these two up during spring arc (we didn't have enough information about either of them at the time, that's why I consider it more "meta")

But then, where did Tella get Nico's tech?

Billy got it for him. It's not a confirmation, but my most solid piece of evidence:

Nico and Mico are showing Billy HOW the tech works, Mico literally is holding what I can assume is the blueprint or the dossier about it; and at the parallel, we have Tella (recruiting Rip and Latla). I don't think is a coincidence.

We also know Under had the tech/knowledge to adapt Nico's tech- they made the mechanical arm and goggles that Creed uses and Latla's broom bike. There are also the gates that we never learned how they work (I don't think is an artifact as many believe, mostly because Billy says that using them leaves a "trace of energy" that Union could track; no artifact does this for all that we know).

This leads me to my main hc: Tella's abilities with his speakers aren't related to UnTell, at least not completely. Like Nico use of his pods doesn't require him to use UnForgettable, just his brain power, Tella's speakers, when he uses them to attack or other things besides talking or "stopping", also only uses his brain; he is strong like that.

[redr0sewrites]

i will forever defend these two- NOT to start discourse but they are both so heavily mischaracterized by the fandom its INSANE like omg yes they are flawed but they are also trying their best PLEASE leave them alone 🙏🙏🙏

as usual im yapping in the tags if anyone cares

[stopper-my-heart]

I did not have on my Heartstopper season 3 bingo card that I would be crying over drawers

Heartstopper S3E4 | S1E1

(They hit me as a reminder of Charlie's safe place and a suggestion that the clinic can be or is one too)

[noxiousgrace]

In my mind i keep assuming krs spent his entire life alone and surviving on his own

But that isn't the case, there's clearly proof that he was at some level helped by other people

He mentions it often

He was saved by social workers from his uncle when he was a kid

LSH saved his life

Grandma kim always looked after him like her own son while LSH was gone

CJS and LSH died for him

And so many other incidents

But why does it feel like he's still all alone?

I think his tendency to self isolate is why i keep assuming he survived on his own, when he very much didn't.

Everyone fails him or leaves him eventually, he ends up all alone so often that it's hard for me to think about krs as someone who's had support.

He's had the rug pulled out from underneath him so many times, that it no longer shocks him anymore (take chapter 1-3 for example, he was so chill about waking up in another world and stated he didn't have anyone who he'd miss

But that isn't true either, krs spent 10-ish years of his life as team leader and protected his coworkers time and time again, of course people would miss him. In elisehns illusion, Kim Min Ah and Bae Puh Rum came to check up on krs who hadn't returned to work.

While he mentions the physical support and companionship he's received from other people, his mental wounds run too deep.

He keeps a very clinical count of who he owes and who owes him in return, support is not a familial thing to him, it's transactional

The biggest reason grandma Kims death affected him so much was that he owed her A LOT, she was always quick to have his back and support him, Willing to treat his bruises over and over again despite her ability being limited.

Same with CJS and LSH, they supported him more than his own family ever did (parents dead and an abusive uncle), he was devastated that he couldn't spend the rest of his life with them in order to "pay back" all of their kindness so far.

He doesn't feel responsible for their deaths, but he feels responsible for every opportunity he lost to care about them in return. He mourns the future he could've had with them and the happiness krs could've brought to CJS and LSH.

"you can't smooth things over with the dead" is something he said in the novel, around the time choi han figures out who he is and krs is ready for CH to be extremely upset with him.

Krs!Cale feels responsible for everyone who shows kindness to him, a part of it is because whenever someone has cared about him, his heart always cared about them in return. And krs caring about people caused them to get hurt, that's why he feels the need to protect them so that they don't fall victim to krs' affection, and he actually has enough time with them for their "kindness" to be evened out.

This is why he's annoyed when his group grows larger and larger because of his subconscious altruism, there's so many opportunities for all of them to get hurt before he's done caring about them to the amount he thinks is acceptable, it worries his emotionally stunted heart.

Anywho, i think he feels alone to me because of how little he opens up to other people. He is a self isolating king and manages to be the most famous man ever.

I want him to open up that scarred heart of his and finally allow himself to be loved beyond transactions.

[shinjiikar1]

I've been trying to think about what I want to say about these first two episodes of Love in the Big City. I'm watching it slowly, it's a show that makes me want to sit rather than rush ahead, and it also hits a little too close to home to enjoy freely (I've only watched the first two episodes so far and my knowledge of the rest of the story is fairly vague so bear with me).

Go Young experiences two major losses. The parallels between these losses, what could have been vs. what can never be again was what particularly stood out to me.

Mi Ae represents a beautiful time that is forever lost. After she gets married, there's no one he can be fully himself with. He simply doesn't have another relationship on that level, platonic or otherwise, and that's truly such an isolating experience. Who do you call when you're in trouble? Who do you complain to? Who will always be your first port of call?

Often, youthful friendships are particularly intense, you're at a point where the world feels so enormous but you don't quite know what to do with it, or yourself yet. Everything still feels new and exciting. You meet people who understand you in ways you've never been understood and can't imagine it won't last forever.

And then you experience that loss for the first time.

Kim Nam Gyu experiences it too. It's clear early in their relationship that Go Young is overwhelmed and uncomfortable with the intensity of Nam Gyu's feelings (his expressions during the padlock and ring scenes in particular). He feels suffocated and anxious, he's not ready for it. So, rather harshly (at least the first time) he ends things. I've been on both ends, which makes it a lot easier to empathize with both of them. While I feel for Nam Gyu incredibly (especially as I read him as very neurodivergent), that discomfort is not something easily resolved, and it's only made worse by his inability to move on. But how can he when he also has no one else?

In the end, Go Young mentions that he missed out on what could have been a long and lasting love with Nam Gyu but I wonder if that's true. Would he have eventually opened up and reciprocated that intensity? Or would he have continued to wallow in his discomfort and let that resentment pile up even further? It's hard to say, but based on the way he behaves, I think the latter. He just wasn't in a stage of life to accept it yet, without the experiences he has with Mi Ae, and without Nam Gyu's death, would he have made it to that point before it became too much? He says he didn't really believe love was possible for someone like him, it took him a lot to get to the point where he even starts to believe it; I find it hard to imagine that he could've gotten there purely through a relationship with Nam Gyu at that stage, as sad as that might be.

Mi Ae offers a bit of an interesting foil here. She chooses loss, but the loss of her authentic self. She chooses the safe option, a stable relationship and job, pleasing her parents, following societal expectations. Maybe the guy isn't quite right, but in the end what seems most important to her is that security, and she's willing to take a loss to get it. As others in the tags have pointed out, Go Young doesn't have that option. There is no option that will (mostly) guarantee him security and safety that would even be remotely tolerable and grant him any degree of happiness. Perhaps he could have chosen to lose parts of himself to be with Nam Gyu, but that wouldn't have provided him the type of security Mi Ae enjoys. If something went wrong and it didn't work out, he could stand to lose even more.

I think that's something that a lot of cishet people fail to understand, and part of what these episodes have done so well for me. Really underlining how the queer experience differs and how isolating it can be (which I think is reflected in Nam Gyu as well).

[beargyufairy]

There when she cried, you saved her life

[agenderduck]

so many people misunderstand red’s intentions in transport. he is not some secret genius that holds the answers to escaping, because he isn’t one. he’s terrified and at his wits end. he knows deep down that there is no escape so he pretends to drive a car that is self driving. he pretends to be in control because in his mind it’s the only thing he can do. its painfully mirrors how self awareness and pattern recognition when you’re mentally ill gets you absolutely no where without any real help. its a curse not a blessing. red is forced into a seat of awareness. awareness of something he knows nothing about, something he never wanted to know anything about. he never asked for this. truthfully he doesn’t know what he wants, nor does he know who he is and that’s ultimately what ruins him. he’s tired of feeling everything and nothing at the same time, so he runs. not necessarily physically but mentally. transport is a physical representation of red’s mental state. he isn’t constantly trying to escape the house, he’s trying to escape his own mind and circumstance without ever actually going anywhere. he knows fully well that what he’s doing will get him no where, as it always does but he needs to feel in control of something, anything. a part of him deep down truly believes that in doing this, real change may be made this time so he latches onto the idea of a community. he is running from the problem rather than facing it head on. transport is red wanting to break free from the chains that he perceives to be binding him, the problem being that he’s pulling on the wrong chains.

he spends the episode in a panicked frenzy, getting absolutely no where because ultimately red knows nothing. he doesn’t even know who he is. red lacks a sense of self, all three of them do, hence why he acts the way he does in jobs, and in family. he spends the series desperately trying to find a solution to that problem, trying to be anyone else, anywhere else. red thinks about himself first and foremost, not that he doesn’t care for duck and yellow, but because he associates them with the house, with his misery. as much as he cares for them, he can’t help but harbor resentment towards them. red fails to recognize that they likely feel similarly, because they do things so differently from himself. how could they possibly understand? he fixates solely on how trapped and powerless all this makes him feel. so when he begins to drive, he knows that he’s pretending to drive a corpse that’s going no where. he lies to his friends claiming that he’s doing it for all of them, when in reality he’s doing it for him. red tells himself that maybe just maybe there is a reality where he can live a life of his choosing, one where duck and yellow might also be there but one where he can live in a house of his own, have his own space. to be in control of something. deep down red knows that duck and yellow will always be there, partially because he cares for them but mainly because he has no choice. there was never a choice to begin with. red knows this much, and that is as far as his knowledge goes. the three of them will always be together, no matter what, but not in the way he wants them to be.

[rosesofenvy]

How Far We’ve Come - Music Theory Analysis

[Disclaimer: I went to university for music as a violin primary and have the most confidence with classical strings. I passed my piano proficiency courses, but that is the extent of my piano knowledge. It has been a few years since I have done an in-depth composition analysis of any piece, let alone transcribing a piece by ear and then analyzing it. Music theory has never been my strong suit! Please excuse any mistakes in notation, and any inaccuracies in my transcription or analysis. I did my best and this was purely for fun *shaky thumbs up*]

----------------------

'How Far We’ve Come' by Harlan Guthrie is a duet between Grand Piano and Cello. This piece opens with solo piano, either in a pickup measure or in a single measure of 2/4 before transitioning to 4/4 time in measure 2. Throughout its entirety there are many moments of rubato which have been notated as ritardando and a subsequent a tempo. To most accurately follow the phrasing, listening to the recording is highly recommended.

This piece begins in the key of F#M or the enharmonic spelling of GbM. Although unpleasant to look at with either 6 sharps or 6 flats, depending on which spelling is followed, this key is often used by composers to invoke emotions of a conquest story, evoking relief, triumph, victory, and clarity. As we know from our story in Malevolent so far, this meaning is not lost on us. I have chosen to keep this piece as F#M since that is how I originally began transcribing it. I have also attached the GbM version at the end of the post, however all the analysis follows F#M spelling.

The lone piano begins on the third of our I chord with a hesitant, heavily rubato 8th note pickup into measure 1. The transition from measure to measure in this first phrase gains little confidence, especially with the transition from the pickup into m. 1 as this is the only instance in the piece where the set of 8th notes in the left hand do not lend itself into the next right hand pickup (four 8th notes instead of five). Each lead-in to the downbeat is stretched, pedal held throughout the measure to allow the sound to linger. Each press of the keys is deliberate, yet maintains a mezzo dynamic as the sound fades. m.2 is introduced with a vi chord, creating a hint of unease before resolving in m.3 to a IV(add7). We end our first phrase with a half cadence to a V chord, leading into a V7 as our next phrase begins with a B. 

As we enter our second phrase it is similar to our first with  m.5 beginning with a I chord, m.6 expands our vi chord compared to its first iteration, resulting in a more confident feel as we continue into m.7 with yet another expansion to our IV(add7). M.8 ends this phrase as we reach another half cadence V chord almost V7. 

Beginning m.9 the piece has a few possible paths of analysis, we arrive on a vi chord if we are remaining in F#M, which unlike our other initial starting phrases this throws us into a melancholic mood. There is a possibility of modulation to the relative minor (D#m), however I believe it remains in F#M and utilizes inversions of our chords and will continue with this assumption for the next phrase.

Remaining in F#M, m.10 could be a vi(4/2) inversion, or a I(6/4) inversion. Because Measure 11 moves to a ii chord, I believe it makes more harmonic sense for m.10 to be a vi(4/2) inversion as moving from a I(6/4) - ii is less common than a vi(6/4) to a ii. 

M.11 into m.12 is a fascinating progression. We have a V with the (g) in m.11, then we are descending to a Dnat, A#, E# progression. The Dnat is what has thrown me off the most, as it is a minor chord of sorts but doesn’t exist within our key of F#M, or relative D#m. The E# A# progression I believe is a I(4/2) chord, as it is leading us back into the next phrase. Even spelling enharmonically as a A#, Cx, E# chord it does not naturally occur within our existing key. After many hours of checking theory textbooks, writing out possible modulations, and playthroughs of the chords, I’m choosing to leave this as a V-I(4/2) progression and accepting my loss that I do not know what chord exists in the downbeat of m.12. However, I can say that resolving to something that is not a root tonic further creates this sense of melancholy.

Bringing us to our next phrase at m.13, similar to our previous phrase a vi chord but instead of resolving to an A# it resolves to the root D#. M.14 is identical to m.10 with the exception of the lower octave A#3 before resolving in m.15 to a ii chord until the fourth beat of the measure which leads us into measure 16 - resolving to a IV-V half cadence by the end of the measure. 

Reaching m.18 we are returning to our original phrase. This is where our cello enters for the duet, in which I have some observations about musicality first. As the piano is using a significant amount of pedal to sustain the sound, the cello utilizes a wide vibrato to create a warm sound. Notably, this doesn’t occur as significantly when entering with the lower notes. The cello is confident, encouraging the piano forward and maintaining a solid momentum even with the hesitance the piano has shown. 

M.18 we begin on a I chord, supported by the cello playing a low F# as the root. In the pause between phrases, it's as if you can feel the performers breathing together before they move to m.19, our vi(add7) chord. 

Measure 20 I have quite a bit to talk about. Stacked chord analysis is not my forte (pun intended). From what I could hear, there is a B1, F#2, B2, F#3 in the cello, while the piano continues with a IV(add7) chord. B1 is impossible to play on a cello with traditional tuning, in order to achieve this note they would have to tune their lowest string - their C string - down a half step. The chord B1/F#2/B2/F#3 is also impossible to play on a single instrument. If one cello tuned their C down to a B, then they could feasibly play the bottom chord, possibly the two B’s in octaves. It is possible for a cellist to play an F#/B/F# chord, however it would be uncomfortable and not result in a good tonality with it being a triple stop - but, the second cello could split the chord and play a different combination (F#2,B2 or B2,F#) with success. Other solutions to this could be having a double bass play the pedal B, as it would be within their ability on and remain in the correct octave, or having the piano cover the pedal B. This massive chord then resolves simply to a half cadence V chord in measure 21. 

Entering our last section, m.22, we return to a phrase similar to the beginning, with a confident I chord. With each measure we go to a more traditional chord progression to a V-IV-V in measures 23, 24, and 25 respectively. In an exciting turn of events, we land on a I chord in our final measure. The first PAC in the entire piece, and yet, it doesn’t sound as if the piece is finished. Throughout its entirety, all the phrases have been a form of inauthentic cadence. We end on a Perfect Authentic Cadence, a V-I, it should sound resolved. And yet, it continues on. The notes ring, and if left on repeat (as I have done for this analysis), it makes sense for it to continue. 

In conclusion, I believe this duet is in an general AABBAA format, with A being Major key tonality and B encompassing a minor key tonality. This piece is a conversation, it’s full of emotion and hesitance and is a fantastic representation of everything we’ve seen Arthur and John go through so far in the podcast. I can’t help but think of “I’ve come so far…and I have miles to go before I sleep” with this piece as a reflection of that. This composition is saying “Look, see how far we’ve come, what we’ve done to get here. How we’ve changed and grown.” All this to say, it’s an amazing story and an amazing composition. If you made it this far, I’m glad you came along in this musical journey with me and feel free to add anything I may have missed (or possibly mistaken). 

[hanafubukki]

Thinking about how for all that he is worshipped, Malleus is invisible.

No one sees him.

Always seen on the surface level but never deeply.

Always talked about but never talked to.

Always alone.

Lilia has once said he didn't want Malleus to become the hero of a fairy tale.

But that's exactly what he has become, the hero of his people.

The figure head.

In this way, he's not so different from the Knight of Dawn is he?

Only known by name and title, but not the person.

[apiratefellinlovewithastar]

On the subject of love tragedies:

I find it really funny in a bittersweet kind of way that most of the Donquixote Family (not the gang, but the actual family) came to their senses and tried to redeem themselves by being decent and having some speck of humanity.

Dad saw the injustice and tried to do damage control before it could rot his children, and sure, it backfired on him, but I respect him for even trying. That took a lot of guts. It didn’t even take that much convincing before Mom was in on the plan and agreed wholeheartedly, and she never regretted it, not even on her deathbed.

Rosinante, even after being raised by the marines, never lost sight of his parents’ wish or forgot about the atrocities committed by the Celestial Dragons. Sure, he was very young when they left, but he never forgot the misery they brought nor let the Marines brainwash him into thinking what they did was right because they were ‘Gods’ and their word was law. And how beautifully poetic that is, isn’t it? Because despite everything he went through as a civilian, he decided to break that particular cycle of violence. He could have become Doflamingo; he went through the exact same hell as his brother, after all. But instead he saved one of their ultimate enemies. And he loved him so much in such a short amount of time that it changed Law’s narrative. The child who was supposed to die at 7, 10, 13, and thanks to miracle after miracle—one of which was Rosinante—he lived, and lived, and lived.

Mjosgard spent one (1) trip at sea with Queen Otohime and it changed him so fundamentally that even a decade later she still resonated so strongly within him that he gave his life up knowing full well what consequences defending her daughter would bring.

And then you have Doflamingo, who truly was just an unrepentant asshole. Which is really ironic because most of them were adults, which you would expect to have a harder time to break out of bad habits. And there he is, The Proud Black Sheep of the Family since he was a brat.

His blood family all died for love, and then there’s Mingo. Being the only one left alive.

[raayllum]

So I've been trying to figure out what the fuck is Up with the pattern of Ezran giving up his crown (3x04 yes, but particularly in the scenes with Rex Igneous in 4x08 and Finnegrin in 5x06) and I think I've got it

E: My father was a strong king, and I wanted to carry that strength with me. But he also taught me that strength isn't always about weapons and war. This crown reminds me of that lesson.

Which, given that it's confirmed we'll see Ezran's pacifism be tested, and the crown being representative of his relationship with Harrow in a variety of ways + lingering grief and anger towards Runaan... Tested indeed, it seems!

[soap-is-an-artist]

I cannot even begin to express how much I unequivocally support imperium Asher's decision to kill Alexis. Not only did I hate her before, knowing what a terrible person she is in the prime universe, but finding out the ACTUAL WAR CRIMES she's committed under the imperium only solidified my support. When I got to the part where Ash started describing how she had property surrounded by walls "higher than an unempowered human could climb" my stomach dropped. It's the "The Most Dangerous Game" all over again [idk if anyone else had to read that in middle school—great book, very interesting themes about savagery and civility]. And THEN the part about how she really likes hunting families... I do not even have a fucking response.

The part that I really can't get over is that, whoever the listener for that video is, they just... don't care? This is THE MOST justified killing in the HISTORY of killing. This is the PREVENTION of slaughter. This is a takedown of a villain who's been causing misery for decades. This is vengeance and justice for so many whose lives have been taken, including two members of the pack [Darlin noooo!!!], one of whom was ASHERS HUSBAND. DO YOU UNDERSTAND. DO YOU

DAVID DIED IN HIS ARMS.

WHAT part of that don't you understand, listener? I will not-so-gently grasp your shoulders as I say this: Alexis must die. There is no other way. The apocalypse is coming. The end of the world will wipe out every non-demon entity on your plane of existence; you are planning a revolution to stop this from happening, yet you are upset that a war criminal must be removed for this to happen? There will be far more bloodshed than this. Do you seriously expect The Imperial King to just... let you take over without a fight? Many more will die for your cause, many of them good people. Alexis is not a good person and she never will be. You must set your rigid morals aside in this moment. Her just execution will be swift, swifter than the death she gave her victims; take refuge in that. But for the love of god, do not try to stop it.

And do not call Asher a monster.

[comically-blu]

Welp now I share this night thought I had on twitter: Ford may had spent his high school graduation alone.

Buckle in, this is a Ford-centric analysis in a way!

Ford could’ve known some people, from the social clubs and classes he had. But they could’ve been acquaintances at best for the introverted nerd. Not only Stan is his twin brother, Stan was practically his rock throughout their childhood, his only best friend! He was always by Ford’s side, they were inseparable.

Then, Stan gets kicked out by their own father. At the day of their graduation, their parents could’ve been definitely there so technically Ford wasn’t alone. Maybe a celebration might’ve happened.

In graduations, there are assigned seating, usually arranged by name. Stan could’ve been next to Ford if he actually graduated. Instead, Ford was surrounded by unfamiliar faces he isn’t close to at all. He might’ve been known as one of the weirdos in his class. Imagine him giving his valedictorian speech with so few people, h specifically his parents, that he only recognizes in his audience. For how much he thinks of himself as a freak, there are people in there who made him feel such a way.

Ford must’ve felt so empty. Like sure, Ford was very much deeply hurt and angry at Stan for what he thinks Stan did to sabotage his chance to go one of the considered best colleges for tech. Maybe he did feel some resemblance of freedom, thinking Stan must’ve been holding him back from his future.

But really, Stan was the one he was the closest to, the biggest part of his whole life. Stan was gone.

Maybe that was all what caused Ford to be such a workaholic. To cope with the void he left, Ford invested his time in his own research and studies. Something that he always invested in for his own genius. All to get used to being alone and move on from Stan, his brother. All before and after he met Fiddleford as his first friend.

The woes of being the favored golden genius in the family, huh…

Still, he couldn’t help to feel loneliness to eat him up. Enough for a certain triangle to take advantage yet relate to him.

[diamondoffaith]

CHARCOAL WHITE: ENGLISH LYRICS

CHACO I know you know my friend's dropped by the dogs CHACO, HANGYON No one sleeps at midnight BADOBARM The untraceable street knights CHACO The fluffy town tone BADOBARM The cold, cold banana and the swinging ghost carrot CHACO, ALL Can't wash charcoal white

CHACO Let's get things clear, it's always black and white It's exhausting, isn't it? My gray HANGYON Falling into the hourglass, turning it upside down and deceiving time, the future, and even oneself

CHACO Can't take my sense o' shallow HANGYON Tangled up with weakness CHACO Can't fake it to my shadow BADOBARM It becomes an inseparable shadow CHACO But I'll believe in my charcoal

ALL It was as dazzling as I thought it would be, yet it wasn't enough All there is is my tiny self It'll be painful, but just get over it HANGYON Overcome Soar into the air CHACO Burning until this heart turns gray BADOBARM It's even faster than the wind Heyday, heyday, heyday, heyday, running away

CHACO I know you know my friend's dropped by the dogs CHACO, HANGYON No one sleeps at midnight BADOBARM The untraceable street knights CHACO The fluffy town tone BADOBARM The cold, cold banana and the swinging ghost carrot CHACO, ALL Can't wash charcoal white

HANGYON I knew the field would suit you Bloom as you please, astragalus, no no no BADOBARM Up up up I don't wanna hear any of that Clap clap clap relaying messages, come on The audience cheers in our recognition

CHACO Can't take my sense o' shallow HANGYON Somewhere along the way, he got scared CHACO Can't fake it to my shadow BADOBARM Pretending not to see the feelings

CHACO But I'll believe, yet even so I can't help but fool myself See, it'll never turn white, this charcoal

CHACO Like the first snow or a cotton wool I'll never be as good as you Cover myself in ashes so that I can say I am me Oath to you

ALL It's all the same in someone else's eyes I'm building up walls of my own Break it all down, think about it, go beyond BADOBARM Overcome Wearing a robe of light CHACO Let all these emotions be, as gray as they are HANGYON Rushed by the heat ALL Heyday, heyday, heyday, heyday, running away

[lowkeyren]

CHAT IS WRITING ON THE WALL ALHAITHAM VERS REAL???? coming out on july 9th aka KAVEH'S BIRTHDAY? OH FHEJDJWKKSEJEH.

pls tell me sm1 knows abt this song plspsljdhejs

[hawkeyeslaughter]

i think the thing i really do love and enjoy about henry probably most is that he genuinely tries to understand people . i think the obvious example is how he treats klinger , he doesn’t write him off or anything , he just simply understands the fact that ( at least early seasons klinger ) is simply doing what he can to get out on a section - eight . and he does the same thing with hawkeye , when hawkeye is upset ( sometimes you hear the bullet and sticky wicket , off the top of my head ) . he doesn’t get impatient or angry with hawk when he knows something is genuinely wrong , he talks to him to try to understand why hawkeye is acting like this . or in doctor pierce and mr hyde , when he literally asks trapper , “ why does he do these things , mcintyre ? “ he’s not asking just to ask , it’s genuine . why does he do it ? and you know it’s not just with people he likes . although he does love hawkeye and trapper and klinger and radar etc . etc , but he even does it with frank and margaret . even if it’s really obvious from his demeanor before frank and/or margaret even talk to him that he definitely won’t agree with whatever it is that they have to say , he still hears them out . i mean , yes , he has to , but there’s something else to it . he does what he can to talk frank off the ledge and actually find out and understand what it is that hawkeye and trapper did to upset him and if it’s really anything worth getting that worked up over . it’s a very little detail but it’s a very important one , i feel like .