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sincerelyyycece · 7 months ago

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to hell with other halves!

Approaching the Christmas holiday, Y/N endeavours to let go of her feelings for James Potter.

note: inspired by "chilly" by NIKI, mention of drinking, reader missing James Potter, December time setting

tags: @dearmy-diary @moonteaxw @xcinnamonmalfoyx @box-of-kinderjoy @hisparentsgallerryy @burningwitchprincess @alittlebirdswhisper @chi-ara (i can't tag the last two accounts.)

In the icy grip of December, amidst the vibrant pulse of the city, Y/N finds herself ensnared in a tempest of emotions, navigating the labyrinth of memories left behind by James Potter, her once cherished flame. Despite the jovial festivities adorning the streets, her heart remains ensconced in the frosty embrace of their shared past, unwilling to thaw from the warmth of their intimate moments.

The haunting melody of their memories reverberates within Y/N's mind, a symphony of joy and sorrow that she struggles to reconcile with the stark reality of their separation. Each flicker of the twinkling lights serves as a poignant reminder of the void James left behind, casting shadows over the mirthful ambience of the season.

With each hesitant step, Y/N confronts the spectres of their past, the echoes of laughter silenced by the deafening void of their parting. She finds herself torn between the yearning to cling to the remnants of what once was and the imperative to break free from the shackles of their fractured promises.

"To hell with other halves!" she murmurs to the wintry gusts, glass in hand, a rebellious proclamation against the notion that solace must be sought in the arms of another. Y/N understands that true healing resides not in external affections but in the depths of her own self-discovery.

In her journey to move on, she embarks on ventures into uncharted territories, seeking solace in novel experiences and distant horizons. Yet, amidst the allure of novelty, she finds herself adrift, her passion seemingly misplaced along the winding path of her journey.

As time unfurls its relentless march, Y/N begins to rekindle the flames of her enthusiasm, reclaiming her zest for life with a newfound fervour. She embraces the exhilaration of new friendships and the thrill of exploration, shedding the remnants of her past with each stride towards liberation.

In the culmination of her odyssey, Y/N emerges, resplendent and renewed, casting aside the shadows of her past to bask in the radiant glow of her newfound happiness. She has traversed the tumultuous terrain of heartache and emerged victorious, no longer defined by the ghosts of her history but empowered by the boundless possibilities of her future.

Through late-night conversations in cosy cafes and impromptu escapades beneath the starlit sky, Y/N finds solace in the shared experiences of kindred souls. Their laughter becomes a melody of healing, drowning out the echoes of her former pain with the harmonious notes of camaraderie and understanding.

With newfound companions by her side, Y/N delves deeper into the tapestry of her own desires, discovering hidden passions long dormant beneath the weight of her previous attachments. She immerses herself in art, music, and literature, embracing the creative spark within her with unabashed fervour.

Yet, amidst the euphoria of her newfound liberation, Y/N is confronted with moments of doubt and uncertainty. The spectre of James lingers in the recesses of her mind, a constant reminder of the love she once knew and the scars it left behind. But with each passing day, she learns to confront these ghosts with courage and resilience, refusing to be held captive by the shadows of her past.

As the frosty grip of December begins to thaw into the promise of spring, Y/N emerges from her cocoon of introspection, her spirit ablaze with the vibrant hues of possibility. She embraces the world with open arms, savouring each moment as a precious gift to be cherished and savoured.

In the end, Y/N's journey is not just one of self-discovery, but of profound transformation. She emerges from the crucible of her past not as a broken soul, but as a beacon of resilience and hope, illuminating the path for others who may find themselves lost in the darkness of their own hearts.

As the city lights twinkle in the distance, casting their warm glow upon the streets below, Y/N walks forward into the embrace of the unknown, her heart filled with the promise of endless possibilities and the unwavering certainty that she is, at last, free.

#james potter #james potter fic #james potter imagine #james potter x reader #james potter x you #james potter angst

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hourglassfish · 1 year ago

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On Season 1, Episode 7 : Part Two : I Know You’ll Be Listening: Marcus, McDonalds and Freedom

Gonna talk about my fave episode! Sheridan. It’s got some of my favourite music in it – and there’s a catching of breath after lots and lots of change, which gives you time to see characters relax, and have them show you who they are when not in a crisis, to hear them reflect a little, and to get sense of who they might want to be, and where they’ve come from.

It also develops the triangle of Marcus / Sydney / Carmy. Now when I say triangle here, I’m not talking about a love corner! This is a sydcarmy safe space, but I am interested in their work dynamics! Some of the most beautiful moments of the entire season happen when these three are in flow together, and they are united by food as artistic expression.

They are unique in this. Tina is more skill focused and analytic – Science Baby! – she likes upskilling, her game improving, doing things the right way. Sweeps is about his money, when they budget for the restaurant he immediately backs Tina up about their pay ‘she’s right about that Jefferson’, and he sits with Nat and Richie post apology, doubling down on the fact the restaurant needs to work, that all the workers are invested in that. Ebra’s relationship with food is a tangible connection to home – he cooks Suqaar, his memories of Somalia are never far from his dialogue. It roots him in two places at the same time, a delicate dance that all immigrants are constantly learning, re learning and revising the steps to. Richie’s relationship with food is concerned with people, place and tradition – beef has been cooked here like this since before you were born, people loved the spaghetti and you can’t get the recipe, a very clear sense of hot dogs NOT coming with ketchup (which is very Chicago, if I recall correctly).

But for these three? It’s a practice of freedom. At it's best, that's what creative expression is, it's freedom, and its why we fight for it so very hard. Let's get into it.

The episode starts with the building literally falling down around their ears – gas, electricity, plumbing – it’s all out. Look at Syd and Marcus's faces when the toilet blows up, I love it when these two react to something together -

Even within that, we see pops of joy for all of them – Marcus enthusiastically enthusing about his book, Sydney gently pitching a new dish, Carmy teaching – tape, roasted onions, his mom’s chicken.

When the fuse blows, Carmy is in the middle of dealing with the ghosts of the Beef – drug deals and the spectre of financial ruin, Covid and his own absence, addiction and Michael, Michael, Michael. Marcus is frantically trying to catch up with work, having gotten a little lost in his donuts (Carmy warns him about this repeatedly, he’s permissive, but he can see it’s becoming a problem). Sydney is my perfect daughter who never does anything wrong (HAH) so she is innocuously cooking a risotto which will lead to big problems later.

But it dictates where they all go in this next episode – Carmy is back enmeshed with his family, and in problem solving mode, so off he goes to Nat’s with Richie to be called a soft shitty bitch (😭 he does get a hug for going Al anon though). Marcus messes up, sulks a little, then is pulled back in (he’s deeply sensitive, and as we learn from season 2 and all he is carrying with his mum, vulnerable. He’s maybe the youngest team member?). But Sydney stays in her flow state, and it enhances her work, opens her creativity, and keeps her focused.

Sheridan clearly meant so much to her. She lost everything, and still lives surrounded by the boxes of it. One of the most poignant moments of her season comes when she stokes the fire for their makeshift post-gas, post-electricity BBQ and for a moment flashes back to some gorgeous prawns, cooking on a similar fire. She looks like she’s about to cry. When she serves food to people who she can see eat and enjoy it later that episode, we see her biggest grin – we won’t see her grin that big again until Sugar calls her a genius in Omelette. So much of being a line cook is being in a kitchen, alienated from your labour separated from the joy that what you’recooking brings to those who are eating it. The praise and enjoyment of what she’s created is a big motivator for her, as it would be for anyone, and this goes someway to explaining why she doesn’t want a dish she thinks is delicious (should have given Carm the one with the ribbon of brine babes) to not be eaten by someone.

If we hop back across to Marcus in this episode, we get some of Carmy being an excellent boss (that’s my boy!!!) – his conversation with Marcus (who appears to just be moping outside while the others work… young man get it together) is really beautiful. He’s curious. Not only does he ask him how he is, he really listens when Marcus talks about McDonalds, gets down on his level, does his very intense staring thing: he wants to understand where Marcus is coming from. He resists narratives of blame and fault – the job’s insane and fuck ups happen. But he is also clear about the bottom line (you gotta stay ahead of your work, that’s just that). He doubles down on the moment of empathy and connection by sharing a story of his own failures after a huge success. Marcus goes back to work with a huge grin on his face. For me, it’s as beautiful and important a conversation as the talk between Syd and Carmy in Brigade, another affirmation that The Beef can be different from all the other places they’ve been at.

This episode has a really beautiful symmetry to its narrative structure, so we later return to the three of them in the kitchen – Marcus quietly labelling up his eggs, with the neat lines Carmy favours (Wilco sings ‘I know you’ll be listening’), and Carmy and Syd cooking together (that prawn stock business looked wild delicious) and really talking and listening.

I used to work at a purveyor of moderately priced soaps. And the soaps are quite hippyish, but their business model is not, and it always felt like a contradiction, until I met their owners, who spoke about their business going bust in the 90s. They’re a huge global brand now, but losing that small, postal based service was clearly something that they carried with them, decades later. It is, like any grief, something that informs many of their decisions, for better or worse, especially because they parted ways with another brand where they felt stifled, to set up their own thing, centring their values. I think about them a lot when I think about Syd, and my own business.

It is not lost on me that Syd talks here about money – getting too big too fast, fucked credit, bad decisions. The bad credit especially sticks with me, because that shit traps you. Makes renting, or making significant purchases hard, makes starting another business impossible – a bunch of doors shut and they don’t reopen for years, and you are reminded of it constantly. It puts all her creativity in a box – the same way that the mechanical efficiency of Mc Donald’s inhibits what we are to learn is a prodigious talent in Marcus, out of sight. That failure is always there for her, and I think it’s why she is so quick to look at where the Bear is haemorrhaging money and want to find solutions. There is a chance here. She grabs it. She will give all her learning in exchange for that outlet.

PAUSE

The moment when Syd says ‘it was the first time I didn’t have a complete and utter psychopath behind me screaming and pushing and yelling’ and then they cut to Carm stood behind her is SO MEAN, it makes me CHORTLE every time, girl he’s RIGHT THERE! I know they were laughing in the edit when they put this bit together.

When she speaks about her failure, his response is ‘Heard’ – I don’t think he really knows how to respond – like… has Carmy ever failed? Syd’s face does a weird little thing when he says that. Heard. Listened? Does he really get the depth of loss for her? Has he ever experienced that kind of freedom in a kitchen? Cus if he hasn’t maybe he can’t really understand what it is to lose it. Maybe you can’t know that loss util you experience it. Carmy always knew The Beef was there. Was always trying to get back to it, had it as a north star. But Sydney built her own and then lost it, and it was her own fault*.

That being said, she does still ask him for help in this scene. It’s a clear progression in her letting her walls down after the veal stock fiasco of Brigade. Wilco comes in again –

This is what love is for To be out of place Gorgeous and alone Face to face With no larger problems That need to be erased Nothing more important Than to know someone's listening Now, I know you'll be listening

– these three have connected here, and are starting to build the bonds that are going to send Marcus on Carmy’s pilgrimage to Copenhagen. The Michael starts in this quiet moment.

But listening - hearing, retaining, actioning, bearing it all in mind - is the centre of this bond, and it fractures quickly when they stop doing that. They're still getting to know each other. Relationships in their infancy.

I think these moments – this episode – are important when we think about what happens in Episode 7, who quits and why. Not only are these the two newest recruits to the Bear, they’re also the two with the least connection to Michael, and emotional relationships with Carmy that are not haunted by his ghost. They’ve been Carmy’s quickest and most loyal supporters up until this point, and there is a clear sense of betrayal communicated during Review from all three. It feels like there was a shared understanding that Marcus’s creativity would be appreciated (that’s why he puts so very much into it) - that it would be different. But when he achieves his goal, one he has slept on the floor of The Beef for, it is met with aggression and destruction. There was an understanding that Syd walked away from kitchens because of the shouting pyscho, and Carmy is the only reason she has walked back. But it's a hard boundary for her, and Carmy regresses to that in a crisis. Carm has invested a lot of trust in these two, and feels betrayed, personally (why are you fucking with me x 4) by Marcus’s perceived lack of focus (he warned him) during said crisis and by risotto gate, as well as Syd’s leaving (what are you doing x4).

The Beef is not just a job for any of the characters, they all really care about it – but there is something specific about creative expression – the way in which it is the movement of the universe through you as a vessel, its uniquely human quality, the way it leaves shards of your soul littered throughout the world that is very specific, and I think Syd and Marcus both feel punished for their creativity here, but, more importantly, they both know it’s worth – and that’s a huge part of why they leave. They are giving more than labour, and they value it accordingly. As they should. I will keep saying it, again and again - I am glad they both leave, that they reject dysfunction and abuse. More importantly, I am glad that the show supports their decision - we don't see them apologise to Carmen because the writers frame his behaviour as not OK, in numerous ways. This framing is a part of the optimism The Bear, this belief that things can - and should - be better for it's workers.

It is not lost on me that the same people that wrote this episode are now on strike, and come from another industry that we know to be riddled with abuses. Some of us (me) know this from experience.

We should talk about risotto next.

This is part of a five part series! You can find the rest here:

Expect More: Syd and Carmy's relationship,

I know you'll be listening: Marcus, McDonald's and Freedom

Risottogate

Hiring New Fucking Broads: Syd, Richie and conflict;

"That's Not You" The Moment Syd Walks Out

*in hindsight, this scene is a paralell to the moment in Pasta when they speak about the Michelin star call at Carmy's place. I think Sydney hears Carmy's dread, but I'm not convinced she's really listening, or connecting that with his 'trapped' from the previous episode's business pitch to Jimmy. These two, eh? It's not their fault they're in a TV show, but I wish they'd ask more follow up questions.

#the bear #marcus the bear #sydney adamu #carmy berzatto

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untamedeventuality · 2 years ago

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hey, it’s me again with another dose of heartbreak for the class

y’know this room from little nightmares?

of course you do

wanna feel pain about it?

it’s hard to see in this lighting (sorry) but there is a chair with a hat that looks like the thin man’s, and music box sitting on the tv

this is the only tv we see in the main game of little nightmares

and it just so happens to have two poignant reminders of what six has gone through accompanying it

#little nightmares #little nightmares 2 #six little nightmares #mono little nightmares #I’m fine you’re fine we’re all fine #(lies)

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wilfriede · 6 months ago

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💗 Fic authors self rec! When you get this, reply with your favorite five fics that you've written, then pass on to at least five other writers. spread the self-love! 💗

I'm not really a writer, so I'll go ahead and talk about my podfics instead :)

First off, my favorite projects tend to be the ones that have extensive music (or sound effects). One reason for that is that it feels very satisfying when all that work pays off and I manage to realize my ideas in a way that I'm happy with. But also, the stories of these projects tend to be special and meaningful to me. I have to have that one idea of what I want to achieve with music or effects, and that always comes from the story itself, whether it's a certain mood, writing style, structure or just one specific scene or image.

I'm collecting these types of podfics in two series on AO3: Adventures in Soundtracking for music and Adventures in Soundscaping for effects.

As for specific podfics, confining myself to 5 favorites is hard, haha, but here goes:

For music:

The Forever War: (Fandom: Original Work, Length: 7:02) @mangacat201 had introcuded me to the soundtrack of "Penny Dreadful" score shortly before I began working on the podfic and at some point it just hit me how well it would fit the atmosphere of the story. With her amazing help I gave the podfic a complete underscoring of music and I am so, so happy with how it turned out.

For Soundeffects:

Unmade: (Fandom: The Murderbot Diaries, Length: 37:57) This is a murderbot fic, so it has ample opportunity for voice effects for bot entities and feed communication. Moreover, the plot and writing style lends itself to moody, creepy horror vibes and I had a lot of fun with that. I had incredible help from midnightlover01 on that one, who set up all the filters/effects for the different voices and who created (!) some of the moody ambience and soundeffects herself.

For Soundscaping:

The best damn books in the galaxy: (Fandom: The Locked Tomb, Length: 4:23) This is a tongue-in-cheek introduction to The Locked Tomb bookseries. @lady-harrowhark wrote this specifically for me to record, and it was so funny and poignant and cleverly written… To really convey what's going on in there, I went all in on the soundscaping. I couldn't be prouder of the result :D

For Recording Experience:

Illusion: (Fandom: The Devil Wears Prada, Length: 21:46) It's always such a joy when an author's writing style fits me and the way I read. I had the most fun recording @chilly-flame's Illusion for that reason. And because Miranda is a lustful vampire in this one and I could go to town on the breathy voiceacting for her. It was one of my most fun recording experiences. (This one was particularly hard to choose, because I've also recorded stories by @kellychambliss and @gveret-fic where I could feel right as I was recording that this was going to turn out good. It's always such a cool experience.)

For Editing:

Gummy Cooks Ramen: A Dramatic Reading (Length: 2:33) Do you know this video of a Discord chat about cooking ramen, set to The Hall of the Mountain King? Well, during Voiceteam Mystery Box a couple of podficcers decided to record it and I had the absolute joy of editing it and fitting it to the music. Did I spend several days on not even 3 minutes of audio? Yes, yes I did. Was it worth it? Most emphatically YES. It's my proudest editing achievement :D

#i think this may be the first ask i ever received?#thank you for thinking of me <3 #i had a lot of fun with this #my podfic #lilolilyr #ask me things #fic authors self rec #or #podficcer self rec

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coulsonlives · 9 months ago

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Finished all eight episodes and well, that was underwhelming. Here are my main impressions.

Clothing was too clean and looked like it came out of a cosplayer's closet instead of being actual, lived-in clothes (if there's one thing the failed movie did right, it was the clothes)

Zuko was decent

Sokka had an a+ personality but was missing some nuance

The Sokka and Suki meeting was boring and had typical teen romance cliches galore

Appa and Momo were cute

Not sure how I felt about them starting with 100 years ago, and the cut between that time and the present day was jarring, I feel like the title card should've been there instead to break it up. And just the title card, none of that weirdly glowly, oddly-colored narrative with the bending examples and stuff, it looked so odd

If Katara were a spice, she'd be flour, if she were a book, she'd be two books, where the heck was her fire and spunk and generally just. differentiating traits because I didn't see any and it was so boring to watch her

Like honestly! She didn't have her motherly/parental role thing going on, even in a toned-down way, and she was missing her passion, I just. What else is left

Bumi was scary af man

Lots of the compositing was blurry as shit and it was distracting, probably a lot of newbie, abused comp artists with pay cuts given dneg was working on it

Aang revealing himself all mystically with the intense music, then two seconds later the music stops and he slides down on the ice with a thump made me lol, and I don't think that was the intended reaction

They're in the arctic and you can't see anyone's breath, why is that, tell me

Suki removes her makeup in like 2.4 seconds without missing a single bit of it, teach me your ways gurll

Momo is actually cute and not a demon, praise raava

The fire nation armor is pretty brutal, the shoulder pads are like obvious cardboard that isn't even trying to look like metal (I still can't really tell if it's supposed to be metal? That's not a good thing fam)

Way too much exposition and 'telling, not showing', some of the convos dragged on for wayyy too long

The fox thing was unnecessary, but I liked Yue's added motivation to help Aang as well as her people

What the f did they do to Azula, the foundations of her character are totally different from the og show and she barely even feels like a villain. Some of her lines about being inadequate or 'not good enough' felt really contrived too

Lots of strange cuts and camera work, more than a few times there was a person talking and the camera was looking at their waist or something else for no reason lol, and there wasn't an establishing shot when there needed to be, so things were just disorientating a lot of the time

Lots of things happened but the show just. didn't give any time for them to marinate. Sokka telling Aang he abandoned his people, he knew it, blah blah in one of the early episodes? It's poignant but it lasts like five seconds before the scene totally changes, I got major whiplash, fam

The lion roaring sound effect every time someone firebent, please stop I beg

Azula being defiant was interesting and the lightning scene was cool but I still miss Daddy's Pet Azula

Sokka screaming on Appa was funny

My favourite scene was probably the dude going 'but we're the forty-first!' and Iroh telling them, 'and you're all alive because of his sacrifice'. Like dang that hit hard and I loved it. I liked how they added that

Avatar Roku was like ?? um. I know he and Sozin were goofballs but cmon man

The shots with Koh capturing Sokka and Katara were cheesy as shit especially with the sound effects lmao, it looked like horror movie jumpscares from a b-movie

Some of the acting was hammier than a ham sandwich. Even Zhao gave me that impression at times especially with the dang spirit fish scene

Pippinpaddleopsicopolis the third

I know they had to condense a crap ton of episodes, but it really felt like the show was just checking off boxes at times instead of (like I said earlier) letting anything marinate

The opening scene with the earthbending and firebending was cool, it's a shame the rest of the show didn't live up to that

The bending vfx looked good. The choreography did feel a bit disconnected though, and not as martial arty as I would've liked

I felt like I could blatantly see some of the reasons the og creators left the show

Grumps tbh I'd give it like 4/10.

#i don't think i'll feel like revisiting this anytime soon it was just so middling and meh yknow?#atla #atla spoilers #atla netflix #atla live action

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susandsnell · 1 month ago

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🌻

new ask game send me a 🌻 and ill just tell you whatever the fuck i want

thank you so much for this, dear!

I am a maximalist when it comes to musical theatre; maybe it's a bang-for-your-buck bias when it comes to how exorbitant ticket prices can tend to be where professional theatre is concerned, but I feel like if you can go big, you should. Big sets, big effects, big costumes, big orchestrations, big casts. Not every show needs to be a megamusical, and certainly, in the right contexts (Cabaret comes to mind!) minimalism can be artistically super-effective, setting and thematically appropriate, and poignant. Black box staging is a thing and it has its place. However, for my money, at the professional level this needs to be justified by a solid production concept, and it cannot be at the expense of the text or, heaven forbid, the score (this is why I cannot get behind minimalist Sweeneys, sorry guys, if the end of God, That's Good! doesn't give at least four audience members tinnitus then frankly you don't deserve to perform it).

Perhaps it is rather unrefined of me, perhaps Andrew Lloyd Webber's claws have penetrated my heart for the worse, but to my mind, a good spectacle can salvage even a mediocre show, but a great show with a poor or unimpressive production concept can be spoiled by it. (Incidentally, this is why I vastly prefer the splendour of the current touring/West End version of Les Mis to the original!)

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trixiegalaxy · 8 months ago

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#detective conan #detective conan anime #detective conan series #case closed #Ep 195 - The Significant Music Box (Part 2)#The Significant Music Box (Part 2)#The Poignant Music Box (Part 2)#the significant music box #The Poignant Music Box #episode 195 #anime #anime series #anime tv show #mystery series #japanese tv show

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dtccompendium · 2 years ago

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Episode 194: The Poignant Music Box (Part 1)

Haibara says she’s never going to give Conan Apotoxin 4869 antidote ever again. He goes home and meets Haruna-san and her music box. She was bell buddies with Shuugo-san. But he stopped contacting her. This is because he’s dead. But his whole surviving family is interested in the music box because they think it’s the secret to where he hid his 200 million yen stamp, (and they totally want it for sentimental reasons only). They invite them to stay the night, during which strange things happen. This includes the shadow of an old man running past their window, and Nii-san getting hit on the head with grandma’s koto. There are many things Conan still doesn’t understand.

#dcmk #conan edogawa #haibara ai #apotoxin 4869 #detective conan funny #detective conan episodes #episode 194 #Poignant Music Box #dtccompendium #Part 1 #Music box #200 million yen stamp #anime #manga #case closed #gosho aoyama

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cosmogyros · 2 months ago

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Discover Weekly is so weird. Just because I like Joni Mitchell and I also like some classical music does NOT mean I will like some insipid cover of a Joni song by some classical soprano! Just because I like Billy Bragg and Courtney Barnett and the Velvet Underground doesn't mean I'll like some weird recording of A and B covering a song by C!

I like artists for Their Music. The whole deal. Not just their presence in a recording studio or the sound of their voice. What thrills me is Joni doing Little Green - a heartbreakingly gorgeous song she wrote thinking about her daughter she'd had to give up for adoption - or Billy doing Levi Stubbs' Tears, his own particular strongly-accented voice and bravely stand-alone guitar providing the perfectly unexpected background for a poignant story about a woman suffering domestic abuse and finding solace in the music she loves.

What I love about an artist is EVERYTHING about that artist. If you try to check off as many boxes as possible by having one person I love cover a song by someone else, that does not mean I'll like it twice as much as I liked either of those things on their own. The human heart is not a mathematical algorithm.

#just a vent post #i haven't tried out DW in over a year and now i remember why #the music recommendation algorithm is such shit #apparently 'if you like x you'll also like y' is very hard to program #which makes sense to me philosophically speaking #but i don't understand ai very well so i was ready to believe it was possible #well... i haven't been convinced yet #musicblogging #discover weekly #spotify #cosmo gyres #personal #about music

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agumonger · 2 months ago

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Yume Nikki but it's a trailer for a Hollywood live-action adaptation

[Shot of a door. Someone is knocking from the other side.] MADO: Hello? Is anyone there? I'm gonna open the door, okay?

[The door is open, and we see a girl in a pink vest, with pigtails. She seems surprised by us.] MADO: Whoa. Oh. My. God…

[Reverse, sweeping shot reveals the Nexus. Some faint ""nondescriptly-tribal-sounding"" drums can be heard. A faint, poignant, echoing note is played, and the screen cuts to black. It's the first note to the flute theme.]

IN A WORLD… [Shot of the Neon World NPCs making funny faces]

…WHERE YOUR MIND IS KING… [Shot of Madotsuki looking confused in the Wilderness, with a weirdly broad angle, making her face look strange up close] MADO: I don't know why I started dreaming.

YOUR WILDEST DREAMS… [Scene in Forest World where one of the NPCS starts drooling all over her] MADO: But one thing is for sure… I'm never leaving home!

…CAN BECOME NIGHTMARES [Flute theme ends with another echoing note, and a thud.]

[Cut to the Mall. Mado turns towards the Toriningen cashier.] TORI: annoying squawk that takes a bit too long for comfort Hi little girl! I'm Tori, but you can call me Tori. Do you need drinks, eggs, bicycles, eggs, scrambled eggs, a ticket to hell…? Why do we even have those? MADO: Um, actually, I just want to know why I'm here. TORI: Oh, of course, me too, girl! Especially with these [beep] [beep] managers! Y'ALL DON'T PAY ME SINCE LAST SUMMER, YA BUNCH OF DINGDONGS!

[Basic electronic remix of the Toriningen Party, with 8-bit-ish soundfont. A Minion is running from the Dark World Ghost] ILLUMINATION STUDIOS PRESENTS

[Mado explores the FC Caverns with a lantern, and a cheap pixelated effect on top] PONIKO: I don't think you quite understand how anything works here.

BASED ON THE CULT CLASSIC BY KIKIYAMA [Mado going up the stairs to the Garden. The lighting seems weirdly off] PONIKO: And I can excuse that…

TAYLOR SWIFT as PONYTAIL GIRL [POV shot of Poniko checking Madotsuki out inside her house] PONIKO: But what are thooose!? The knee socks. They're, like, so passayyyyy! MADO: What's that even mean?

JOSH GAD as UBOA [Shot of Uboa and Mado trying to walk through the white sludge next to Akumu] UBOA: Well, you can look at the bright side! At least we're not inside THAT guy! MADO: Wait, what? [Akumu roars and goes after them, vomiting green instead of red. They both scream]

[Record scratch, someone clearing their throat]

JACK BLACK as MASADA [Masada is doing piano improv in a white spaceship with LED mood lighting that looks like a gamer bedroom, while Mado just stares blankly] MASADA: Space… you're so cool… and- oh, never mind, someone already did that one. Darn it! MADO: Um, okay.

and JENNA ORTEGA as MADOTSUKI [Poignant cinematic rendition of the saving theme] [Sweeping match shots of Mado biking through several worlds] MADO: I'm not scared! You're scared!

[Shot of Mado handling the knife like it was a nuclear weapon, and breathing heavily] MADO: Plus…

[Shot of Big Red waking up inside the Sewers. He looks like Prismo from Adventure Time but with human teeth, and he's drooling on himself] MADO: Maybe I could get used to this.

[Music abruptly stops before the last note] [Mado approaches the Rave Box. The Aztec Rave Monkey, eyes bulging in different directions, pops out of it and screams at her until she falls on the floor.] MADO: Alright, I guess this is my life now.

[Last note plays triumphantly.] YUME NIKKI (MY DREAM DIARY): THE MOVIE

[Kyuu-kyuu-kun is rubbing the pole. Mado approaches him.] MADO: So what, are you like "stimming" or something? [Kyuu stretches himself over her with a derpy grin.] MADO: Okay, okay, I was just saying!

[Last note plays again, with a resounding thud] COMING TO DREAM THEATERS NEAR YOU JUNE 26, 2025 RATED PG

#yume nikki #if you took psychic damage then i did it right

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