#did a fantastic job with all the “roles” he had in this mv

[secriden]

Watching Joong's Hurt Me Please MV with the context of how episode 6 ended and how this is likely a song about Fadel's thoughts and feelings about Style after Finding Out, I wanted to take a deeper look at the lyrics.

I have transcribed the English lyrics on Youtube side by side with a fan translated version (credit: bl_zonee on Twitter) just because there's different shades of meaning between them that I find really interesting and I'm curious which one is the more accurate translation or if both are valid, but just give different nuance. (Perhaps a mutual who understands Thai would be willing to give some insight? *u*)

Verse 1 makes a lot of sense to me: Fadel must be wondering how Style could be so cruel ("unkind" / "heartless") because every instance of Style being honest and asking for honesty in return, all of Style's genuine desperation to bare his heart to Fadel in episode 5 and 6, now looks like a calculated, cruel deception.

And after being so afraid to reveal his secret to Style for fear that it would make Style walk away from him, there's a painful irony in Fadel now wishing Style had walked away before. Because the betrayal hurts so much more now that Fadel has given in to his heart.

The chorus is where the nuance between the translations gets interesting.

The Youtube version seems almost like Fadel is taunting Style, putting up a front that he can take the pain Style is dishing out and more.

The MV also depicts Style smiling sadistically after slapping Fadel, as if he's enjoying the pain he's inflicting. Meanwhile, Fadel looks up almost in adoration, a strange softness in his eyes at odds with how cruelly he's being treated. The knowledge of Style's betrayal has turned Style into a monster in Fadel's mind, one which he cannot help but to still have soft, affectionate feelings.

But the fan translation sounds much more hurt and accusatory. Fadel is expressing his pain and anguish much more plainly and "you did this to me" is a line that demands responsibility.

In both translations, though, the last line ("can't get enough" / "enjoying the pain") gives us a hint that Fadel isn't willing to give Style up even now. Despite the pain, despite feeling as if he's simultaneously burning up and drowning, there's a part of him that still wants this. That still wants Style.

Interestingly, as Fadel sings the last line he begins to visibly struggle against the rope tying him to the chair. The soft look vanishes and in place is a determination and shadow that spells trouble for Style. The shock is wearing off and Fadel is starting to fight back.

Verse 2 is where the agony really hits, for me.

In both versions, Fadel recognises the way Style's love was (maybe still is?) precious to him ("your love feeds my soul" / "your love nourished my heart"). But because Style's love is a lie, it's transformed into a weapon ("poison"). It twists Style's love into a source of "hurt" to Fadel.

Which is why I think both versions have a line where Fadel admits that there's a part of him that wants Style to keep hurting him -- or rather, to keep loving him; because these are the same thing to Fadel now -- ("hurt me, make me feel used" / "the more I was hurt the more I enjoyed it") whilst also remaining accusatory (both: "the more I loved, the more sorrow/I suffered").

The lines about "nothing left to write about our love" / "our story" also feel very pointed and final. A closing of a chapter; a closing of the possibility of their former, uncomplicated happily ever after. Style has nothing left to write (report) back to his superiors (the police) because Fadel's love is already complete and his deception has reached the inevitable conclusion of Fadel being found out/destroyed.

All this happens while we see Style continuing to threaten Fadel with a golf club juxtaposed with flashes of Fadel and Style in much happier times.

Also the fact that this line comes with this scene *sobs uncontrollably):

The first chorus comes back once and the music reaches a plateau. We are clearly preparing for a drop, a key change, or a modulation and we get exactly the last one (twice!) with the second chorus:

Here, both versions converge: Fadel is angry, he's furious. Style hurt him and he's going to repay all of it and more ("you'll hurt [by much more]" / "you must suffer more than I did"). The lyrics tell us that, while Fadel cannot take back the hurt (take back his love), he can certainly ensure he isn't alone in the suffering.

It is at this part where my heart sank as I realised that Fadel's "I think I love you" line in episode 6 now takes on a much more sinister tone.

Because I think that discovering Style's betrayal was also what made Fadel realise the truth of his love for Style; the very agony he was in was the sign that Fadel's heart was lost to him. But even as it is true, I also think he still made the choice to ruin Style in the same breath.

There is, however, one piece of hope:

Despite Fadel's expressed fury, what the MV shows us is Fadel breaking out of his bonds, shoving Style back and punching him once and then:

For all his anger, for all his rage, for all his threats of manifold vengeance, what we see is Fadel pressing close and kissing Style; once on the lips, and once on his chest (heart), all while the lyrics makes space for one last plea:

("don't betray me")

For me, its the way the line is shown together with this direct visual parallel between the ignorant Fadel in the past (left) and the Fadel of the present who has seen through Style's deception (right) that I find particularly compelling.

Conclusion: Style will be given a chance to prove himself to Fadel.

Because Fadel cannot help himself. Because Style made Fadel's bleeding heart whole again; and it beats, it feels, and despite how much it hurts, what Fadel still wants more than anything else in the world -- desperately and simply -- is Style.

[9w1ft]

feels a little early to be writing a year-in review but i find myself in a quiet moment so i thought i’d tap a few things out

in 2019, in all facets of my life, i faced a challenge of some sort and i surprised myself as i held my ground more often than ran away, which felt new. what *also* felt new was this sense of ease i began having professionally, when it came to conceptualizing and making decisions. sorta feels like a lot of things are crystallizing.

in terms of life on here, i didn’t have TSL for the majority of the year (anybody out there remember TSL?!) so i busied myself with crafting fun memories on my own. there were spans of weeks where i’d just get on a tear and run into one new thing after the other and it was all really just fantastic. i gave myself permission to indulge in the most decadent of things and to follow the most mercurial of assumptions to places i thought closed off.

i’m pretty sure i’ve smiled and laughed more over this year than i ever have in my entire life. no joke.

here are some kaylorverse moments that brought me joy in 2019:

it’s nice to have a friend

2018 was my first year being a kaylor and i just sort of was moreover on the contributor or commenter side of things so 2019 was interesting in that when taylor really leaned into the gay imagery leading up to album release, i started getting newer people sending me stuff! and asking me my takes on things! and like, my words suddenly had weight for some reason? it felt weird but i truly enjoyed getting to talk with so many different people and hear their ideas and laugh and such. that was markedly different from last year. from within this, 79-swift reached out to me with the eye theory, the most beautiful and rare of observations by a singularly lovely individual that i have dedicated my life to protecting and promoting. and i feel like i’ve gotten to know many people i knew through 2018 more deeply and have come to accept the role i play, lean in to it, and formulate my own truth of the matter, and that sort of heightened perspective on it has been a blessing and i’m so thankful for this strange sense of camaraderie that has formed with many of you? thank you??? and my conviction, and my wishes, for the girls to find happiness have only strengthened this year... im committed to seeing this through whether people like it or not!! harumph!

block ‘em

i also started proactively curating my experience.. that’s right! i began blocking trolls with reckless abandon, and i turned anons off! 😂 and damn it’s so much more worthwhile of a time on here when you set aside people that only want to ruin your day.

i got over my fear of eyeballs!!

😂 no seriously, body horror and in particular eyes out of context was actually sort of a thing that previously creeped me out BUT LOOK AT ME NOW. i’m gonna do my best not to rehash the eye theory, please read the post and recall the number of times i filipped out 😂 each and every one is precious to me

also

geeking out with bert and ernie gifs with kaylorfossil and making empsmd-blog drop her debit card need a mention.

the ME! music playlist.

i fell in love with so many songs and like, running into eye motifs in so many of the songs, lyrically and visually, was the most hilarious thing. but really just a lot of the songs really tapped at my soul with an ice pick and i even went to go see The Japanese House live in Osaka which was transcendental and i’m just so thankful for having taylor introduce Good At Falling to me because it was a *necessary* album.

i made and collected stuff

i made and amassed many artifacts that one day i can look back on and remember what a wild ride it has been. some favorites are my procuring of the pixel art heart ring from the ME! mv (a nod to my tsl days..), as well as the evil eye ring.. i didn’t physically make this but the eye theory made the taydar podcast and there’s nothing i enjoy more in this world than making someone giggle and i just love that the episode exists. making that kaylor straw was 👌 working on a mock-up of the golden locket has been very satisfying. i started incorporating fun kaylor winks into my artwork as well which was fun, and i also commissioned a collage from the very talented and lovely valheria and i couldn’t have asked for anything better 🥰

wildin in the TS7 tag was the best.

i made this observation that there’s this type of cocoon that looks like a cobra, which transforms into a butterfly over a period of 13 days, and like, the post got so many notes and i just had a lot of swiftie eyeballs all of a sudden on my blog which led to some hilarity. but honestly i just love geeking out over theories and it’s fun to get to do that as fans of taylor at large. things felt warm and effervescent.

my newspaper subscription

i subscribe to the TTB Times and let me just say the submissions and anons this year were overwhelmingly a delight to read through every day. also like, we did get cued in to stuff before album release and i am just thankful that there are people out there both who want to give us that and people who work to help them give us that. thank you ttb for moderating your blog (my newspaper of choice) however it is that you do and to everyone that contributed to her blog.

the whole lead up to the ME! video release

so glorious... but particular the hour before. i was rushing to pick up my kid from school and suddenly i kept getting messages from people that taylor was covering her face and framing her eyes, and i was like oh please yeah sure BUT THEN when the snake in the video had a blank eye like i don’t think you guys understand i had to wait at a bus stop and exchange pleasantries with the other moms but it was a *five alarm fire* in my mind

cause shade never made anybody less gay

stealing away to listen to YNTCD for the first time and hearing Taylor Alison Swift use the word gay in a released song for the first time was a transcendental moment

karlie’s hand in the YNTCD mv.

‘nuff said

daisies. daisies everywhere.

taylor said daisy kaylor rights, and she said it everywhere. *everywhere*. cannot, will not, get over how blessed we are.

gay gay gay gay gay.... taylor’s

sorry not sorry that wiz khalifa collab with elohim on her track FYM was ethereal and i still hope it’s a part of the preshow playlist for Lover Fest

clue hunting in klossy videos and karlie ads

call me a corporate shill all you want like, there’s always a little something in there and i also enjoy the little flickers of goofy karlie that jump out from time to time. and i know this is not the case for everyone but post eyepocalypse, karlie leaning in, winking that eye of hers time and time again was just pique comedy for me and it always made me chuckle. the brands karlie has repped have been really laying it on thick too and it’s been a joy to see. when taylor does it with her music it’s art, and for me karlie’s media presence is a form of art too 😌

oh kaptain my kaptain

kimby liked a comment of mine on her insta which was a distinct honor and privilege 😌 and really she was dropping clues left and right through spring up until she got her snazzy new job and things calmed down 🥰 of which i am so proud talk about an on brand job! also partially clearing the air about my TSL theory and the lead up to clearing that air was quite fulfilling for me and i am forever grateful for the time we shared. and to this point, the seesters in general (and kurt omg) have been quite active all year and we don’t deserve it but they’ve stuck around and it’s been calming.

album cover art release on the livestream

LIKE I HAVE NEVER IN MY LIFE NEVER HAD A FOURTH WALL BROKEN SO DULY

i love you forever, thank you for everything

when taylor came to visit tokyo this year i was basically reenacting the swamp scene from OOTW trying to get a ticket to the secret event... i listened to ME! on LINE MUSIC for over 2000 plays, i bought multiple CD’s, it was such an ordeal and then to not have a ticket after all but still putting on my thinking cap and managing to figure out where the event was while i was at disney sea and literally running from disney sea to the venue in high heels with The Man playing on my phone was oscar-worthy and actually *being correct* and the moment i knew i was correct and how i knew i was correct was so amazing 😉 and i play by the rules so i didn’t try to get in without a ticket and i didn’t lurk. but just to have figured it out and validated it was such a thrill. seeing her on TV live was amazing as well ///

lost in japan, reprise

oh and, last year for rep tour there was this theory i had which didn’t pan out but it had to do with the clues i thought shawn mendes was dropping through autumn 2018 and anyway that’s a story for another day but as i was bopping around town, looking for lockets, staying in rooms i have no business being in, drinking lots of whisky...just to know that while i was doing *everything but* successfully meeting taylor, she literally phoned shawn and had him record lines for that eye theory remix like, i will never ever, like, guys. guys. 😂 it’s too perfect for words. the world is weird like that sometimes.

Lover

and omg Lover the album? i absolutely love lover and i loves that honeymoon period of theorizing and parallel unearthing that we did and i love how slightly creepy-cute it is and i love the whole wabi-sabi thing going on and i absolutely love every song on the album, every one, they all have so much meaning to me... and each one is teeming with little blips and bloops and sound samples and seconds of silence and i love all the brass instruments and so many lush moments... i guess my shortlist (in no particular order) would be the archer, lover, i think he knows, daylight, cruel summer, false god, cornelia street, ME! (yea i really like me 🥰). and to think about everything that went in to the album and the thrill of what it might have been and the vastness of what we don’t know, but like, the weight of that potential?? it’s like this vast pastel and black abyss of drowsy and deep feelings and i love every inch of it. it’s a vibe that reflects so much of what this year has been for me and i’m happy to have existed in this time to have had it with me.

jesus this has gotten too long, and i still have like 24 more things to write out but um, basically, as i’m sure you’ve been able to assume? i wanted to say that despite 2019 being somewhat of a slasher film affair for our fandom, i still had a goddamn great time this year and i hope everyone can find some good memories and relive them as well 🥰

[quynhvynguyen]

Patricia Field on Creating the Look of 'The Devil Wears Prada'

Một bài viết rất hay về các bạn wardrobe stylist. Save ở đây để làm ref cho mình đọc khi cần. Các bạn art/copy làm nghề quảng cáo rất nên đọc bài này. Trong quá trình sản xuất phim/digital clip/print ad/MV or any creative piece, mình sẽ phải work với bên production house - chính xác là với bạn stylist - để chọn áo quần trang phục. Làm trong agency, các bạn phải hiểu rõ brand của mình là gì, character của sản phẩm, character của người đóng (nếu là MV), để cho ra đời các sản phẩm sáng tạo “on point”. Đừng phụ thuộc vào stylist của production house. Đừng phụ thuộc vào client. Bạn phải có tiếng nói riêng của mình, phải có trách nhiệm với những gì mình sản xuất.

https://www.harpersbazaar.com/culture/film-tv/a16439/patricia-field-devil-wears-prada-10-year-anniversary-interview/

Ten years ago today, The Devil Wears Prada premiered in theaters, and fashion has never been the same. From "Florals? For spring? Groundbreaking.", to "That's all.", the movie shined a glamorous—if not slightly brutal—light on the glossiest of industries. The woman behind the glamour? Super stylist Patricia Field (also of Sex and the City and Ugly Betty fame). Below, she opens up to HarpersBAZAAR.comabout the legacy of the film and how she created the style of its iconic characters:

Harper's BAZAAR: I can't believe it's been 10 years since The Devil Wears Prada came out. How do you think the fashion industry as a whole has changed since then?

PF: I think the fashion industry, as a result of globalization, has undergone a uniformity. I'm not saying that's good or that's bad but that is my observation.

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HB: How you were able to create individual personalities through the clothing of the main characters: Miranda, Andy and Emily?

PF: There's a formula you start off with and it starts with the script, because in the script it describes the characters and there's dialogue, and you learn about the character, who is fictitious, that we are creating. So that's step one: the script. Step two: character. Step three: Meet the actual human being, the actress or the actor. It's extremely important to have a relationship with the actor. I always feel my job is to support the actor who is creating this character.

The more information you have, the better you're able to have success. Part of that relationship is getting to know one another. You need to develop a respect, a trust for each other so that you're comfortable in this collaboration. So that's the general rule for all filmmaking for me. With Miranda Priestly, who is a chief editor, my idea was to create Miranda Priestly, not any other real chief editor, because it has to be an original for it to be interesting. Even though Devil Wears Prada originated as a book and it was in reference to Anna Wintour, I was not trying to recreate Anna Wintour. By no means. I was putting together a new formula that included very strongly the script and Meryl Streep. After meeting with her and talking with her, having a dialogue back and forth, you start to educate yourself . It's really important. Dressing is personal. I'd like to think that part of my formula, if possible, is finding any parallel lines between the character and the actor. If I can abstract those parallel lines and stay with them it becomes more organic and believable. Meryl had very good ideas that I liked very much, including her white hair, because I felt the white hair was a great palette. I could put anything to it. It was dynamic. That's an example of the kind of collaboration that I'm talking about. Some actors come with many ideas, some actors come with less ideas and say, "You're the expert, dress me, I don't know anything about fashion." Getting back to Meryl Streep, I wanted to create a fashion editor portrayed by Meryl, so it was very important that I understood her body, her ideas, and so on. After this so-called "research," I came up with—based on Meryl Streep—I went into the archives of Donna Karan, because when she started in the '80s and the '90s, her silhouettes were classic, they held up in time, they fit women, they flattered women, they weren't difficult. You can't start putting difficult clothes on a person. They're actors: they have to move, they have to feel real. And Donna said "Yeah, go to my archives." I went to New Jersey where she has a warehouse and I went through racks and racks, and I brought a lot of pieces out from there, and we used a lot of those piece. I was really happy because they weren't recognizable. They allowed Meryl to create her style, and I knew that fit-wise they would be good. They wasn't constricting or an outlandish shape or something like that.

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20TH CENTURY FOX

HB: And Donna is famous for her workwear anyway.

PF: Absolutely. And the fact that I was in the archives, it was not recognizable. It wasn't Donna Karan 2016. It was very important for me be in that zone because I wanted, when people saw Meryl in these outfits, for it to look completely as her original style and not be distracted by the current trend.

HB: It's timeless.

PF: It is and I think timelessness is a very important factor in whatever I do. That's what makes a classic. It's obvious what's timeless and what is not timeless, but you need time to find that answer. I used it a lot for her workwear—she wore other designers, of course—but that was the foundation. It allowed me to create a style around it because it didn't dictate the style. It went with everything, you could wear it so many ways. So that is one of the main factors about Meryl as Miranda Priestly—that she have her own unique style. Style has become very important, the whole idea of style, what your personal style is. It's your identity, and that's what we're creating here.

When it came to Annie Hathaway, of course I went through the same exercise. I met her—I had never met her before—she was a young girl, just graduated out of being a princess for Disney—other than her role in Brokeback Mountain, which I thought she did a really good job in—so she was excited and open to this new stage in her life as an actress. She was optimistic, she was happy. I took on whatever information I received from her, and it was all positive. So the story is, she's a writer and all of a sudden she gets this job as this big deal fashion editor and she has no background in fashion at all. She starts out looking a bit grungy, non fashion-conscious. And along the storyline she develops into a little fashionista. After my meeting with her and understanding her personality, I got the idea that she's a Chanel girl. And when I spoke to Chanel—and here we go again: classic—when I spoke to Chanel they were very happy. They wanted to put their clothes on a young girl. They were very happy to work with me, which was great because there's nothing like cooperation when you're trying to paint a picture and you have all your paints there, and in this case the paint was Chanel. So her transition from the beginning to the end fit her persona. So there's that parallel line that I was talking about—it's believable about her, her whole persona. She's not Versace, for example. The expression comes in the styling and how you handle it. You take the classic and you take it on a little styling trip and then it becomes individual, original, interesting.

20TH CENTURY FOX

Emily Blunt, she's another one, I love her. She's very outspoken, her lines are underscored, she can handle extremes very well. Just based on my meeting her—I would bring her things and how she would react to it—she was my actress who I could be a little bit more expressive. I could take some chances, some liberties, because she could handle it within the way she delivered this character. She delivered it boldly and very expressively, so I linked that up with the wardrobe. And Stanley, I really didn't have a clue about this character. I went to my wardrobe fitting and I walked out understanding this character 100%. That was wonderful. He's fantastic, he can play anything. He and Meryl are the same in that sense. They can do any role and I so respect the two of them for that. They're not typecast in anyway. That is an actor, as opposed to a type that becomes a celebrity.

HB: Did Meryl offer any other input into what her character was wearing, aside from the white hair?

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PF: Yes. Basically the process is, if she needs an outfit for a scene, I'm not gonna bring her one thing or she's gonna tell me this is what she wants. Based on the range of what she expresses and the range of what I bring her, I might bring her 10 different options she can choose. I think collaboration is extremely important in the process. And at the end of the day, I'm not on camera. Meryl is. The actor is. I think it's very important that they're involved. I never think of an actor as a model. A model wears what you tell them to wear, that's their job. An actor is different. It's important to work with the actor because in the end that's who the audience sees and that's the success that you need. Believable, great to look at, but it all has to come together. I notice a lot of people don't understand that aspect, they think it's more like fashion. I love to do fashion. I always put fashion in all of my storytelling because that's what I am, but I'm not selling clothes, I'm telling a story.

HB: Were those montage scenes particularly challenging? Gathering all those clothes and making sense as a whole?

PF: David Frankel, who is the director and writer and someone who I've worked with many times in the past—who I have a close relationship with—he would come into my office and say, "I just wrote a scene. It's a montage. Meryl is coming into the office and each time she comes into the office she throws another coat down and another coat down." And I go, "David, ca-ching ca-ching ca-ching!" Anyway, we did it. Those and the Annie montages in the street, those are some of the most remembered scenes. They were written after the main film script was written. They were add-ons as we were preparing. Also, I took David to Paris with me to couture. I said, "Come on, this is what you're gonna be shooting. You gotta come and see." We went and that really worked out very well. It inspired him.

HB: Did you design anything yourself for the film?

PF: I was asked to design a bag for Annie. It shifts into a clutch and has a circular handle that's part of the shape of the bag and it's got some fringe on it.

HB: Were there any designers that you were adamant about working with? Prada, Chanel…Valentino himself makes a cameo in the film.

PF: That was great, his cameo in the film. I love Valentino. I love his spirit, his love of life, his enjoyment of the whole experience. He's wonderful. I just landed on the designers as I got into the script and the actors. There were no imperatives. I used other designers besides the ones that I mentioned. But the main thing is, it's not about the designer as much as it's about the piece. Concerning Annie Hathaway, because she's in so much wardrobe, she had to have a style and I came up with the Chanel idea and that worked out. She didn't only wear Chanel. Same for Meryl regarding Donna Karan. Meryl wore some Prada, she wore different things. There wasn't just one thing. When Meryl went to work a lot of it was from the Donna Karan archive. It was important to me because in trying to create a style for this character, I didn't want the clothing to be current, on the runway or in the magazines, and be recognizable. I wanted it to be all Miranda Priestly, individual and original. It's like Anna Wintour has her own style, she's the original of it. Carine [Roitfeld], she has a completely different style, it's her style.

20TH CENTURY FOX

HB: What was your favorite look to put together?

PF: Going back I liked them all, but based on the reaction, I know that when Anne does that Chanel transformation with the mini checked skirt and the thigh-high boots, people loved it. I put a twist on Chanel but the Chanel was there.

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HB: How was designing for The Devil Wears Prada different from Sex in the City, a very fashion-heavy series?

PF: Well it was a different story. It was a different situation. You had different actors. You have to deal with each of them individually and the characters they're playing. It's hard to compare them because they're entirely different. It's really difficult to in any way to compare them. They're much easier to contrast than to find similarity. Again, it depends on the actor. You have somebody like Sarah Jessica Parker, who is a fashionista. She loves fashion. And that's a perk! And she can come with ideas because she's thinking about it. She loves fashion. So the collaboration yields a bonus that way. She loved her role as a supermodel. She loves that. That's like a gift. It's not fashion first, it's storytelling first. And then I throw my fashion and style into it because that's what I know and that's what I do. When you have actors who can support it, it's great. Sarah Jessica could be wearing a pair of five-inch heels and she's running down the street and her feet don't touch the ground. That's a beautiful thing to see. I can't make that happen. That has to come out of the actor. I can only recognize it and utilize it, but if it's not there I can't make it happen. You have to deal with a certain reality and expand it in anyway you can.

JK: Are you surprised by the staying power of the film and how beloved and iconic it is ten years later?

PF: I'm very happily surprised. I never thought that this would become a classic on its own. I never really thought about it going in, "I'm gonna make this the most unforgettable movie." I just go in and do my job and be positive and have fun with it. If I'm not enjoying it, it doesn't happen.

JULIE KOSIN

Senior Culture EditorJulie Kosin is the senior culture editor of ELLE.com, where she oversees all things movies, TV, books, music, and art, from trawling Netflix for a worthy binge to endorsing your next book club pick.