#dvds were peak actually

[buryme-atmakeoutdawn]

Guys should I change my url next year to something different, keep this one, or go back to my original?

[griffin-girl-r]

Blackhill requests you say? Dw I got you covered!

Natasha and Maria are both happily married with an 8 year old daughter (r) when r’s dad enters the picture (r was conceived in the red room so he’s a bad guy who Nat had a one night stand with at some point idk)

She's mine

Created: 11.11.2023

Finished: 16.11.2023

Edited: 17.11.2023

Age: 8

Word count: 2,935

Warnings: Homophobia , Mentions of sexual assult , Abandonment , Misogyny

Anymore let me know

Request: Yes (Tumblr user) (@ravensinthedaylight)

Pairings: BlackHill, Natasha Romanoff x Lev Ilyin (Original!Evil!Character) (Past mention)

—

Natasha and Maria were quietly sitting on the couch in their living room, snuggled closer to each other as their 8-year-old daughter, Y/N, was sandwiched in between the two women.

'Lilo and Stitch', Y/N's favorite movie was playing on the TV and their little girl was absolutely fascinated about everything that was happening in it as if she wasn't seeing this movie for the millionth time.

Natasha had to buy 40 new DVDs with the movie, in the last 7 years since its release, because Y/N watched them so often that they quickly got scratched and, therefore, almost useless.

Natasha could only blame her wife for introducing their daughter to this movie.

Now, truth be told, Maria wasn't actually the other biological parent of Y/N.

Years ago, when Natasha was still a young mere prisoner of her own life, she was forced by the organization that had taken care of her training to have intimate relationships with a man she didn't even know.

More of like, being offered against her own will by the Red Room to one of their men but that is all in the past.

She was ready to keep living with everything that happened to her as long as the only good thing that came out of everything, her daughter, was by her side.

A knock at the front door interrupted Y/N's innocent giggles and the little family looked confused towards the door.

Who could be at the door at this late hour?

"I'm coming!" Maria shouted, carefully moving Y/N's sleepy body, who was using Maria as a pillow, away

"I'll get it." Natasha quickly placed her hand on Maria's arm, stopping her

Maria looked at Natasha for a second and the agent wanted to protest but the reassuring smile the redhead was wearing was too tempting.

"As you wish, my love." Maria smiled back

"I'll be quick." Natasha quickly peaked her wife's lips, then stood up, making her way towards the front door

—

Natasha opened the front door, unaware of the darkness that was lurking just on the other side of it.

A sickening smirk formed on the face of the man who was standing just in front of the red-headed woman.

"Hello, Natalia." He said "Long time no see. Did you miss me?"

Natasha froze in place for a moment as she took in the sight of the man she never thought she would see again.

Memories of a long-forgotten time had resurfaced in her mind.

She shook her head "No..." Natasha whispered "What are you doing here?"

"Well, you know..." The man began "I came to take back what's mine."

Natasha looked at the man, her eyes widening in shock.

"You are not going to take my daughter away from me!" She protectively declared

"Our daughter, my darling." The man corrected her "Oh, and what makes you think that I'm here just for our daughter?" He chuckled "I am here for you as well, Natalia. You are mine just as much as our daughter is." He stated as a matter of factly "How is she, by the way?"

The man took a step forward, walking uninvited inside Natasha's home, and looked around.

"I bet she grew up a lot in the time I haven't seen her." He added when Natasha hesitated to answer his question

"Leave her alone, Lev." Natasha raised her voice "She's innocent. She doesn't have anything to do with all this madness. I thought you were busy planning the world's dominance. How come you have come for us after all this time? How come that HYDRA let you leave their safe prison."

"How?" Lev chuckled "I was never a prisoner at HYDRA, to begin with, unlike you. I am one of their highest-ranked agents. Why do you think they offered you to me out of all people?" He explained "Now I am here to claim what's mine. And this time, neither you nor our little girl will run away. I will find you anywhere."

Anger raised inside of Natasha just as much as fear built inside her.

She couldn't believe her eyes. She couldn't believe that after all this time, the man who hurt her and took advantage of her body was here to claim something he never took part in.

More specifically, in the raising of Y/N, which he had no right over.

"Just leave us alone." Natasha shouted

"You wish!" Lev laughed sadistically

From inside the living room, Maria's ears picked up on the raising tone of her wife's voice, and her instincts kicked in, telling her to go and check what was happening.

"Stay here, baby." Maria kissed your head "Mom is gonna go and quickly check if Mama is okay out there and see who is at the door."

"Okay, Mom." You replied distracted as your attention was fully focused on the movie

Maria stood up and with one last ruffle of your hair, she made her way towards the front door.

"Honey?" Maria called Natasha confused, as she took in the sight of the unknown man sitting in front of her wife "Are you okay? Who's is he?" She pointed to the man "Were you expecting someone?"

"So this is that so-called wife of yours I've heard about." The man smiled "Well it's nice to meet my replacement but we have to leave, Natalia."

Maria looked confused between Natasha and the man for a second.

"What do you mean you have to leave?" Maria asked "Babe?" She turned her head towards Natasha, waiting for her answer

Natasha looked up from the floor, directly into Maria's eyes and the brunette could see the tears that were present in her wife's eyes, causing Maria's instincts to heighten immediately as a surge of protectiveness overflowed her senses.

When Natasha begged Maria to help her just with one look, Maria pushed Natasha behind her with a swift move.

"I don't know who you are." Maria said, her muscles tensing "But I'll have to ask you to leave. Nicely." Se ordered the man through gritted teeth

"You have no right to tell me to leave." The man laughed "I am here to claim what's mine and you, weak woman, will never be able to make me leave."

Just then, Maria's brain clicked on what was happening and she understood who the man that was standing in front of her was.

"You monster." Maria whispered angrily "I know exactly who you are."

"Well..." The man raised his arms, proud of who he was "It took you some time to figure that out." He sang "I expected you to be smarter than this."

"This is the last time I am asking you nicely to leave this house. That unless you want to have some serious problems." Maria said once again

"Oh, come on." The man chuckled sarcastically "You don't expect me to be afraid of a woman and especially of you, don't you?"

"Well, I wouldn't say the same thing if I were you." Maria tilted her head "I am ready to do anything to protect my family."

"Your family?!" The man shouted "They're mine! I am going to take my belongings and leave."

"They are staying here." Maria protested "You don't even know how my daughter is named, let alone have any right over her. I raised her ever since she was a five-month-old baby. I was the one who changed her diapers, checked for any monsters under her bed, and loved her, not you." She hissed "And the same goes for my wife. She's mine for a reason."

From the corner of her eye, Maria saw some movement right behind her, and she saw the man's smirk growing wider.

"Aha, my sweet girl!" The man cheerfully exclaimed "I finally came home. Are you excited to see me?"

Y/N silently peeked at the man from behind her moms.

"Mama?" You called shyly "Who's that?" You pointed towards the man

"No one, baby." Natasha quickly tried to make you leave "Just go back to the movie, okay? Me and Mom will be there very soon."

"Mom?" Lev raised his eyebrow "There is no such thing as another mom. I am your other parent, sweetheart." The man tried to tempt you in a sweet tone "I came here so you could have a normal family. I am your Dad." He declared

"Dad?" You asked confused, looking up towards Natasha "I have no dad. I have Mama and Mom. I already have two parents."

"Well, your parents must be a mom and a dad, not two moms." Lev tried to turn you against your mothers

"But, I love my moms." You innocently declared "They love me and we're always having fun. And Mom always carries me on her shoulders and buys me ice cream, while Mama reads me bedtime stories and gives me the best hugs in the world."

But just before you got to finish your sentence, the man snatched you away by your arm and forcefully held you in place.

You let out a terrified scream as tears quickly made their way down your cheeks.

"Mama!" You screamed out in fear, begging Natasha to help you

"Leave her alone!" Natasha screamed as she tried to grab you back from the men, but she didn't manage to "My baby!"

"Leave my child alone!" Maria threatened "That's my daughter you're holding there. You just don't get it."

"These two girls are mine! And she's coming with me." He pointed towards you

"She's mine!" Maria shouted as she grabbed your other arm quickly and pulled you towards her with all her force, causing the man to loosen his grip on you "They are both mine!" Maria declared as she quickly shoved you behind her to shield you from anything, just as she has done with Natasha "I don't know what's the reason behind your actions and what your evil plan is, but you must leave right now!"

Lev, in a fraction of a second, lifted his arm and punched Maria in the face.

Natasha let out a horrified gasp, her hands instinctively flying to her mouth to cover it in order to muffle any sound.

"Mom!" You screamed, afraid that your mom was badly hurt

"It's okay, kid. Mom is okay." Maria reassured you as she looked towards the man "So, you want to fight?" She nodded, taking a deep breath "Alright then, that's what you'll get."

And just like that, Maria delivered a punch back towards the man and a fight started.

Natasha wanted to help her wife, but she also knew that you needed protection and reassurance as she took two steps backward, shielding you with her body.

Kicks and punches were thrown around from both sides and just as the fight was getting more violent, a blowing sound was heard and the door of their house was slammed open.

"S.H.I.E.L.D., get down!" A deep voice shouted as agents armed with weapons burst inside their home

—

"This won't end like this!" Lev shouted as he tried to fight his restraints, just as S.H.I.E.L.D.'s agents escorted him away

"We'll see about that, Lev Ilyin!" Maria shouted behind him before she quickly turned her attention back to her wife and daughter "You're okay." She said in a rushed but reassuring voice "Everything is okay now, my sweethearts." The brunette woman pulled you and your mama in her arms "No one's ever gonna be able to take you away from me, I'm here and I will always protect you, you both are mine and no one else's."

Your small whimpers broke both Maria and Natasha's hearts.

Natasha held you tightly in her arms "It's okay, baby, it's okay. You're okay." Natasha kissed the top of your head and you hid your face in her stomach

Your cries slowly turned into quiet sniffs as you basked in the protection you felt from both your mothers as Maria protectively held you and Natasha closer to her.

"You're both okay." Maria whispered "We're all okay."

Natasha raised her head and looked at her wife's face, a gasp escaping the redhead's lips.

"Masha, you're hurt!" Natasha worriedly looked at Maria's bruised face and raised her hand to touch her wife's cheek

Maria tenderly grabbed Natasha's hand, stopping her from touching her cheek.

"It's okay, my love." Maria reassured "It's nothing. I just need a little bit of care from you and our little princess and I'll be all healed in no time."

"I'm sorry." Natasha whispered on the verge of crying "I never expected to see him again."

"None of that!" Maria sternly declared "You have no fault in this. Okay?"

"But Maria..." Natasha began before sighing when she saw the look on Maria's face and the spy changed the subject "How did the agents show up just on time?"

"Well, I kind of activated the alarm I have on my bracelet and they were alerted when I realized who Lev was." Maria shrugged her shoulders as if it wasn't such a big deal

"You sneaky agent." Natasha chuckled, a gleam of proudness shining in her eyes

"Well, what can I say?" Maria tried to sniffle her laughter "I am prepared for any situation."

But just as they hugged again, the sweet moment of the small family of three was interrupted by Nick Fury, who walked inside the room holding a file in his hand.

"Agent Hill. Agent Romanoff." He nodded, greeting the women "I want to thank you for catching one of the most wanted criminals on S.H.I.E.L.D.'s list.

"Well, you know..." Maria turned annoyed towards Fury, angry that he disturbed their moment "He kind of messed up with my family. I had to do something about it."

"As a thanks, I have a very special mission for you both." Fury stated "I need your help and you have just proven to me that you're both fit for this mission."

Natasha sighed, rolling her eyes "I knew there was something about you showing up here, Nick, not just because of Lev Ilyin."

"You know me, Agent Romanoff." He stated unimpressed, extending his hand towards them, offering them the file "Ilyin is just another trophy to our collection."

The couple grabbed the file from his hand and Natasha opened it, looking at the name of their next target that was written on the first page with big, bold letters.

"Tony Stark?" Maria asked confused "Isn't he that annoying, reckless man who thinks he's smart just because he has money and who wears sunglasses at parties that take place at night?"

"You couldn't have described Stark better, Agent Hill." Fury nodded "That's why I need Agent Romanoff to infiltrate inside his company. You have all the information there. You're getting a new alias and your mission is to protect him as danger is too close to him right now. We need to take action or the next events will have a turn for the worst if we don't intervene in this." He explained before adding "For the whole globe, not just for Stark."

"Consider it done." Natasha nodded, accepting the mission

"I promise you both, you won't regret helping with this mission." Fury looked in between the two women

"We hope we won't, Sir." Maria squinted her eyes

And just like that, Fury turned around and left without adding any other word.

Maria peeked at the page where all the details about Natasha's new identity were and quickly scanned the page with her eyes, reading the important details.

"Well, I see he didn't think too much about a new name." Maria said teasingly "Come on! Natalie Rushman? He could do better than that. And you were supposed to be a model?" She chuckled "No way!"

"Oh, shut up." Natasha playfully smacked Maria's arm "Let's just leave the mission for another time, okay? I have enough time later to study this role."

"All right, Miss Rushman." Maria laughed, wrapping her arms around Natasha's shoulders while taking a gentle hold of Y/N's small hand "I think we had a movie to watch."

"Stitch!" You cheered excitedly

"Yeah, baby, Stitch!" Natasha lovingly smiled down at you as you all made your way back to the living room

—

That night, Maria lay awake in the bed she and her wife shared.

Natasha and their daughter were sound asleep as today's events drained them out of energy.

The brunette agent turned on her side with a sigh and scanned the faces of her two loves in the darkness.

"No one will ever be able to take you away from me." Maria whispered "I promise you both that we will forever be a family regardless of our past or of what other people might think about us."

Maria slowly leaned closer and kissed your cheek.

"You're so loved, Y/N." The brunette whispered in your ear "And so are you, Tasha." She also pressed a gentle kiss against Natasha's cheek "You're my blessings and I'm the luckiest woman in the world to have you both."

What happened today, helped not only Natasha and Maria, but also you, to realize how lucky you were to have each other and on how much love your small family was actually built on.

Maria vowed to fight until her last breath, just so she could keep you and Natasha safe, as her love for her girls knew no bounds.

And just as Stitch has said.

'Ohana means family. Family means no one gets left behind or forgotten.'

And a true family is built on love, not blood.

—

Permanent taglist: @lizlil , @mmmmokdok , @natsxwife , @lovelyy-moonlight , @observeowl , @froufrousnowman , @youralphawolf72 , @halstead-severide-fan , @daggersquadphantom , @circe143 , @ravensinthedaylight , @darkstar225 , @dannipotatoo , @justarandomreaderxoxo , @theunchosenonee , @cherlenovix

[uhgood-girl]

why jikook?

i've been asking myself this a lot recently bc well, why them? why not tkook? or ynmin? hell, jihope even, they're underrated as hell honestly, have you seen that hot tub video? hobi was ready to unhinge his jaw to swallow jimin whole (and who (jk) could blame him.)

but jikook, in a not joking way, hits different. they always have. it's been years at this point that i've been deep in this rabbit hole (within the larger bts rabbit hole, my god, how deep does it go) but i don't recall making the conscious decision to fall in.

maybe a little background?

i'm a fake love army. actually, if we're getting technical, i'm an outro tear army bc it was in the comments of the freshly released fake love music video that i saw someone recommend outro tear if i enjoyed fake love and then it was over for me. extremely not fake love at first listen, who's voice is second on this track? i NEED to know. i'm a yoongi/rapline bias to this day. fake love still fucks though, don't get me wrong, it's a never skip for me.

for that first year and then some, i consumed backlogged content like it was my day job. i am a prone to hyper-fixations hermit, basically, who was going to stop me? my therapist? nah, she picks her battles.

i watched everything i could get my grubby little hands on like someone would be testing me on it later. (shoutout qdeoks, you were so real) i didn't open stan twitter for the first time till probably the end of 2018, really just in time to be slapped in the face full force with the shitshow that was a hate campaign against these boys i was deeply invested in by then, the likes of which i had never experienced in an online space up to that point. it was a truly, truly wild era, don't ever let anyone tell you differently.

all that to say, i've been here for a hot minute and i developed my own first impressions on bts and the members as individuals in a vacuum. no one had to point jikook out to me, they stuck out on their own.

potentially relevant disclaimer before we continue: i am really really queer. i grew up in the united states conservative deep south and had to change high schools my sophomore year bc i was outed and then violently ostracized for being in a relationship with my same sex best friend at the time. it is safe to say i have a lot of feelings about and experience even when it comes to having to be low key (understatement lol) about who you love. i am not here just to make my barbies kiss.

actually, on that note, jikook wouldnt even be my chosen barbies out of bts. if we're in true fantasy delulu hours here, i would want yoonjin to be real. god, that would be the stuff, they're so old married as it is. peak romance.

i think the first place jikook ever truly caught my attention were the memories dvds. jimin has always been a sweet, bby angel taking care of all his members but i remember thinking that he seemed to pay a little extra, special attention to jungkook. and of course, why not, jk's the maknae after all. all of them have always been doting on him and deservedly so. but in those briefly shown really serious, quiet moments, jimin was often first in line. a spot very easy for him to obtain tbh as jk never seemed to be very far from him anyway. maybe if you've never in real time lived the satellite jeon accusations (hi pandemic army, bless you, i hope you make it to 2025 when we have them all back without restrictions) you might find them easier to dismiss but it was so consistent back then in all of the content being released. and once noticed, i don't know how anyone ever un-notices it. but i was in deep before i even realized the water was boiling.

should i talk about why not tkook? or ynmin, for me? i'm just pulling those as examples bc i know they're the popular contenders here but all joking in the beginning of this post aside, none of the other members interpersonal relationships, in any configuration (sadly, RIP yoonjin romance), have ever struck me as anything other than puppy crush/deep friendship/family. and that's not bc i don't think over half of those men aren't queer in some form or fashion because WHEW, that is an entirely different post and we simply do not have the time to unpack rn but it's not for lack of looking.

i started in a vacuum, but i have by no means stayed there, i walked in all of those front doors and sat down and said "convince me." i've got the time and lack of life, i am ready to be won over. what have i missed?

to this day i still regularly try and check my own confirmation bias, i'm obviously looking for jikook at this stage but i'm still ready on my toes if any of the others want to get crazy. (yoonjin i am rooting for you, we're all rooting for you)

and i'm not here to really persuade or sway anyone one way or another either. there are a 1000 other blogs on this site that can probably offer you better explanations, specific clips, and detailed break downs of moments throughout the years and even then people are going to see what they want to see. i just wanted to write some of my own thoughts down finally.

though...i guess if i had to point to any one single piece of "evidence" it would definitely be tried and true gcf tokyo? but if watching that the first time didn't ring through you like a gunshot, i def don't think there's anything i could say beyond that.

honestly, i think so much of "why jikook" for me boils down to the pit in the bottom of my stomach that i used to get when i first began to notice them. when i got past the initial warm fuzzies inspired by the sincerity of their interactions, my immediate second emotion was concern.

i remember the first time i heard some of the other boys make an offhand joke about them being a couple and i got anxious, fast. i thought hide, hide better, please be safe. i began to pay extra attention to the other members in general too when jikook would do things and felt like i could sometimes see a similar anxiety to my own in their expressions. for a long time, i just worried about them and where i saw other people rejoice in their more obvious moments, i was slow to celebrate.

despite my initial hesitation, it's now been about 5 years since the first time they ever made me double take. they're a few years younger than me but i feel like we've been growing up together. (parasocial? idk her.) they're less conspicuous these days, and for lots of obvious reasons, but i feel like overall, their confidence in themselves and each other is quite high. i know that's probably a funny thing to say in light of this last week especially, but i stand by it. i've seen this song and dance before. i have managed my own expectations in the past, taken full steps back only to be beaten anew over the head so many times with enough "coincidences" i felt borderline foolish to try and deny anything. jikook are truly some sort of neuro-spicy pattern recognition drug, i swear.

and i've never really gotten to talk about any of this with anyone before! i'm shy irl, and shy online apparently bc i have just been lurking around the outer lines of this circle this whole time like some creepy creep but i've decided i'm over it. fuck it. growth.gif. idk that i have anything important or new to contribute to the conversation but my god, no one else seems to let that stop them so i might as well take my turn on the soapbox, no?

so 📢 JIKOOK REAL (?) jikook sus. jikook make bandaged queer little heart go boom boom.

[akkivee]

HAPPY 7 YEARS OF HYPMIC EVERYONE 🎰🥳🎰🥳🎰🥳

to celebrate, i’m just going to list seven moments hypmic irrevocably changed the trajectory of my entire life lmao

1️⃣ buying the lives was probably the best worst thing i could have ever done to myself lmao. by the time i’d realised you could buy them, only the 2nd&3rd lives were out on dvd (they’re bundled together on one set), and though it wasn’t the first hypmic purchase i made, it kicked off the lives obsession lol. the 2nd live in particular blew my mind lol it was the first time most of the cast were on stage for hypmic and i’ll never forget the happy surprise on kijima-san’s face when the crowd screamed along to his call and response parts in drb lol. on top of that, kimura beatboxed live on stage confirming it really was ichiro beatboxing, shiraimu and nozu in lieu of souma-san’s absence gave it their all singing his parts and nozu dropped the sickest freestyle, and the samajuto cigarette kiss was born and so thoroughly rewired everyone’s brains, it just became part of samatoki’s character lmao

2️⃣ this list very easily can be just about the lives lol but i also loved getting to watch them live lol. forever and always 🖕🖕corona but getting to sidestep around abema’s booboo dookie region locks to watch the 5th live set off a precedence for needing to live watch them lmao. it’s probably the snowball that kicked off the avalanche that convinced me to try to go to japan for the first time in ten years, give or take, and bat’s 8th live day two was their most special live yet lmao

3️⃣ ITS NOT A LIVE ITS A STREAM LOL but the moment the kuukou brainrot roundhouse kicked me in the face was watching kuukou’s spirit possess hayama-san in real time lol i would have saved myself from so much heartbreak if i had stayed a matenhoe but nooooooo kuukou had to manifest in his seiyuu and i haaaaaad to watch it happen live and now i’m kuukou’s btch 🙄

4️⃣ wanna know how i became a matenrou stan lol???? jakurai’s voice introducing matenrou to the world in drb and hifumi flexing the love his women give to him makes him filthy rich lmao

5️⃣ i’ve felt a lot of frustration whilst mucking about in hypmic land, but i don’t think i have ever experienced as frustrating emotional rollercoaster ride more than the one hypstage has taken me on lmao!!!!! hypmic sneakily changing their description of the franchise from ‘voice project’ to ‘multimedia project’ when it was announced, okay actually showing a fantastic story despite hypmic’s ‘lack’ of one back in the day, nagosaka getting introduced and giving us simultaneously the best and ‘worst’ depiction of kuukou, only exclude them in the following tracks lmaooo, creating a really cool concept for mixing division pairs with an oridivi only for it to get cancelled like genuinely 🖕🖕covid but rolling up with the greatest comeback in the form of the rep lives where in the middle of the run we were given the best kuukou performance yet, shortly followed by the announcement that everyone was graduating!!!!!!!! but bop 2023 was magical; a fantastic send off to a legendary cast and closure to the pinnacle of stage production and hypmic storytelli— the stage was rebooted six months later in an absolute betrayal that was quite literally assuaged my love for hypmic, hatred for nelke and getting REAL WOMEN on stage lmao

6️⃣ and so like lemme circle back around to bat’s 8th live lmao. do you know how crazy that time was lol???? bat stans threw together a really sick flower display at a local flower shop, crowdfunded to make the lights display in this popular mall in nagoya shine purple for them, bars dedicating drinks for bat and welcoming live goers for an after party drink, day two of the live fell on bat’s 3rd anniversary and a few days prior they dropped the bright and dark mv for hypstage and the hella awesome banquet mv that bat stans ripped to shreds analysing jp bat fans my BELOVED lmao november is truly a bat month lol but anyway the 8th live was a peak time and i miss it daily!!!!!!!!

7️⃣ instead of being really gross and sappy about kuukou or the piece of merch that got me into hypmic lol shoutout to the music like actually lol. dba locked me in the moment i listened to it and i think very fondly of those days going thru the youtube for more lol. gave me a refreshed appreciation for music, esp jp music, got me to listen to more music instead of the couple hundred or so songs i’ve been listening to since i was in middle school LOL. so thanks hypmic, for giving me peak dissociation songs (like tigridia), the hypest shit that had me yelling (like moonlight shadow) and songs that had my heart racing at 3 in the morning and thoroughly unable to sleep lol (can you believe kaigen exists in this world and they let that shit drop during bat vs mtr 6th live and bc the bat seiyuu’s stage presence is just top tier they blew it out of the park frame one and she says the brainrot didn’t truly settle until live watching hayama-san get possessed but the damage was truly done listening to that calced cacophony of noise and in the ensuing silence as hayama-san’s ‘kaigen’ echoed throughout the studio OH IM GOING TO BE SICK—)

[whoreviewswho]

Your Evil is My Good - Pyramids of Mars, 1975

There are some things, though not many, that the Doctor Who fandom seems to universally agree on. Everybody seems to agree that the Weeping Angels are a great, iconic monster. Everybody seems onboard with the notion that The Caves of Androzani is one of the best stories of all time. Everybody seems to agree that the Hinchcliffe era is one of the most consistently good runs in the whole show. You can probably see where I am going with this. Pyramids of Mars has been forever lauded as one of the all-time great Doctor Who stories, a shining example of a show that appealed to all ages at the peak of its powers. 

Like all consensus opinions, there is obviously a clear logic to this. Pyramids of Mars is incredibly memorable and influential. It was, after all, the third serial to be released on the VHS line and it topped the DWM poll for most anticipated DVD release in 2003. Even if it were not so formative and prominent in fan's minds (the amount of times it has been selected for re-release and repeat is remarkable) it would still be one of the most influential and groundbreaking stories of its time. It is hard to challenge the claim that Pyramids of Mars is the single most important story of the Hinchcliffe era. Not the best (there are at least four prior to this that could more readily stake that claim) but, in an aesthetic sense, the pilot episode for the Hinchcliffe era or, at least, the one where everything finally falls into place.

Prior to Pyramids of Mars, Doctor Who had functioned primarily based on the approach pioneered by Verity Lambert and David Whittaker back in the early 1960s. Their vision of Doctor Who was as a programme defined by juxtaposing aesthetics and the storytelling had developed to facilitate that by colliding genres and styles of storytelling. What debuts in Pyramids of Mars is, in hindsight, the inevitable next step which is positioning the established aesthetics and logic of Doctor Who alongside specific pulp genre stories. The difference is the distinction between the Doctor walking amongst a space opera or a western and disrupting their logics and aesthetics and the Doctor walking around within 1971’s Blood of the Mummy’s Tomb and being beholden to its logic and aesthetic. 

In the 1990s, Steven Moffat infamously derided the Hinchcliffe era for comprising too largely of derivative pastiches and, while I ultimately agree with him, he is made to look a bit of a fool because of how much the approach does actually work. I like Pyramids of Mars. Of course I do. I'm a Doctor Who fan. This story is a blast to watch and it is the first in a really strong run of pulpy, gothic horror-pastiches that define the Hinchcliffe era in everybody's minds (I stress this is not the beginning of a run in terms of quality, just the start of an aesthetic period that also happens to be very good). This is a messy story but it is a very promising first showing. Pyramids of Mars proves that this model of Doctor Who can work and it lays the groundwork for better stories later down the track. after it to take this aesthetic and run into incredibly interesting places. So, as you have obviously concluded by now, this is not even close to my favourite of the Hinchcliffe era, let alone of all time. 

Yes, the production of Pyramids of Mars is spectacular. Probably the single strongest aspect of the Hinchcliffe era is just how good the show was at working within its limitations. None of the stories under his watch look especially naff and Pyramids of Mars is especially luscious. The serial is dripping in tone and atmosphere and I could not begrudge anybody frequenting it for just the mood it puts you in. The sets for the house are great and effortlessly evoke that classic, hammer horror tone of an old, creepy house with creepy old dudes doing creepy *cult* (we can replace that word with *casually stereotypically racist*) stuff. The visual effects are also excellent with particular kudos to that chilling bit where Marcus gets shot. I could watch that one sequence forever. 

This is not a script with a wealth of great material for the actors but there is no question that they are all exceptional. Paddy Russell even claimed as much herself, insisting upon finding strong actors to bolster material that she thought was lacking. Michael Sheard brings a lot to Laurence Scarman, the best part in the whole story from an acting perspective, but it is hard to look past Garbriel Woolf as Sutekh for the best guest performance in the serial. What a captivating voice and commanding presence. Tom Baker's performance is often praised for the seriousness and dread he brings to proceedings. He even has some particularly dark and alien moments such as his total detachment from the various deaths around him. In my opinion, however, I find his performance to be distant and disinterested, likely thanks to his frosty relationship with Russell. Luckily, it does serve this material well and offer an alienness to the role but he seems incredibly bored and pissed off every time he is onscreen.

As with this whole season though, Elisabeth Sladen is at the height of her powers and effortlessly wrings buckets of charm out of scripts that, again, serve her terribly. Following season eleven, it feels like nobody working on the show has any interest or even a take on the Sarah Jane that we were introduced to. Everybody who has ever seen this serial praises the scene where the Doctor leaves the events of the story for 1980 at Sarah's request and rightly so because it is a phenomenal sequence and possibly the most effective way to demonstrate how awesomely powerful the villain is in the whole show’s history. It's so good, of course, that Russell T. Davies had the good sense to nick it wholesale for The Devil's Chord. Everything aesthetically about Pyramids of Mars works. This is a great story to just watch and let wash over you. 

However, I think that this script is deeply flawed and definitely needed another pass before it could attain true GOAT status in my books. Perhaps that will seem unfair to those who will cry out in defence with the reminder that  this story was another late rewrite from Robert Holmes when the original scripts, from one time writer Lewis Griefer, were deemed unworkable. It is somewhat miraculous that this story even got made at all. It’s difficult to say now how much of the finished serial can truly be credited to whom. Greifer, was approached by Holmes, a former colleague, while headhunting new talent. Knowing he had a keen interest in Egyptian mythology, Holmes allegedly pitched the combination of science-fiction and a mummy horror film to him. Greifer’s scripts would have been radically different including the proposed final appearance of UNIT and the Brigadier, a scheme to solve world hunger with plantations on the moon year culminated in the Doctor uniting with Horus and Iris to take on the crocodile looking Seth and stop his plan to replace the grain and destroy the moon. It is from here that the development of the serial becomes very collaborative. Holmes met with Greifer and suggested a number of scaled-back alterations that were more in-line with what Doctor Who was suited to in 1976 as well as taking on suggestions from outgoing producer Barry Letts. 

Greifer revised his scripts further to what would be the basic plot of the television version, moving the detecting to Earth with an imprisoned Seth and his rocket-based plans, with the added addition of a fortune hunter seeking the world-saving rice in an ancient Egyptian tomb. Holmes remained unhappy with the scripts and, to make matters worse, Greifer fell ill after delivering a full script for the first episode only. Following his recovery, Greifer then promptly left the UK to take on a job her previously committed to leaving Holmes to do a page one rewrite with the consultation of director Paddy Russell based on what had already been put in motion. With all of this fraught pre-production in mind, I still think this story is an undercooked mess. The first episode is fantastic and I really love the third but there is so much padding in episodes two and four that really drag the whole thing down for me. The entire second episode is just spent cutting between Sutekh killing people and the Doctor setting up a plan to stop him that fails immediately: The foundations of this serial are really strong and it has some great dialogue, characters and moments but the whole thing fails to hold together for me especially in regards to pacing and the real lack of any interesting subtext to sink your teeth into. There is not much to love here that is not aesthetic.

But let's try and dig a little deeper anyway. Broadly speaking, mortality seems to be the theme that connects the various elements of the story. We are first introduced to the Doctor in what is probably my single favourite shot of him in the whole seven years he was in the show. We meet him alone, in silence and brooding in the TARDIS control room. Sarah enters in what will be a coincidentally appropriate Edwardian dress, our first indicator that this story is really all about aesthetics and flavour more than anything else, and we discover that the Doctor is in somewhat of a mid-life crisis, grappling with the uncomfortable realisation that his life is marching on and that he has no real purpose. This is a really well written and performed scene, one of the best the Doctor and Sarah ever had, and probably my favourite of the serial. While the original show on the whole is not know for deftness of characterisation and development, Pyramids of Mars proposes a potentially interesting starting place for the Doctor’s character which is simply to put him in a somewhat depressed mood and unhappy with the prospect of spending his remaining days at U.N.I.T.‘s beck and call. This a Doctor who has lost his sense of purpose and ambition. It is a great idea that could reveal a lot about the Doctor and challenge his character, as we later saw under Moffat's creative direction, but it never goes anywhere here. Pyramids of Mars is a serial about a villain who does have a defined purpose and ambition – to bring death to all of reality. Yet the person best poised to stop him is in a crisis himself about the prospect of that very thing arriving for him. The character-driven story of a wandering hero in a mid-life crisis versus the Lord of Death should simply write itself.

But it doesn't. The Doctor does not walk away from the end of this adventure with a renewed sense of self or really any semblance of change in the morose feelings he expresses in episode one. It would have been perfectly forgivable if his mid-life crisis was something that the production team set-up here and went on to develop over the season but that never happens either. The Doctor is more than happy to assist U.N.I.T. in the very next serial and yet once more before the season wraps up. The elements are all here to ie the themes and character beats together but it never really happens. For example, I would love to confidently read something deeper into the final visual of the house burning down. It is, after all, the Doctor’s defeat of Sutekh that starts the fire and we know from episode one that, later down the track, the manor is going to be rebuilt and repurposed as the U.N.I.T. headquarters.

The thematic implications of this are really nice. Sutekh wants to end everything, leaving "nothing but dust and darkness", but we all know that the manor's destruction is an ultimately necessary consequence to allow for something good to rise up from its ashes. Life always prevails and begins anew. This is a simple enough thematic beat that could have been teased out and made a lot stronger and it could even have been a clear indicator of some character resolution. With the Doctor inadvertently facilitating the conception of U.N.I.T., this whole image could represent his coming to terms with his place in the universe after combatting Sutekh and passionately redefining himself and coming to terms with a now mythic role as a defender of all life in the universe, a champion of change and renewal. It is something almost there in the script but not quite.

The use of Egyptian iconography in this story is very clever. We know that death was an incredibly important aspect of their culture. People's corpses were mummified to preserve them for the afterlife since death was very much believed not to be the end. There is some cool world-building in this story and I really like the idea that Egyptian culture is all founded upon the wars of the Osirans (Osiris being the Egyptian god of the dead and of fertility). Sutekh is directly mentioned as being the inspiration for Set, realised as well as one could expect in his final beastly form, and the whole premise of the story is hinging upon his previous eternal imprisonment at the hands of brother Horus. I love that the bringer of death is punished by having an eternally unlived life. I think that this context is intended to be paralleled with Marcus and Lawrence. The pair are brothers and, for most of the story, the former literally is Sutekh.

Or, in another sense, it might be helpful to take the Doctor’s advice and consider Marcus as already dead. That plays nicely into the broader subtext we are reaching for here of exploring different relationships with death. Lawrence is in denial of his brother’s death since he sees him walking, talking and breathing. The Doctor thinks otherwise, confidently claiming Marcus to be dead already and no longer Lawrence’s brother now that his mind has been overtaken. We should note the Doctor and Sarah’s later scene too where she expresses a lot of sorrow over Lawrence’s death while the Doctor more or less just shrugs, if anything he comes off mildly annoyed, and refuses to deviate from the bigger priority of stopping Sutekh. It is a very memorable and somewhat disturbing scene, the likes of which the modern characterisation of the character never lends itself to. Even the Twelfth Doctor at his most callous was condemned by everybody around him and served his greater character growth. In the case of this moment, it is Sarah who is framed to be in the wrong for imparting human values upon the Doctor which is a potentially interesting notion but not a thread Holmes ever seems interested on pulling on again.

But I’ve digressed. There is potentially something very cool in the parallel between the four brothers but, again, the story is in dire need of another draft to really pull it to the fore. Lawrence is ultimately killed by his brother in quite a genuinely tragic moment since he is such a well performed and written character but the actual implications and significance of the scene beyond just the sheer shock value are ultimately lost on me. Marcus ends up never even knowing he did this, presumably, since he is killed the second he is freed from Sutekh. If Lawrence could be read as a parallel with Horus, or perhaps more closely of Osiris if we are considered the actual Osiris myth, what is this actually supposed to communicate? To depict for us that Sutekh would kill his own brother given the chance, as we know he did? That there is no humanity to appeal to with this villain? I am not sure of the intention but the scene, like this whole story, is almost fantastic.

And then there is the final episode. Every critic of this story before me has already torn this episode to pieces but I will just take it on briefly and note that the whole story just kind of falls apart at this point. The opening scenes with the Doctor and Sutekh are awesome but as soon as we actually get to the titular location, Holmes starts playing for time really hard. The first three episodes are already padded out to the max with extended woodland chases, an awkwardly large number of scenes where the Doctor and Sarah are simply walking to the poacher's shed and the entire character of the poacher himself in episode two who interacts with none of the main cast (save Marcus) and is just killed anyway. None of this blatant stretching of the script bends to breaking point thanks to how strong the production is at capturing the horror tone and aesthetic but the fourth episode is not so lucky. What we have here, for most of the episode, is an extended sequence of the Doctor and Sarah attempting an Egyptian themed escape room. This could have been compelling and some of the puzzles are kind of cool but the presentation is actually quite awful and the whole logic of this situation kind of escapes me. I suppose that Horus set these up to stop Sutekh’s followers from getting into the pyramid but does he just have the same voice as Sutekh? Is that what is going on?

It also does not help the story that this section is all shot on CSO and, aside from some great model work, looks incredibly cheap and bad. The serial takes a really shoddy nosedive but the biggest insult of this whole affair is simply that the whole episode is a colossal waste of time. The Doctor and Sarah accomplish nothing in going to the pyramid and just turn around to go back to the house to save the day with a totally different plan by the end anyway. Neither the characters nor the audience gain anything at all from the whole sequence. 

Thus, this is the great conflict I have with Pyramids of Mars because I love watching it. I love the flavour of the story and the clear effort that everybody put in to make it the memorable, entertaining experience. For the most part, I am really sucked in by it. But it is not a masterpiece. In the end, there really isn't very much to say about it at all. This is a serial that feels like watching the tracks being laid when the train's already moving. It makes for a fun journey but the final destination is really shaky. Pyramids of Mars is exceptional in theory just leaves that little bit to be desired. 

It is still a cracking story though. After all, this is mid-70s Who we’re talking about.

[respectthepetty]

*I'm going to be completely normal about Moonlight Chicken. I'm just going to watch and enjoy it. I'm not going to look deeper. I'm not going to think about..*

Moonlight Chicken's Symbolism and Background Noise

The series has several Chinese influences and begins on September 10, 2022, which an actual full moon fell on that day. It is the Moon Festival also known as Harvest Moon, Mid-Autumn Moon, or Mooncake. It is meant to be spent with others. In the lunar calendar, it's the mid-point of the year. We know this date from Jim's beer.

The brand of the beer is Full Moon, and he and Wen drink it throughout the first episode.

Jim and Wen discuss what is normally seen in the moon. Jim sees a woman (which there is legend about a woman and the moon, but it's too much for this space), but Wen states it's a rabbit. A rabbit normally represents the full moon because both symbolize longevity, peace, and prosperity.

That's why mooncakes are given during this time. They represent well wishes to the receiver and those shared with a long peaceful and prosperous life.

Ginger, which Wen shared with Jim, also symbolizes longevity as well as passion and strength.

Jim's green truck's license plate states frog in Thai. Frogs are a symbol of prosperity and good luck.

Li Ming, whose name means (bright) dawn, wears an Ohio State Buckeyes Football Shirt. Buckeyes are a type of nut and symbolize good luck (thanks college football for that nugget of info!).

However, this show is doing well with subtle foreshadowing, so Li Ming might run into some bad luck with driving (Heart around) without a license.

We get some foreshadowing with the DVD Wen picks up at Jim's. This movie is about two lovers who meet in Hong Kong after relocating there from other parts of China. Their lives take them on separate paths, only for them to reunite ten years later in America. The ending shows that they actually sat back-to-back on the train ride into Hong Kong over a decade ago. Aka, they were fated lovers.

Jim has an Idiot's Guide to Starting a Home-Based Business and Reader's Digest collection of books - Dick Francis' Comeback (about a man who gets entangled with a stranger on his route to his new job), Frederick Forsyth's The Deceiver (about a British agent who is set to retire, but one of the main plots is an affair), and Alexandria Ripley's Scarlett (which continues the story of Scarlett and Rhett from Gone with the Wind, who are estranged, but at the end, reunite). *Also, the condom package is amazing. The C of "condom" is actually the condom. I just think it's neat!

Wen has Eric Hall's Monster (which is about famous sport agent Eric Hall who was known for being a money monster). This is likely to be Alan's book because the apartment is filled with art, which is due to Wen being an art director. He was also drinking because of his job but didn't state anything specific about the reason.

Wen and Alan's apartment is more modern, while Jim's is more traditional.

When Jim and Wen met at the restaurant, it is Saturday going into Sunday. In Thailand, Sunday's color is red, and its unlucky color is blue. However, In China, red represents good luck, and blue represents longevity. We see these colors often around Jim and Wen (scroll back up).

Jim was shown mostly in or highlighted by red the first episode with Wen in or highlighted by blue.

Even Jim's aprons are red. They say Hungry? with a little chicken peaking out of the pockets.

We also see the blues and reds around Heart and Li Ming. *peep the elephant tusks which are encasing the family and symbolize power*

The bottle Heart drops is Snake Bite Whiskey, and a snakebite shot simply consists of whiskey and lime juice aka it hurts like an actual snakebite.

Modern Thai Sign Language was influenced by American Sign Language (which was greatly influenced by French Sign Language). It seems as if Heart is telling Li Ming his face scared him, but I'm unsure of the last sign since that is not the ASL sign for surprise, scared, or angry. The second portion seems to consist of Heart saying YOUR MISTAKE, but once again, the second sign is different than ASL's mistake because of the breadth of the movement. *I love that this wasn't captioned because it allows the audience to feel Li Ming's confusion and Heart's frustration.

We end the episode back at night with another shot of the moon. As others have pointed out, the colors at night are more crisp and vibrant compared to the day.

But based on Li Ming's name, and the symbols, I think Moonlight Chicken is attempting a similar theme as Big Dragon - The Moon and the Sun have to meet at Dawn. These lovers won't work in their current situations. They have to compromise and find balance, which is why they met in the middle of the year. They have to meet in the in-between.

[challahbread]

it is with a heavy heart and yet great joy that i give you the grand finale (for the time being) tokutenkai digest, first from the bday concert and then from the until-morning event

[staff-san gives him the present and he thanks me for it kinda surprised like ‘ah!! thank you 🍞!”]

me: um, for the name, can you write “happy birthday 🍞”…

tem: is your birthday soon?

me: it’s today, actually,

tem: ehhh?!? happy birthday!! (in english) “happy birthday!”

[first pose]

me: actually, i’ve always wanted to ask you this, but have you seen twin peaks season three?

[my shitty katakana pronunciation leads to a misunderstanding at first and i’m like “please watch it! can we do a laura palmer pose” and THEN he’s like]

tem: OH!! twin peaks!! the return? i have seen it! it was so good!!

[picture]

tem: the return, those last 20 minutes was the the best thing ever!! like, ‘whaaat?!? that’s the ending?!?’” [he is on the verge of infodumping further until staff-san is like OKAY THE LAST PICTURE]

[temmy suggests to pose with the present before i cut him off with]

me: UMM! to be honest, for coming to japan, and for doing translations and stuff, i want to be praised a little bit…! is it okay if we do that kind of pose…!

tem: a headpat pose? sure!

[picture]

[he tried to say something but i forgor AUGHHH but we both said “see you later!!”]

—-

tem: is “🍞” fine for the sign?

me: um,, can you write “do your best, 🍞”

tem: and for the other one?

me: uh,, it’s the last one, so i don’t know, can you,

tem: it was your birthday yesterday, so-

me: ah! right, happy birthday, temma-san..!

tem: it’s still your birthday with the time difference, so i’ll write “hapiba” in japanese!

[pictures]

tem: and for the next pose?

me: um, it’s the last one🥺🥺🥺, so i’ll leave it to you again,,

tem: then, since we were talking about twin peaks, how about the fuwakuwaku (song with twin peaks references in the mv) pose?

me: yeah!!🥹

[picture]

tem: 🍞, thank you for coming, really! you were here for a month?

me: y-yeah,, ;__;

tem: [obviously trying to cheer me up] isn’t it great that recently all of twin peaks got put up on amazon prime?

me: yeah! i already have all of it on bluray though…

tem: wow! i have the dvds but not all the blurays! really, thank you for coming. get home safe, okay?

me: yeah…see you…;___;

tem: [in english] “have a nice day!” see you again!

[beautifulpersonpeach]

Me yesterday after an 8 hr shift: oooh, jikook in tokyo and then sapporo. Yes, pretty, pretty winter view. What? New jikook clips from PTD US? Yes, yes. Mm-hmm. Of course, there are tons of jikook moments. As usual.

Me after waking up this morning with one eye open: what? there's more?? Jikook still jikooking?? What do you mean that was like half of the dvd?? *drowns in jikook content but still wants to keep it coming* 😤😭

*

Ask 2:

I can't help but remember all your posts from the past 2 years saying jikook hasn't changed really. Let this be lesson no 999 for me to not doubt jikook,, I prayed for days like this

*

Ask 3:

BPP the change in sentiment on my tl is like night and day. My moot basically turned into a PJM last month and was dragging JK 247, but now she is reposting PTD vids about how she misses BTS and always knew they loved each other yada yada.

Am I in the twilight zone? Did the lack of OT7 content this year really make people go crazy and forget how BTS are with each other? I asked my moot if she's still a PJM that hates JK and she started denying she ever hated them! But her rants calling him a 'Bongo sucker who has no talent and backstabs his friends' was up on her profile until she deleted the posts today.

***

Hi Anon(s),

It's starting to feel a lot like Christmas, isn't it?

With all that footage coming in, ARMY twitter feels a bit more like its former state, of BTS fans awwing and ooohing over all seven guys and their interactions with each other, while gaining more respect for BTS after seeing how hard they work (and play) together. ARMY twt still feels like a shadow of its former self though, partly because:

Most ARMYs are actually off Twitter. Using a personal anecdote, about half of my Twitter mutuals have been dormant since Butter era (when many fans were fairly certain BTS would begin enlisting), and even more have left Twitter since the Festa Dinner. Looking at likes on BTS posts from early 2021 which could easily crack 2 million, and on ARMY tweets that regularly hit 350k, compared to now when the most engagement peaks at <100k on average. And this is on Musk's X, where bots are even more rampant.

There's fewer genuine fans. Using the moot of anon in ask 3 as an example, there's so many stans exactly like that. Like I keep saying, the way a lot of people behave in fandom has more to do with them than anything actually happening with jikook or BTS. All that footage is from a time when people claimed BTS hated working with each other and wanted to leave the group or claimed that jikook weren't close anymore. Those narratives were everywhere despite what in reality was happening with BTS and jikook, which, again as I keep saying, just drives home the fact that a lot of people here, a lot of k-pop stans generally, have no real idea on what they're talking about. The way we see BTS in that footage is consistent with how they've been with each other for years, so anybody asserting doom in paradise during PTD era was high on their own supply.

It's the same with BTS in Chapter 2 btw. For anybody actually paying attention.

[greypentachoron]

I love Wicked the musical. When I saw a movie coming out I knew nothing but perfection would satisfy my high expectations, you know? I'm aware I wouldn't *love* the movie, but I could like it, so I went to watch the movie trying not to be nitpicky.

I loved many parts of the movie. Acting was okay, costumes were absolutely gorgeous and it was a pretty faithful adaptation, but there's a few issues I have to address and honestly I'm not sure who's to blame in this.

I'm cutting this a bit because it's a long rant from someone who has loved this musical for years. It's probably my favourite musical

Clearly the songs were made not for the musical, but to be sold after the movie. I'm not here expecting Idina Menzel level of singing, because she is unmatched, but in many cases where the music had to swell with emotion and sung with feeling it reached the peak and then came crashing down to a more "acceptable" level of album song instead of singing with their heart.

I'm not that girl, in the musical, is heart wrenching. You should feel the "I'm never going to be enough" that comes with years of trauma, and in the movie it felt so unpersonal, it didn't move anyone. The instruments blossomed with emotion but not the voice.

I love that actress that made Madam Morrible, but she sung twice and on her solo it also lacked emotions, she was almost whispering the whole song where she should be excited, she should be giving Elphaba some hope. Her song had awkward pauses everywhere for acting and "pretty scenes", and that's an issue for the entire movie.

Speaking of this, this needs a topic on its own. Many songs felt a little chopped, broken and awkward. In the middle of a song they stopped singing, then a scene of a character shows up, they, idk, run somewhere, does a funny thing, 5, 10 seconds pass and the song comes back. I know you want to show pretty scenes, you don't have to pause the literal music or singing to do that. The character can do their quirky thing and sing. Please god stop this, it breaks such emotional songs that are ALREADY lacking emotions.

By the end of the movie I thought, well, they didn't want to bring a lot of emotions to other very emotional songs because they'll place every single ounce of feelings they got in Defying Gravity. The magnum opus, so they want the feeling to be jarring. Oh boy was I fucking wrong.

First of all, the entire story up to here has Glinda singing higher pitched and Elphaba singing lower, in Defying Gravity they change roles, showing Elphaba taking the lead, daring to imagine that she can fix things. That they, together, can. Glinda is letting her dream for a moment, but she's not going to accept it. They have wildly different emotions, and the song should show it.

They equalised the SHIT out of this duet. It's clear they sung separately and they just stitched this bullshit together. They're literally perfectly in sync and pitch, and it takes the ENTIRE fucking personality of this song. I'm pretty sure Glinda's voice is even higher in volume comparing them both, probably because they wanted to lean on Ariana Grande being actually a very good singer (and that's a whole can of worms to open here. I don't even like most of her pop music, but I have to admit she is a great singer)

When it's time for Elphaba to be angry, to say "yeah if I'm going down, I'm going down fighting", there's again a lack of emotions. I'd argue the only moment the actress really sings with her heart is in the very end of the song, after the needless scene of her falling off the building that, again, stops a very emotional song for moments of "ooh look at our cgi/scenario/clothing isn't this movie great?"

This song should swell after the first time she speaks "Defying Gravity", right at the BEGINNING, and there's a peak and then... Nothing. Oh my god I'm so furious.

I'm angry because this movie is so fucking subpar, and meanwhile Broadway or was it West End years ago had planned on recording Wicked and selling the dvd. We won't get that now, because we got a movie. A subpar fucking movie, with people who clearly weren't chosen because they're good singers, but because they were good actors. These good actors could act, but they clearly couldn't put their emotions in songs.

This movie seems like fast cash, soulless. It's like they got a husk of Wicked, dressed it pretty and left it there, an exoskeleton of what it could have been.

[zukadiary]

10 years, 10 top stars

Today is my blog's 10TH BIRTHDAY 🥳🥳🥳

To celebrate, I'm going to do 10 streams showcasing 10 of my all time favorite top stars!

(This will be done over, idk, some amount of time, at absolutely not a regular cadence, because unfortunately I live a busy life).

BUT! We're gonna start this week. In no particular order other than I decided to go recent first...

10 years 10 top stars profile #1: Nozomi Fuuto

A few reasons I love Daimon:

My like, very first glimmer of a zuka crush in the infant beginnings of my fandom, before Takawiki existed, when you had to personally know someone on livejournal or in a yahoo group who recorded physical DVDs off TV while they were on JET to watch anything ever, was Minoru Kou. Circa my 2013 re-entry into fandom, I noticed Daimon because I thought she looked like Noru.

The voice, obviously. If you haven't heard it live, put it on your bucket list (and make sure your long awaited exposure isn't in Theater Orb). It hits you in the chest and reverberates in your mitochondria.

The juxtaposition of the raw talent with a relatable combo of crippling perfectionism and general anxiety. Like, really, you can play a Death good enough to resurrect me from clinical depression, but you can't flirt with a musumeyaku in QR without having a meltdown? Terrible (affectionate).

While she mostly comes off as a lowkey, v. profesh, relatively buttoned-up person, she is afflicted by what one of my friends once called "silly o'clock," i.e., she gets funnier, less inhibited, and more human as she approaches exhaustion. This has manifested in two of the most unexpectedly delightful ochakai I've ever been to (watch Yukigumi College—the thing where she's dressed as Beethoven—for a filmed and preserved example).

Top Daimon memories:

On the 20th Century, IMO her Takarazuka peak, sadly lost to the ages (you can read a scene by scene here if you want)

The way her songs in Gaisenmon made her voice float into the corners of the Grand Theater like butterflies on a gentle breeze

The last Daimon ochakai I ever went to, Bakumatsu Taiyouden, which I'm hoping is beyond the statute of limitations now, where she sang a duet with a recording of Gaori's voice and then burst into tears (wasn't supposed to be the last but alas, global pandemic).

ANYWAY,

Choosing a show was hard because, actually, while I am obsessed with Daimon, I am specifically most obsessed with nibante Daimon, and Chigigumi is peak Yukigumi for me. However, every other fave top is getting their top era streamed, and since my all-time fave Daimon show is lost forever...

Stream #1 will be 『fff / Silk Road』 (Snow 2021)

(fff subbed by adorare)

WHEN: Friday, April 7, 9PM EST (that's NY time, join me while I try to stay awake for Stella Voce but maybe fall asleep after the stream anyway lmao)

WHERE: cytu.be/r/pom-pa-lalala

I'll definitely be shaking up the time zones over the course of these streams, so if this doesn't work for you, stay tuned! Next we'll be going back in time...

[fairytalesandfandoms]

For the costume ask game: #3, #4, #6, #7.

3. What is your favorite era for historical costume?

At one end of the 19th century I like the 1820s-1850s, and at the other end 1890s-c.1910ish? I feel like the latter is overly represented in historical things I watch (or maybe I just have Crimson Peak and Merchant Ivory films in my head), but I do like the earlier stuff as well. I feel like it's kind of cheating to list such long periods covering a lot of different styles, but there are so many good ones! Anyway this is a sign I need to finally watch the Middlemarch DVD I got ages ago.

I also like a lot of fantasy medievalism type stuff, but 1) I have read a lot less about medieval clothes so I have less of a handle on what they were actually like and 2) I get the impression it seems to be more prone to inaccuracy or just bad costumes. So mixed feelings on that.

4. What is your least favorite era for historical costume?

I wouldn't say I dislike it, but I feel like the Regency era is somewhat... overrated. I don't think the fashion was bad, it's just less aligned with my personal taste (I am not a fan of empire line dresses).

6. Do you prefer strict historical accuracy or free interpretations of historical costume?

Oh, nuanced answer time.

Firstly, I do think historical accuracy is cool. But I'm not against looser interpretations either. I think for me it ultimately boils down to what works with the film/show. Does the designer include 'inaccurate' elements to express something about the character, setting or story? (And of course, the most important question: does it look awesome) Then I think it's fine. I'm willing to suspend my disbelief.

I feel like part of this is also about my expectations of the film in general as well. For instance, if all of the film's marketing goes on about how historically accurate it is, I'm going to hold it to higher standards.

I found a post with a debate over historical accuracy in costuming which I reblogged a while ago, so I'll just link to it. It makes a lot of the same points.

TL;DR: IT DEPENDS

7. Who is your favorite costume designer?

Picking Jenny Beavan because I feel like she pops up so often in films I like and when I see her name on the credits I'm like 'well NOW I know why the costumes were good'. (I also need to mention Ngila Dickson for Lord of the Rings.)

[baddybaddyadardaddy]

For the commentary thing -

He is not running any longer, yet his heart still races as though he is.

She lifts her hand slowly, bringing it close to his face but not allowing it to touch. Green eyes beckon, and he senses that she is waiting for him. Understanding, he mirrors her movement with his opposite hand, and it trembles in anticipation, suspended. . . waiting.

Her hand begins to caress the skin of his temple, gliding along the edge of his face, tracing down his cheek and back again, and he does the same: delighting in this first experience of touch, this first moment of connection. Her fingers glide through his hair, skimming over the sharp peak of his ear and a tremor runs through his body at this new sensation; it floods him with warmth as his eyes close in bliss.

Finally, he feels her hand come to rest gently on his chest, right above his heart, where dwells the secret fire of his being, and she smiles contentedly when he touches her in the same place.

As they stand still together, there by the Waters of Awakening, in the place known in afterdays as Cuiviénen, he can almost hear the song that his fëa sings out in joy for having found her.

He knows then—in the same way he knew the word by which to call the stars—that they have names, given to them by a great creator: that he is Eren, and she, Erenyë.

for this little DVD commentary track thing

tysm for sending this, @mylovelylittleobsessions!!

*SQUEAL* I'm so excited to talk about this bit from Awake, Arise or Be For Ever Fall'n! I am going to absolutely RAMBLE about my babies.

So as soon as I decided that Adar would be one of the elves to awaken at Cuivienen, I was bombarded by these really strong images of his first encounter with Erenyë, his partner and my beloved OC. I can honestly say, I saw this entire scene in my head like a full-color movie before I wrote it, and I think it's one of my favorite moments in the entire story.

If you've read the fic, you know that they were a rare exception to Tolkien's idea that all the male elves awakened before their partners, and that Adar (Eren, at this time in his life) spent his first moments searching for Erenyë, because she couldn't resist going off to explore. I loved how that established their dynamic right off the bat: that she was the bolder of the two of them, and that his instinct would always be to follow her.

When he does find her, she ends up leading him on this playful little chase through the woods, and I knew I wanted it to culminate in a deeply romantic moment, but also encapsulate that sense of them being so new to life.

So i just saw this image of them in a glade (borrowing a little from the Thingol/Melian meetcute, I suppose), and them having that experience of touching one another and connecting physically for the first time. I knew I really wanted it to be both sensual, but also innocent. So the mirroring of touch just felt right for two people who were essentially newborns, and of course I had to throw in a nod to the secret fire, since Adar brought that up in Season 1.

I have to say that those last two sentences are some of my absolute favorites, and to me, feel like some of the most Tolkienian sentences in the fic. I loved being able to give a hat tip to the idea of singing, as kind of an allusion to the music of the ainur that made the world.

And I like the idea that the elves awoke with a certain degree of intrinsic knowledge, like their names.

Which actually brings me to how I came up with Adar's original name in this fic! So Tolkien clearly had a naming convention for the very first elves if you look at the three "fathers" and their wives (Tata and Tatië, Imin and Iminyë and Enel and Enelyë). So I knew I wanted to follow that convention. And believe me when I tell you I had about a full page of potential male/female elf name combos.

I really considered using Oren, since that was allegedly the character's codename on set and it fit the pattern of a four-letter male name. But I just didn't love Orenyë as a female derivative. So I switched one letter and BAM, I had it.

And THEN I recently discovered (and I swear I did not do this on purpose, but what an insane coincidence) that "er" is a primitive Quenya root meaning "one, single, alone."

So considering that Eren and Erenyë were sundered from one another so early, and Adar's life was so solitary, that was just such a TRAGIC little easter egg.

ANYWAY, THANK YOU SO MUCH FOR LETTING ME GO ON ABOUT THIS FIC AND MY BABIES <3

[oneatlatime]

The Waterbending Scroll

We start this post off with the unnerving DVD art for this disc:

I call this look "nothing but bangs"

My collection of wallpapers is ever-growing.

Makes sense that Aang would be stressed. Objectively speaking, trusting the salvation of the world to a twelve year old who is at best going to have a beginner's understanding of three out of four of his superpowers is a bad idea! It's just about the worst possible idea. Too bad it's apparently the only one that will work. Sokka even points out (with delightful sarcasm) how nonsensical the whole thing is, but does anyone have any better ideas?

Appa living the dream.

Iroh has big dumbass energy here. He'd have to be deluded to genuinely think that getting a game tile is more important than capturing the avatar, which makes me think that he's not that keen on capturing the avatar after all.

"I'm lucky to have such an understanding nephew" immediately after Zuko breathes actual fire. Which I did not know he could do. I will say, plenty of wilful misinterpretation and misreading of reactions is necessary when dealing with teenagers. Once again making me think that Iroh has been looking after (wrangling) Zuko for a while.

I take it back, this is Appa living the dream.

Katara's tendency to baby Aang coming back to bite her in the long run. Raise your hand if you didn't see that coming.

Good thing they were practising bending water, not fire or earth. I guess you can be sloppy with water and air, but the other two?

A blep! An Appa blep!

And there go the supplies. What was that I was saying about it's a good thing he wasn't practising the more harmful elements?

Guy on the left has only one arm and one eye. Either the guy on the right is tiny or that's a giantess.

Water tribe scam artist?

So after setting up that they have basically zero money, the first thing Aang & company do is go trinket shopping. That's peak teenage behaviour.

"You guys are pirates!" Took you long enough.

All of these pirates have such great designs. I want the lead pirate's hat.

KAtara you DIDN'T.

Cabbage Guy! Hi Cabbage Guy! Unlike in Omashu, that actually is malicious destruction of cabbages.

I think there are three pirates shown here, but I originally thought that the legs high up belonged to the guy in the grey shirt, which would have been bad. They're facing entirely the wrong direction.

A badass line. Too bad about the pose.

Confirmed: a modern Katara would totally be that girl at the mall stealing earrings from Claire's.

Aang says that those pirates were terrible, but they actually weren't until they discovered that their scroll had been stolen. They behaved like merchants until Katara gave them a reason to behave like pirates.

This is going to be an episode where the problems are self-inflicted, isn't it?

No! Stealing a scroll from pirates isn't great! You've already got the fire nation on your tail, and at least they want Aang alive. Now you've got pirates too. You think they have a no killing code?

I am 100% with Sokka on this one. They're going to be at the North Pole in a few weeks anyway. They can both learn all the forms they want to there, with actual living teachers as a bonus.

I was right. Incoming problems of Katara's own making. Also the pirates could tell that Katara was water tribe. Further weight to my theory that the fire nation has a high incidence of colour blindness. Or fashion blindness.

And now we get selfish, jealous Katara as well as thief Katara. Sokka 100% in the right again: she is only interested in teaching herself, to the point where she's happy to endanger herself, her brother, and the goddamn Avatar to get hold of a lesson plan.

Add bitch to jealous, selfish, thief. You made Aang all sniffly. Somehow I think her scroll resolution is not going to stick.

Zuko using his brain again. Good reasoning. And right - they are on the water.

Nooooooooo. You are better than this. Girl stop it!

Zuko pulling out his best panto villain act. Also the colouration of his scar in the night scenes is odd. It's almost lilac.

He's technically right. Zuko did not steal that necklace. Unlike Katara, who does steal things.

Sokka 100% right for the third (fourth?) time this episode. It IS just a matter of time before Katara gets them all into trouble. That time is now.

Do you think if Sokka had kept his mouth shut, they wouldn't have kidnapped him? Was that a pity kidnap?

Yes it completely is her fault! No 'kind of' about it!

Sokka's brain and motormouth saving the day. I feel like that's a running theme.

This fight is cool. Seems like, if you know what you're doing, a bunch of nonbenders can fight firebenders on even footing.

A lot of convenient rope sawing going on.

This is a classic gag but it's funny every time.

Sokka fulfilling his quota of required minimum number of beatings per episode. I swear there must have been a rule in the writers' room that no episode may be considered complete until such time as Sokka has concussion damage.

Also it kind of feels off that Aang & company defeat the pirates so easily while on the pirate ship. They had to run away from them in the market, and these guys go toe to toe with firebenders. Don't you think they would do well when fighting on their own turf?

Is this from Top Gun? I haven't seen Top Gun, but this feels Top Gun-ish.

Second episode in a row that they owe their lives to Appa.

Zuko's "My Boat!" was near-operatic.

I'm calling it: Iroh is deliberately obstructing the hunt for the avatar and deliberately undermining Zuko.

Honestly, reasonable reaction from Zuko. Actually a bit of an under reaction. I would have saved the breathing fire for here.

Did the parrot lizard drown? Last I saw he was stuck in the flag on the mast, and he isn't floating down the river afterwards with the rest of the pirates.

Katara is right to apologise to Aang. But she should have apologised to Sokka too.

Katara finishes off this episode by learning literally the opposite of the lesson she should have learned. The lesson should be: stealing can be justifiable (she does have more claim to that scroll than the pirates do), but not in cases where it endangers yourself or others. The lesson Katara takes is: stealing is wrong, unless it's stealing from literally the most dangerous people you can find.

Final Thoughts

This episode was frustrating. Katara was a colossal idiot, who turned into a selfish thieving idiot, who turned into a self-centred thieving idiot with no sense of self-preservation or concern for her friend's and brother's life, and then she took a hard left into being a bitch as well.

Now, I remember being a teenager. I had my bitch moments too. But when someone rightly called me on them, I stopped. I think Katara's portrayal in this episode is a very realistic depiction of a certain kind of teenage girl. My problem is two-fold: a) I couldn't stand that kind of teenage girl, and b) Katara just keeps going. Sokka calls her out for her behaviour, she keeps going. She freaks out at Aang and makes him all sniffly, she has a two second long attack of conscience and then she keeps going anyway. She gets captured by a combined force of fire nation and pirates, the two biggest threats they've faced so far, and she just keeps going. And the joke that ends the episode shows that she's learned nothing.

I think I've said before (probably when I was talking about imprisoned) that Katara seems like she's used to having Sokka do her thinking and planning for her. I think this episode shows that too. Katar thought of herself, and herself only for 90% of this episode. That's not something Sokka does. I think that, being the only waterbender in the whole south pole, Katara is used to, if not being spoiled, then certainly being the centre of attention. And Sokka is used to looking after her and cleaning up after her plans (the literal cleaning seems to have been Katara's job), which means that he's way more used to thinking of the big picture, and Katara has never had to think beyond herself and her wants and needs. She wants the scroll, she takes it, fully aware that it will get them in trouble (why else was she pushing to get them off the pirate ship so fast? Vibes are off? No Katara, you're off). Sokka's immediate reaction to finding out she took the scroll is to bring up how much danger she has put them ALL in. Sokka sees big picture; Katara sees Katara.

Katara is lucky too that Zuko is apparently the kind of firebender that believes in non violence, and that these pirates are the Disney version. They had her tied to a tree all night and she apparently spent a considerable portion of that time spouting defiance. I'm wondering if Katara knows what genre of story she's in. Or maybe she's just that naive?

I was wondering if they would eventually touch on power/skill imbalances within our main cast, and I'm glad they did. In a way, Sokka has it easier than Katara, because as a non-bender, he's never going to get compared to Aang by himself or others. Plus, he's just not the kind of person who would do that. He's got that weird teenage boy contradictory combination of big ego + low self-esteem, so he's going to talk a big game (see Warriors of Kyoshi) but he's never going to think of himself as being in the same league as Katara. Katara, on the other hand, absolutely would at some point end up in competition with the only other bender she's ever met, even if they bend different elements. I'm glad they touched on it, but if this is the way they touch on it, I'll be very happy if they never touch on it again.

I did not know firebenders could breathe fire. Is the skin in their throat fireproof? And their nose? I bet they have crazy spice tolerance.

Something deeper is going on with Iroh. That goofy old man act is just that - an act. Kind of mean to string Zuko along like that though.

Sokka shines as the voice of reason over and over in this episode. Too bad no one listens to him at any point. Sokka is grounded in a way Aang and Katara aren't. They would be screwed without him.

The self-inflicted nature of this episode's plot is realistic, but annoying. What Katara did this episode is absolutely something an idealistic yet selfish teenage girl with anger issues would do. Especially so when you consider her in context - this may be the first waterbending artifact she's ever seen. But consider: if Katara hadn't stolen from the pirates, the pirates wouldn't have been after them, the pirates wouldn't have discussed a water tribe girl and a bald monk in front of Zuko, who was in such a rush to get back to avatar hunting that he likely wouldn't have asked a ship of pirates if they had seen the Avatar, which means Zuko & crew wouldn't have been after Aang either. Aang & company would have been down one waterbending scroll, but also down not one, but two enemies on their tail. Of course it all worked out in the end; this is a kids' show, but this plot is an entirely self-inflicted (Katara-inflicted) problem. Imprisoned was one of those too, come to think of it.

Aang has a rather lax policy on theft for someone who's supposed to be a mystical peace-bringer.

And I really do want the lead pirate's hat.

[snaggletoothedbastard]

I'm talking about Tintin again. This time I'm writing an essay. You have been warned.

Yesterday it was my birthday and I rewatched The Black Island. To be clear: I have not read the book. For some reason that is one of the only two Tintin books my dad doesn't have, so I haven't read it. All mentions of The Black Island henceforth are referring to the episode from the animated series.

The Black Island is an interesting episode, and I have interesting feelings about it, which I only truly acknowledged yesterday. Maybe being a year older has brought me unexpected wisdom or maybe I just didn't notice my feelings until more than ten years after the first time I watched the episode. I don't know. Anyway, this is essentially just going to be my attempt at articulating these feelings. You could call this essay an exercise in pointlessness but I like writing so I'm doing it anyway.

The Black Island is actually the first episode I ever watched, and it was my introduction to Tintin as a concept. I'm going to give you a little bit of backstory here. I was about six years old, and I was at a friend's house. We were playing in her mum's room. There was a TV in there with a DVD player, and my friend suggested we watch Tintin. I had no idea what that was, but it sounded intriguing so I agreed to watch it. My friend put the DVD in the player, chose an episode and pressed play. Immediately I was faced with this image.

There he is. The man himself. The weird thing is, I recognised him. This character was familiar to me before I even knew who he was. And that is because of another friend, whom I'd known for my entire life. He and his wife were friends with my parents, and my younger sibling and I were friends with their two daughters. We'd been to the family's house countless times, and every time we went there I would look around at the pictures on their walls, the figures on their shelves and the magnets on their fridge, because I kept seeing these fascinating people. Two identical men with bowler hats and moustaches. A large blonde woman in a pink dress. And a chap with a round face, black dots for eyes and ginger hair that defied gravity by sticking straight up. I'd seen this peculiar character in this family's house for years but it wasn't until I was six and watching TV with my friend in her mum's bedroom that I finally learned his name: Tintin.

The episode we watched was, of course, The Black Island. It was my first proper introduction to the series that absolutely beguiled me from the age of six to around ten, and then was, for some reason, almost forgotten about until I rediscovered it a month ago. And this episode seems to have had a rather profound effect on me that I don't think any of the other episodes have. It isn't my favourite, it doesn't have the best quality, the animation is sometimes funny-looking and the dialogue is awkward and the accents are atrocious, but there is something special about it.

The main thing I get from watching this episode is an intense feeling of nostalgia. The Tintin series was a huge part of my childhood. My family and I watched the cartoon religiously until I probably could have recited the entirety of The Seven Crystal Balls word for word. In my young undiagnosed autistic mind, I thought the way the characters spoke would be the perfect thing to emulate when I was masking. New lens: I am now an actor, and the voice acting in the series is, for the most part, aggressively mediocre. But I tried so hard to copy it when I was a child that it's now ingrained in my head and when I need to mask, I automatically fall back on this weird overacted cartoon-character persona without even thinking about it. I associate Tintin with Sufjan Stevens, because I heard so much of his music while my interest in the cartoon was at its peak. To me, the two are intrinsically linked, and I sometimes forget that this isn't a universal experience, and that there probably aren't that many other people who instinctively think of Tintin in America when they listen to the song Chicago.

I also get nostalgia for the circumstances in which I first saw the episode. The friend who introduced me to the series was also a huge part of my childhood, as was the house in which we watched the episode. That particular friendship had a rough ending, and I feel both happy and sad when I think back on it. The Tintin series actually affected the way we interacted with each other, particularly in the games we played at school. We both liked playing pretend games where we would invent elaborate adventures and act them out in the playground together. Many of these adventures were inspired by the ones we saw on TV or read about, including Tintin.

The Black Island is a reminder of things that fundamentally changed me and made me the person I am now. But it also affects me in smaller ways.

The story of The Black Island is, like every other story in the series, unique. It has Tintin investigating a plane crash in the England, and the mystery eventually takes him up to a sullen Scottish seaside town and an ominous island. I think part of what makes this story feel so strangely close to me is its location. It's close in a physical sense because I'm from England and I've lived here my whole life. The landscapes look a lot like the countryside I used to live in and still see every day when I take the bus to school.

I've never been to Scotland but the Scotland scenes are still familiar. I can link these images to specific places I've been to.

Boscastle in Cornwall.

Corfe Castle in Dorset.

That nightmarish staircase in King Alfred's tower, Somerset.

There are also smaller, more specific details, like that dog that chases Snowy, which I can easily relate to several childhood experiences. I don't know why I got chased by dogs so often but it's hardly surprising that I was scared shitless of them until the age of sixteen.

Or the soundtrack in some of the Scotland scenes, which reminds me of the whimsical folktronica-style music my dad makes with his friend.

These are very specific experiences that I don't think are likely to be exactly the same as anyone else's. The things I associate with this story and the feelings it gives me are completely different to what someone else might get from it. And I think that's really nice. It's like I've got something that's just for me. And of course you could say this about anything, because everyone's lives are different, but The Black Island is, for some reason, the thing that I get this feeling from more than anything else.

The episode has a sense of quiet mystery to it. It starts with Tintin enjoying a walk with Snowy in the middle of nowhere, then bluntly stating that a plane is in trouble. I wouldn't say it's any less exciting than the rest of the stories, but it feels more matter-of-fact. The mystery is there but the answers are revealed in simple statements. I don't know if it's just because it's set in the UK and the weather over here is always dull, but many of the scenes take place under a cloudy sky, and the scenes in Scotland especially seem darker, which I actually like. Of course the episode has its share of chase scenes and slapstick comedy, but the overall tone of the story feels gentler somehow than a lot of the others. It feels more like something that could actually happen, at least to me. And that's how I felt about it when I was six. I watched it for the first time and thought, "I wish I could have an adventure like that." When I went on to watch the rest of the series I had similar thoughts about the other episodes, but The Black Island remained the only one that I could relate to. Maybe that's because it's set closer to home. Maybe it's because I recognise the locations even though I've never been to any of them. Maybe it's because it reminds me of the child I used to be, talking like a cartoon character and pretending my best friend or my sibling and I were on some wild adventure. Maybe it's because it was the beginning of an unforgettable chapter in my life, without which I would have ended up a different person. It's probably all of these things put together. These things are what makes The Adventures of Tintin: The Black Island feel like home to me.

[international-sunrise]

god its me again, with lookism spoilers below the cut

the way everyone gathered with their respective rescues like they're a stray cat or this month's grocery shop is just way too funny y'all but the way jinsung arrived with johan in tow and was immediately like "dude why does it looks like hyungseok was trying to rescue jaeyeol and not the other way around????? why is he knock knock knocking on heavens door???????? what the fuck did you do to him???????????" and hyungseok was like "i promise you there's a very good reason for this :D" smiley emoji and all and jinsung is just "don't????? change the subject????? you almost killed him?????????????" just left me cackling for five minutes straight thanks jinsung i knew i could trust you

jihan walking in carrying jibeom and hudson in a carrier after alexander was deadass carrying both jake and samuel is peak comedy. the devil works hard and alexander works harder. if you're an a/c unit i'm your fan. number one samuel stan can't compare can't compete we aint shit compared to alexander.

also it's funny for me to think that while hyungseok was beating the shit out of everyone, himself included, everyone else was like trying to think about how to transport the rescues. jihan being the bright patootie he is brought a bed, work smarter not harder. alexander decided to brute-force it. jinsung used the bro-style-carry. vasco is now carrying lil hyungseok like he's a cat he just rescued out of a fire. these guys all share one single braincell and its bouncing like that old dvd logo. i hope that reference lands somewhere.

now what's important here.

i think this chapter pretty much confirmed that nº1 is, in fact, made up of parts and scraps of other generation kings. i mean this is pretty obvious but i guess it'll be confirmed in a couple more episodes and we'll have to be like -pretends to be shocked-, i think it will be more impressive if nº1 is not, as a matter of fact, made up of parts and scraps from the 0 gen and is instead made up of several random people and then enhanced by drugs. why do i say this? well usually the first is not the best, specially with experiments, and i really dont think they would have wanted to waste precious parts in order to make something that wouldn't work, so it could be very possible that nº1 is actually the first working prototype of what the workers first affiliate was trying to replicate.

and what were they trying to replicate you ask?

why, hyungseok's fake body, of course.

my working theory is as follows:

i think it's very likely that nº1 is an experiment that is being made behind charles back, by the workers first affiliate, because back in the day he somehow found a way, alongside jinyoung, to recreate the perfect super-soldier, and went around playing the world's worst puzzle and stealing pieces from others with the help of james lee, and now won't rely that information to workers so that they can get mass produced. however it seems like eugene doesn't know about the two bodies, or at least hasn't found a way to confirm it (maybe, hear me out, maybe if ptj hadn't killed jiho off! the shrimp the felony commiter the only one crazy enough to come up with that possibility! then eugene would already know and this plot would be so much far ahead!), therefore it remains as a possibility that he heard about some kind of super-soldier project and tried to find out who was behind it because super-soldiers are very high on the list of what evil little dudes do on their free time, and that's how he stumbled upon jinyoung.

jinyoung however, probably wasn't the entire brain behind the operation. that's why nº1 looks... that way. it's very possible that the other half of the operation was... hear me out: hyungseok's dad, who was supposedly killed by jinyoung.

i dont really think that it was james lee, because he's supposed to be the figthing genius, the one-man-army, the one going to the hardware store to collect the parts and pieces of their little fucked up science fair experiment that might or might not violate the geneva convention (is the geneva convention a thing in the ptj-verse i dont think it is...). i also don't think it was charles, because while he's behind the interconnected webs, that's kinda not in the same ballpark as human experimentation, that's like management vs the kitchen, have you seen management inside the kitchen like actually working? no, that's my point. gapryong was too busy trying to become the president in order to also be trying to bring back prometheus 2: electric boogaloo. which leaves us jinyoung, a farmacologist, and hyungseok's dad, occupation unknown but with ties to jinyoung, and was apparently killed by him as well.

even if jinyoung didn't actively murder him, you know what mom park said? he died sick. who in lookism would have the very specific knowledge to prescribe drugs that would worsen someone's condition instead of making it better, and also be in a position of trust in order to make it work, thus killing hyungseok's dad while making it seem like he simply fell ill?

oh yeah its coming all together.

i also find it extremely funny that, in a way, hyungseok did manage to both unite and dismantle the four major crews. all of the groups are dismantled, inactive, on the run or were absorbed by workers, and now three of the original crew leaders alongside samuel as a representative form a temporary alliance. "not even the four major crews-" bitch sit down didn't you read the big deal arc and the hostel arc, the power of trauma compels you -gets blasted-

also johan being like "ew cant believe i gotta fight alongside you people" kid you've been working with Jake for months now what on earth are you talking about did you also get your memory temporarily erased by the drugs. will anyone else forget about some important part of the plot-- put your hand down jake.

what you thought i wouldnt mention the emotional whiplash it gave me to have hyungseok suddenly remembering the friend he just beat up. JAEYEOL IT'S ME YA BOY bitch you left him about to board the first train without stopovers to the left of christ's throne a foot on the gutter and the other on the grave, wipe out those damn tears and get his ass outta there stop crying it's not the time stop kissing in the foreground

[ughhwhyyyyyy]

I took notes on the main character songs in rtc and I need to share them or I’ll rtscream

What the World Needs

Social Darwinism: The Song; they said it

The song is very superficial melodically (they took general pop music like Taylor Swift as reference for building it [when I say Taylor swift I mean something Shake It Off adjacent, I’m aware she has a diverse discography])

Repetitive melody

The lyrics don’t tell a story, it’s just her describing an idea

Structured as if she’s giving a speech about why she’s the best candidate to live again

She also has a lot of speaking parts in this song further pushing my point of this being a preconstructed speech instead of it being a song like the others

Noel’s Lament

This whole song is Noel creating a story of tragedy and he succeeds in that. Tragedy is defined as a singular disastrous event and when a character moves through a narrative while an omnipotent force is pushing for a disastrous and sorrowful conclusion. (See Webster)

(That point kind of contradicts my other look at this song but pay that no mind I did this one first)

This whole story is one ongoing disastrous event with Monique and everyone else being puppeted around to give Monique the most tragic and miserable time

Lowkey giving We Both Reached For the Gun

This Song Is Awesome

Techno rap song

Giving T-Pain; that was on purpose, ik

The piano part kinda reminds me of Eminem

Giving Blame It

Mischa expresses his anger through this style of music

I love Ricky and Constance singing the extra vocals it’s so good I love the idea of them being buddies

Also he said this song would be filled with curse words and I don’t think there’s a single curse word in this song

There is actually, I just checked

Well there aren’t any in the chorus and he said the chorus would only have profanity so 🤷🏾‍♀️🤷🏾‍♀️🤷🏾‍♀️

Talia

He has a very traditional view of romantic relationships

^Reflected in the traditional Ukrainian style the song is in

“Кохаю, Я тебе кохаю” blaaaghhegehblalalalla

“Let rivers run wild, or let them be damned” AAAAAAA SHUTTTT UPPP AAAAAAAAAAAAA

Talia seems very distant the whole song; like she’s just an idea that Mischa loves, not an actual person

^That could definitely be because Mischa never got to meet her in person which really shows how superficial of a foundation this love is set on; it’s just puppy love

^He doesn’t actually describe her as a person and describes her as more of an idea

^She’s literally projected onto Jane Doe[‘s skirt] because Jane doesn’t have an identity similar to how Talia isn’t really given one either

Mischa only describes Talia in relation to his relationship with her and how much he loves [the idea of] her, nothing outside of that

But although his love for her has a superficial foundation, it’s very real and his feelings are very real and you can really feel it with how gingerly this song is expressed

The two genres (techno rap and traditional Ukrainian folk) mix at the end representing how angry Mischa is about never getting to meet his love

The “lalala” interlude part feels like if this musical were a dvd movie, this part would play at the menu screen

He uses this style to express his passion (love)

The melody when he sings Talia always reaches before falling. He never ends on a high note while singing “Talia”. Even in the end he finishes the song on a high note while singing “love”, not “Talia”.

He has love for her but might not ever know her. He never got to meet her when he was alive

I LOVE THIS SONG SMMM AARGEHVRVR HE. SHHSHENEM

Space-Age Bachelor Man

The peak of the album

Like since the songs follow the cadence of a roller coaster, this would be the tippy top before the plummet into The Ballad of Jane Doe

Over the course of this song, he gains more narrative control (primarily because the cat guys are giving him more govt power) and I think that makes it comparable to Noel’s Lament

Gives 80s cartoon, like He-Man but less appropriate for children

Feels very self contained, very separate from reality

The singer’s voice is very warm I love it I love it

Reminds me of nyan cat lowkey

When he makes a super high note, his voice falls after he hits it (B3 on “Tell us Ricky should we pull the switch”)(G#4 on “Let me be”)(A4 on “B-b-b-b-bachelor maaaaan” [kind of sounds like he says meow there which makes since cause cat ppl and what not]) which I think foreshadows the emotional drop from this song to The Ballad of Jane Doe

^Could also be referencing the fall to their deaths on the Cyclone roller coaster perhaps idk

Also he says he hits a G# five octaves above middle C which would be the highest note also showing that this is the emotional peak of the musical

Ballad of Jane Doe

The first part of the song, the melody ascends as reference to her death and also her reaching for an answer

She does an ascending minor harmonic scale, falls back down in chromatic and lands on thra (if you know solfège instead of numbers lol sucks to be you ig), then goes down a half step and comes back up to thra not actually concluding the melody because she’s still searching

The second part is more grounded representing her [head] hitting the ground

The third movement is Jane expressing anger for not being able to remember who she once was or the life she lived

The key changes from F minor to G minor (whole step change), but it changes halfway through her emotional change

Skeleton dance number

At the end of the song, she starts “Doe” on a high one (conclusive) then continues moving up a minor third, I think that represents her still reaching for help from anyone to remind her who she once was, though it’s inconclusive and she’d probably be searching indefinitely since this is the end of the song

What’s interesting tho is in the rtc slime tutorial, she doesn’t continue ascending at the end, she concludes the melody and does a curt inhale instead

Sugar Cloud

I think if Space Age Bachelor Man was the highest point of this roller coaster, this song is the fun loopy part before coming to an end

^Which would make sense given that Constance’s last moments before her death was her upside down relishing reality

This song moves around a lot, like note wise, Lillian Castillo really moves through her registers in this song

^And that makes sense considering after What The World Needs, Constance says she’s more of a melody person

^This is also consistent with her lyrics being pretty repetitive compared to other songs and some parts being grammatically incorrect

“It breaks ‘till you can’t break no more” (double negative)

And the lyric “I see the world with all its backwards upside down” really doesn’t make sense to me, but it doesn’t have to, it really just adds to the pure joy she feels that only melodies could describe

The song starts slow and builds gradually giving us a good tone transition from the last song and helps a lot with the emotional whiplash from the jump between Space Age Bachelor Man to The Ballad of Jane Doe

It kind of has a gospel vibe to it, especially at the end during the break down

Half step key change from D major to D# major

I love the chorus after the bridge aaaaaa

Ok I think that was it thank you for reading if you did I think I really outdid myself with this, christ