#analysis of 2024

[moonastrogirl]

2024 Numerology

- Predictions/Tips

Credit @moonastrogirl

2024 is an 8 year. Karma will be served like no one has ever seen it. Power and money will be given to the right people who deserve it.

Number 8 is often associated with the infinity ♾️ symbol which means limitless, abundance but it’s wrong. It’s the symbol of the snake eating his own tail. It’s the symbol of karma which can be a good thing or a bad thing, depending on past actions and karma laws.

Number 0 is the true symbol of infinity. It’s wholeness. It’s love. It’s true bliss and abundance. It’s joy and surprise combined. Everything has to come in a full cercle. To receive abundance someone gotta give back too. That’s why lot of millionaires and billionaires donate to charity or do charity galas etc. They know to multiple their money and gains they have to give back and create the full cercle energy.

Those with a prominent Saturn or Saturn ruled placements in their chart/Saturn aspecting personal planets in their birth chart or with a prominent 8 energy in their numerology chart will understand what it truly means and how the smallest action can impact someone.

Power, connections and money will be taken away from abusive people who were using others, gossiping, spreading rumours, lying etc. Divine justice will be served. Honest , generous, loving people will receive their flowers and more.

The scales ⚖️ of divine justice are bringing back true equilibrium.

Those who went through it, true givers and generous people will receive if they are willing to receive. Takers will lose everything if they are not willing to give. People who were made fun of or put down by society for what they do even if they don’t harm anyone (prostitues for instance) will receive plenty and fast. Victims of circumstances, of violence, of abuse will also receive what they need.

Again it’s based on the willingness to receive and give back.

This energy is already being felt for weeks now : karma is here. She serves and delivers like no one. Already conspiring and bringing powerful people down (P Diddy - Cassie case).

Releasing bad karma, bad habits, lies (even white lies) is key 🔑 to receive blessings. It’s best to proactively go get yours blessings, they won’t just come to you. Work hard and smart.

Be willing to release and receive, give back and have faith.

Wishing you and myself peace, love, blessings and abundance for 2024 and may the scales of divine justice be in our favours 💫

Thank you for reading me and if this post resonates with you, please feel free to like, comment or reblog 💜

Credit @moonastrogirl

[the-crooked-library]

regarding Dune Part 2: i am obsessed with its consistent visual theme of self-destruction. the shot of paul surrounded by his new followers seems triumphant - until the viewer remembers that each crysknife is made from a tooth of shai-hulud, and paul is standing in a circle of them, in the allegorical mouth of the worm. he orders a missile strike, and the viewer sees them fly directly through his head. every victory for the prophecy is a blow to paul himself; he's killing himself with every step he takes towards his destiny, and we know that already, and the film is screaming it, but it's a hell of a thing to watch it happen, isn't it?..

[michaelinprogress]

I’ve seen a few people talk about the importance of the axe, but I wanted to put my take on it out there too.

Lisa watched her mom get axe murdered, and then her life was uprooted. She had nobody there for her (except taffy but she was misguided). And this person comes along, one who knows her better than anyone, and uses an axe to kill someone right in front of her.

Only this time, the axe is used to protect her. Something that destroyed her entire life is now being wielded by the one person she’s beginning to trust and feel seen and heard by.

And I don’t think it’s wrong for her to be thrilled and morbidly infatuated by this!!! Reclaiming and healing from trauma isn’t always pretty like everyone wants it to be, especially for young women and girls.

The axe becomes something to protect her and get revenge on those who hurt her. People who were supposed to be good to her, that she THOUGHT were good to her, but betrayed her.

The axe is something that she now wields.

She gets to reclaim it. She gets to trust someone again. She gets to feel loved, seen, and heard.

This movie is about reclaiming trauma as much as it is about a zombie love story!!!

[artist-issues]

I’ve only seen it once so forgive me for not saying more—

—but my favorite sequence is by far the part where ROZ is watching Brightbill finally take flight, and she looks up to try and see him as he gets farther away, but then her view of Brightbill is blocked by the pop-up screen saying “Task Complete.”

And she has to rush after him to get her final look, because of that. Because the Task was getting in the way of her seeing him.

[tehstripe]

this sequence of pages in act 5 is so striking to me.

in acts 1-4, jade is a mysterious, all-knowing figure who knows about sburb and how it needs to go, and shes very systematic about logging and remembering important things through the little bands on her fingers. even though shes just some goofy little girl, shes smart!! she knows whats going on and knows what she has to do, and shes been studying the clouds to make sure that she and her friends are ready. because honestly, what else is she going to do with her time? she's alone on the island, and this is her destiny. she's going to make sure it happens.

here, we're finally seeing a bit of her friendly and put together self image start to fall apart as she just gives up on keeping track of things. she's grieving the loss of prospit, shes just had her first ever nightmare, AND she had to deal with an obnoxious teenage boy (karkat), and she's reached her breaking point. and she just. gives up. forget the reminders, forget the systems, they aren't serving her right now, so off they go.

plus, we get this tidbit a few pages later:

jade always knew she was going to die. she had seen herself, stuffed and perfectly preserved as a thirteen-year-old. she must have known that it was coming soon, but that didn't stop her from going through the plan to play the game with her friends. personally i think she thought it was worth it if she could at least see her friends, hopefully keep them safe, and have some fun times with them right before she had to die.

i wonder if theres a part of her unsettled by the fact that she's finally faced something she didn't already know was going to happen. she no longer has the comforting clouds of skaia to tell her what's going to happen - she's as clueless as everyone else. probably MORE clueless than some characters, like the trolls, who have a window into her future that she can't see.

jade's realized that she doesn't know all of the beats of this story anymore. she might just grow up now, and that means she has to go forth into the unknown.

[falling-star-cygnus]

i couldn’t resist the pull of a new indie animated cartoon, life is hard and i am but a weak soul

✨Ramshackle✨ by Zeddyzi -> why it’s amazing and why you should watch it :D

she’s a mood fr

No.1: Vinnie is usually the first to panic

while none of trio are 'in charge' -nor should they be- Vinnie does take the lead more often than Skipp or Stone do {these two also tend to look at her before taking action, which is actually adorable} so it's pretty cool to see she's not oblivious to dangerous situations like her archetype tends to lean into -> also Stone's totally contemplating breaking the window to get away from the pageant zombies

No.2: Stone is super protective, despite acting like he's not

but he does it in a way that doesn’t come across as thinking the other two are incapable, it’s more like: you totally could’ve dealt with that, but im right here so you don’t have to

No.3: Skipp isn’t helpless, nor is he treated as such

this is really awesome bc trios typically have that one character that’s really bright and bubbly but that’s also often infantilised by both their peers and the fandom -> Vinnie and Stone are totally confident in his feral capabilities though, and apart from briefly scolding him when it was necessary- they don’t treat Skipp like a child {which is an extremely refreshing change of pace}

No.4: ✨FOUND FAMILY✨

you got the black cat, doberman, and orange cat all in one with these silly guys! + stone's small smile when they fist bump, my heart!

No.5: The black cat is a softie

surprising absolutely no one, Stone has a hard time saying no to his family. that's not to say he can't express a boundary, like how he feels about physical touch, but he does let Vinnie and Skipp cling to him for brief intervals -> he also is already accepting that Maggot's going to be a fixture from as soon as the other two are leaving the alley way

all in all, this pilot does a mind-blowing job of portraying archetypes in a new and refreshing way that doesn't feel forced -> the animation style is beautiful, the characters are multifaceted and complex and it walks the line between silly and badass perfectly

definitely go watch the pilot on youtube!

and if you enjoyed this, let me know if there are other things you want me to analyze or give my thoughts on :D

[brainddeadd]

That is the face of a man who's just found out that the love of his life is missing.

One of the only times he says her name and its because he's absolutely scared shitless.

It takes two (2) grown men to stop him from running into the tornado after her.

Tyler is literally frozen in horror when the doors close.

He can't move, can't think, can't breathe.

He's terrified.

Tyler clamping his mouth shut to hold himself back from saying something stupid like "I love you".

Bonus +

The same face as the above gif.

Tyler holding himyself back from saying that she's gorgeous.

Bonus pt 2

His face the last time they almost died.

[giveamadeuschohisownmovie]

Not gonna lie, watching “Twisters” has helped me understand the appeal of those cheesy romance novels with the hot models on the covers. Because the movie felt like it was written by an author of those kinds of novels.

Think about it. The plot is about this down-on-her-luck city girl (not really city, but that’s a minor point) who is feeling lost, partly because her boyfriend died in a tragic accident. So, to help her get out of her funk, she accepts an offer from her friend to go back home in rural Oklahoma.

While there, she meets a rough-and-tough, handsome country boy who comes off as a bit arrogant at first. But then she gets to know him and learns he’s actually good at heart, humble, loves dogs, helps people in need, and is genuinely just a goofy nerd about his hobby. The country boy is also intelligent since he has a college degree, he respects the protagonist’s intelligence, and he spends the 2nd half of the movie making sure she achieves her goals. He’s basically her number one fan throughout the whole movie, telling her she’s great and that he’s in awe of her work. And then, our protagonist makes the country boy chase after her, which he happily does.

I’m like…did the screenwriters read a bunch of romance novels as their inspiration?

[pit-2-podium]

I really think the Williams team hasn't realized how much of their treatment towards Logan has lost them a lot of good will among fans. Like take his lap of legends, so much work went in to that, (from Logan, Williams Alumni, and the team behind it), was such a big opportunity, and really could have had generated some much needed good pr for the team and Logan, especially with the team and their treatment of Logan. Yet they allowed it to be overshadowed by the Alex announcement, like really you couldn't have waited at least a few days?

The moment Logan leaves I can see a lot of fans, just not interacting with Williams content anymore. As much as we talk about Alex and James Vowles being the ones who are restructuring/rebuilding Williams you can't forget Logan has also been a major face of that movement. All of their new era content, like their podcasts and interviews, Logan has played a major part in and I think a lot of fans will have a bad taste in their mouth watching once he leaves on such bad terms. Because realistically Logan has the perfect personality for that type of content and it will be nearly impossible to replace him there, its why he and Alex work together so well, they can match the energy and tangents.

Then you have to take into account of them Americans and drive to survive people. They get a lot of hate for either liking the sport at all or how they get into it. Logan is their driver, if you look at social media beyond Instagram comments you will find so much support for him. It is one thing to drop Logan as a driver because he's under-preforming (though I have thoughts about That to) but to go from saying you are going to do everything to help logan to publicly flirting with new drivers? Thats just rude. And now Williams are shutting themselves off from these markets/fan bases. I'm sorry but realistically Logan is leaving F1 and Americans will no longer have a home driver to root for and they will blame Williams for that so people will not stick around.

TLDR; Williams by being dicks have shot themselves in the foot next year publicity wise

[ecrireverie]

unpopular opinion, but bahrain 2024 was actually a great race from charles but people are too blind to see it because they only see the ferrari social media graphics post-race with 'p4' as his result.

MY GUY, with 100 degree brake imbalance was second fastest in sector 2, the most driver-dependent and technical of all sectors with heavy braking. key words; driver-dependent and heavy braking.

most would have considered retiring with a brake imbalance that extreme, but Charles LECUNT managed to bring the car home with p4 and was second fastest behind that rb rocketship in the most technical sector!

[starlight-bread-blog]

This Right Here is What Kills Me

1# it's a romance trope. Quite literally.

Here, have another example, on the house.

2# It's also established that Zuko and Katara respond like this when the accusation is founded

With Jet...

And with Jin...

Then with each other. I'm sorry. What the actual fuck.

3# Katara canonically responds calmly when an accusation is not founded

I think we all have a similar question for the writers of A:TLA:

[bailadeluna]

there’s something so brilliant in cooper howard’s costume design - it’s so much more than just a simple blue and gold cowboy fit.

at the beginning of the show, before the bombs dropped, cooper howard was a good person - always kind to others despite the circumstances or how he was feeling in the moment.

you could say… he was exemplifying the golden rule.

this is evident in his costuming - cooper is decked out in gold even when the bombs dropped. the golden rule is still so close to his heart - i mean come on - look at how tight that bandana is around his neck.

even in certain lighting, his hat looks gold.

cooper howard being a good person and living by the golden rule is what barb probably fell in love with (she has her own interesting character analysis and thought process which i would love to discuss later). because this trait is so admired by her and those around cooper, she probably saw him as who she would hope future generations would become as they grow up in the vaults. people like him are the better future she envisions - so it’s no coincidence that the vault suit is in his colors.

what does the blue symbolize?

well, to me, i think it’s the corporate presence in the world. there’s more blue in the suit than there is gold - hinting at vaultech’s corporate greed, capitalism, and evil machinations. (there was also blue in his old cowboy costume - i.e. the presence of the studio and how they use cooper to push a mccarthyism narrative. kinda in the same way vaultech will use him)

the blue in the suit - symbolizing vaultech’s overwhelming presence and the reason for such a bleak and cruel world - does not swallow up the gold - the small semblance of humanity’s capacity to do and be good. it’s the small hint at barb’s intentions (analogous to the road to hell being paved with good intentions).

yet the man who was an inspiration for vaultech’s workers - the man who they all wished they could be like, the man who symbolized all the “do good” ideas they pass down to their children but in the end have no intention of following them (wink wink, looking at you, hank) - was in the end stripped of all his humanity by the world vaultech created (wow, would you look at that? another analogy for capitalism!)

this man, once rich in morals now robbed of them all, wanders the wasteland a ghoul. everything has been taken from him - symbolized being devoid of layers of skin.

now, he’s nothing but the ghost of the man he once was - haunted by what has been done. everything he wears as the ghoul is frayed, tattered, and dark - symbolizing that cooper howard, that kind and caring man before the bombs is dead.

but wait - is that…

you don’t see it? Ok, i’ll zoom in some more

GOLD? (perhaps even the same shirt he was wearing during the bomb drop??)

perhaps the golden rule, those values that he once held so dearly, are still there just dormant - waiting to be awaken again.

maybe cooper howard can come back… that just maybe there’s still hope for the good in humanity…

[cowboygideon]

I love so much how every time we see art and patrick before knee-gate, they're eating (or drinking) something "unhealthy." Like the hotdogs and the churros and the cigarettes, of course (which I'm now realizing are all phallic symbolism LMAO) plus the coca-colas and the beer. Because it just furthers this idea that Patrick is a kind of corrupting force to Art, who we know, as Ice, is a very controlled person. And then, during their final game, you have Art with his fuckass protein paste, or whatever, but Patrick with the banana, which obviously isn't unhealthy, but still something much more akin to the food of your average person—and he offers it to him! Jokingly, yeah, because he knows he's not going to take it, but also, like offering his hand, inviting Art to take part in his own corruption once again. Plus, a banana?? Could they have found a more dick-like food? Insanity.

Also I like that the one scene we have of the throuple in a room together (the party notwithstanding), Tashi is also drinking the beer. Because Patrick stokes the fire in her too, brings out a part of her that Art alone doesn't.

I was thinking about this because I saw a cut scene in the script, where Tashi and Art smoke a cigarette, and I found it really interesting. Because, for one, I understand why they'd cut it, since such a big part of the artashi dynamic is restraint, repression, both pushed further into the frigid parts of their personalities, so having them do something like that without Patrick around might remove some of that. But ALSO I think it was such a good scene because they both start coughing during it, and it sort of feels like their trying to make up for Patrick's absence with each other, but they fail. They need Patrick to push them completely out of their comfort zones—or else they'll just keep toeing that line between the familiar and the unfamiliar, safety and freedom.

Anyway, in conclusion, welcome back Adam and Eve and that fucking snake, enjoy your apple [polyamory].

[alicefromwhichplanet]

Why Optimus being a good person in upper class/ Megatron being an angry rebellious lower class is a great and meaningful plot

Recently, with TFOne coming out, I’ve learned that the new movie made changes to Optimus and Megatron’s backstories and instead of giving them different backgrounds, like coming from different classes (like in tfp or idw1), they’re put in the same class as colleagues in mines. I’ve already seen people celebrating this as “an innovation/ something new” and an uplifting of Optimus’s character, because as the lower class he gets to rebel, therefore Megatron’s character aura won’t overshadow his. But actually, I am quite disappointed at this change. I think such arrangement is a worse one, not a better one, especially to those who love character depth and realist plots.

First of all, I want to argue that Optimus and Megatron carry every different roles in all transformers shows in general. By this I mean no matter how the plots change, the foundation of their motivations are different—maybe only except for Shattered Glass, where their roles are exchanged. Megatron’s foundation of motivation is: war/chaos. No matter how much his actions are justified, Megatron is still a bad guy, because he sticks to a path of violence and destruction rather than peace and negotiations. In contrast, (I put Megatron first because Optimus’s motivation is clearer if compared with Megatron) Optimus’s underlying logic (the foundation of his character motivation) is: peace/order. No matter how brilliant the battle scenes were, no matter how much he talked about “stopping Megatron at all costs”, Optimus’s final goal is to seek peaceful solution to the conflicts he engaged in, and find a way to resume order. That is also the basic logic of every transformers show, and how the playwrights justify autobots as the good guys, decepticons the bad guys. (This can be easily understood through series that give Megatron and decepticons fully justifiable motivations, like tfp and idw. They started the war because they were angry at the unjust treatments, and became villains because they eventually became a source of ongoing chaos and destruction)

With this premise, it is not difficult to see how brilliant and intelligent it is to put Optimus and Megatron in two different classes. Because people’s thoughts vary with very different experiences. In the past successful shows like tfp, the conflict between Optimus/Megatron is perfectly explained with an idealist/realist contrast.

Being an idealist advocate of freedom and equality is a successful way most Optimus(es) are portrayed. Under this premise, Optimus is basically a good person with strong sense of morality. He is aware of the problems in his system, seeks a change, but because he is from a more “privileged” class, or to say, closer to the power holders, he tends to develop an idealistic view of solving problems with milder approaches: handing in proposals, talking with congress members, or growing his own influence and trying to persuade the congress. In any of these cases, Optimus’s ideas are in line with his background. And like any well-written character, he is limited by what he can see in the class he belongs to.

As we’ve analyzed at the very beginning, Megatron’s characterization mainly revolves around “war and chaos”, one clever way (tfp and idw) playwrights used to make him more than just an evil stage prop is to make him more of a realist, in contrast with Optimus’s idealism. This usually comes with the backstory of Megatron coming from the bottom of the society, rebels with violence against social suppression he could not endure— at the same time, he also has a natural tendency to seek radical solutions. With this disadvantaged background, Megatron’s violent behaviors and refusal of peace are not groundless actions. It is a clever way to reflect the reality and increase plot depth. In my opinion, explaining “why the villain does evil” is the key to a successful story.

Another thing I want to argue is that, I don’t think giving Megatron and decepticons a justifiable backstory is diminishing/ “overshadowing” Optimus’s character. Because as we analyzed above, Megatron and Optimus have different roles to play. One overthrows the old system, the other rebuilds the new system. One raises the question, the other spends more efforts to find a feasible solution. Optimus and Megatron are two sides of the same coin. The depth of Megatron’s motivation actually decides how brave/noble/meaningful Optimus is in the act of “defeating” Megatron. For example, If Megatron’s “evil” is flatly portrayed as a bad-tempered child throwing a tantrum, Optimus’s “act of justice” is merely an older child calming the naughtiest kid in class.

Some believe that “not being able to stand up and rebel against suppression (like idw Megatron did)” made Optimus somehow “uncool” compared to Megatron. But he’s not. In fact, Optimus’s journey is not a bit easier compared to Megatron.

Instead of “suppressed class rebelling when there’s nothing to lose”, Optimus’s growth arc follows the route of a compassionate upper class who can look beyond where he stands for, and resonate with people who’s living under him and away from his life. Compared to Megatron’s “outward rebellion”, Optimus’s rebellion is “inward”: he has to fight himself to reach the higher ground— fighting the urge to step back into his conventional ways of thinking, fighting his self-doubts and inborn modesty to step back from leadership (very well presented in TFA and TFP), and by the end of the war, in most Megop fictions, Optimus has to fight back the urge to continue the war as he is used to, and step forward to “see” and “move” Megatron— understanding him, reaching out to him, loving him. Many people take “fighting on with the villains” as a braver, manly act, but actually stopping the conflict takes more courage and wisdom. And in the long run, it’s always a superior choice.

In short, I still think writing Megatron as the rebellious lower class and Optimus a compassionate upper class is a genius idea beyond comparison. They’re bound to be different, and there’s no harm in creating separate backstories for them. Like I’ve read in an early megop novel that has become a classic: “I’m here to do things you wouldn’t, so that you can do what’s right.” (Megs to OP)

In my own impression, Megatron is a radical revolutionary, and Optimus is an idealist reformer. The two carry different aims and functions in the plots, their values contradict and supplement each other, and so when they’re finally united, sitting down and listening to each other, their unity is incomparable.

[artist-issues]

I'm so tired of people saying that the Prince from Snow White is a creep for kissing Snow White when he thought she was dead.

People act as if he put his tongue down her throat while she looks like a regular corpse.

Maybe I'm just more comfortable with death because of my upbringing.

There's a European tradition that you would kiss dead people goodbye. You would also wait with a dying person because dying alone was one of the most horrible ways to die.

In Poland, you would spend three days with the dead body of your relative in the house so family and friends have time to say goodbyes. We even have pictures of family members in coffins, so we could remember them.

Yeah, it's a very post-modern, historically, culturally-small-minded way to look at it.

Specifically in this movie (which is a fairy tale's fairy tale) people just...totally ignore the scene where The Prince is introduced.

Seriously and truthfully, BECAUSE the Prince only takes action in three scenes of the movie, you HAVE to take all three of them very very seriously. Because thats all there is to know about him. That's how fairy tales work: lots of information hiding under very brief, simple snippets of information. It's called nuance.

Anyway.

The Prince kisses Snow White as a culmination of their promised love for each other.

First scene he's in, he falls in love with her because of her obvious purity and he overhears her longing for someone to love her. Then she runs away because she's not sure of him, and doesn't know him. But he sings his part of the song, which is all about how he has just one heart to give, one devotion to spend, and he's choosing to give it and spend it on her if she'll have him.

And she will have him. How do we know? She sends a kiss to him on the dove. That's how the exchange ends; that's how she responds, and that's why he leaves satisfied. It's their engagement scene. They're promising their hearts to each other.

Fast-forward, the Queen messes up what might have been the natural follow-through of that engagement which is marriage by trying to kill Snow White, she's living in the woods, but she won't forget the Prince and wholeheartedly believes he'll come find her.

And the very next thing we hear about him is that he keeps his promise. He's got one heart, one love, one devotion, and it's promised to Snow White, and he will not stop searching for her. When he finds her, he's returning her kiss from their engagement scene. He thinks she's dead, but he has to finish his quest anyway. This is him, trying to keep his promise even if she's dead; he's trying to fulfill the exchange they had when they saw each other last.

It's ridiculous to assume that she needed to be awake and alive to give permission for him to kiss her; it's ignorant of the whole relationship, symbolic and literal, between these two fairy tale characters. She already sent him her kiss and her heart; he already promised to claim it; he's fulfilling the promise in that scene.

Crazy postmodern people, don't know how to take in a story. Not everything gets to have your socio-cultural lens imposed upon it.

[kacievvbbbb]

You do get the sense that the fallout of Roger's death and the Roger pirates disbanding not so much traumatized Buggy and Shanks indifferent ways but instead generated such drastically different reactions to the trauma.

While the trauma of everything seemed to push Shanks into the future, always constantly waiting for something, putting plans on hold and then later in place, for this great moment, this great coming that he sees on the Horizon. For Buggy it rooted him firmly in the past keeping him trapped in this grief masquerading as anger.

While Roger's death forced Shanks to grow up fast, it kind of arrested Buggy's development keeping him stuck in those same feelings, rooted int that same place.

You get the sense that Buggy's whole east blue schtick is just one long overdue rebellious phase one big fuck you to Roger and his ideals. He's rebelling against Roger's principles. One of their rules was don't steal from innocent people and Buggy was keeping a whole town in poverty. If Roger and Luffy's pirating styles are diametrically opposed to someone like Blackbeard, who might be the most literal pirate in the entire series, then buggy is the parody of that Blackbeard piratism. He is playing up cruelty, being the most piratey pirate possible, hell he's literally a clown on a stage. It's all a show! It's his own special way of trying to "get back at Roger" of trying to discard everything Roger taught him for this overacted, over exaggerated clownish cruelty. Mentally he never left that execution square. He is still 15, alone and scared.

Hell he literally never left either, while I'm pretty sure Shanks' booked it out of the east blue as fast as he could, Buggy never lef, might have never left, if not for Luffy. It's part of why Luffy bothers him so much, he's just like Roger everything that Buggy is trying hard to forget and here comes this kid, whose never even met the Captain but is wearing his hat, shoving it right back in his face.

It makes sense that he never leaves the east blue till Luffy literally forces him out of it (fucking with Luffy gets him captured and imprisoned) and it makes sense that it's Luffy that literally breaks him out of prison, literally sets him free, and on the path to greatness that maybe he was always meant to achieve (even if he trips his way into it). This boy that is tragically so much like his old captain but so beautifully unabashedly himself, is what Buggy needs to start letting go off the past, to start trying to move forward.

Maybe that's why Buggy, at what could arguably be described as his lowest moment, gets the strength to free himself from his own self imprisonment, realizing that even back then he was locking himself away and pinning his own dreams on Shanks. And, maybe for the first time ever, Buggy really own his dream. He declares to his tormentors and his crew and the entire world that; actually He wants to find the one piece, him, as captain of his own crew, this crew, not just a part of someone else's. That's his dream and he's willing to turn the world upside down to do it.