#emotional and gut wrenching and poignant

[mostesteemedgingeroverlord]

I hate the “we went back in time and now everything is fixed and nothing that we did actually happened now” ending. Let the consequences exist, do not erase them. Something something learning to grow despite the darkness something something accepting the hard choices that were made something something loving despite the inevitability of fate.

Do not erase the people they became. Do not erase the sacrifice they gave. Do not erase the love they gained.

[tossball-stick]

"can we talk about how [male character]'s death is so gruesome purely for shock value??" they had sadie adler coming fresh from being imprisoned and having her husband murdered, gets threatened by micah, and then he burns her house down. they had katherine braithwait get shot and dragged around by the hair forced to watch her whole family murdered, screaming and crying the entire time its happening, and left on a shot of her crawling back to her burning house because they refuse to even kill her. they had molly o'shea abused and neglected leaving her crying and miserable the entire duration of canon only to come crawling to death with open arms, yet she isnt even allowed the death she wants, and is instantly willfully forgotten about by everyone but the women. they had susan grimshaw desperate to defend the one thing she had left and she was shot in the side and left to bleed out as we hear her cries. they had abigail crying and begging john not to leave while he and sadie and charles ripped her husband away from her just as she got him back. they had bonnie mcfarlane abused tortured and nearly hanged for daring to help an idiot who wanted to get himself killed. they had luisa fortuna lose her entire family and then die for a man that doesnt even remember her name. for all of rdr1 you are witnessing nonstop horrors and abuse of almost exclusively women. there is a constant fixation and obsession with misogynistic suffering and anguish in these games, whether you believe it to be handled well in either one or not. when men die, it is typically swift. we see the death itself, the camera even flicking away while men die in some scenes. yet every womans death (literal or metaphorical) or anguish seems to be stuck adhering to a misery quota, where we must watch them suffer before they are allowed to pass. we must watch them scream and cry and beg for it to be over or for something to save them beforehand. and then we must watch the act itself as well.

personally i think they couldve done a lot worse with mens death scenes. really.

[luna-azzurra]

Ways to hit your readers in the gut

When it comes to writing, there's a profound and mesmerizing way to touch your readers deep within their souls. It's about crafting moments that hit them in the gut, stirring up intense emotions and forging an everlasting connection. Here are some techniques to help you achieve this:

1. Unexpected Loss: Introduce a character who captures hearts, only to snatch them away suddenly. Think of J.K. Rowling's "Harry Potter" series, where the abrupt departure of beloved characters like Sirius Black and Fred Weasley leaves readers shattered, their grief a testament to the power of storytelling.

2. Sacrifice for a Cause: Show a character willingly sacrificing their own happiness or even their life for a greater purpose. Suzanne Collins' "The Hunger Games" portrays Katniss Everdeen's selflessness, volunteering as a tribute to save her sister, evoking empathy and admiration.

3. Unrequited Love: Explore the agony of unrequited love, where hearts ache and souls yearn. Charlotte Brontë's "Jane Eyre" delves into the bittersweet and heart-wrenching tale of Jane's unfulfilled affection for Mr. Rochester, resonating with readers who have experienced the profound depths of unrequited longing.

4. Betrayal by a Loved One: Peel back the layers of trust to reveal the sting of betrayal. George R.R. Martin's "A Song of Ice and Fire" series delivers shocking betrayals that shatter readers' expectations, leaving them stunned and heartbroken alongside the characters.

5. Overcoming Personal Demons: Illuminate the struggle against internal conflicts, be it addiction, guilt, or haunting trauma. Anthony Doerr's "All the Light We Cannot See" explores Werner's moral compass during wartime, captivating readers as they witness his battle for redemption and personal growth.

6. Injustice and Oppression: Shed light on the injustices characters endure, igniting empathy and inspiring change. Harper Lee's "To Kill a Mockingbird" reveals the racial prejudice faced by Tom Robinson, awakening readers to the urgent need for justice and equality.

7. Parent-Child Relationships: Navigate the intricate tapestry of emotions between parents and children. Khaled Hosseini's "The Kite Runner" unearths the complexities of the father-son bond, evoking a myriad of feelings, from longing and regret to hope for reconciliation.

8. Final Farewells: Craft poignant scenes where characters bid farewell, whether due to death or separation. Markus Zusak's "The Book Thief" gifts readers with heartbreaking partings amidst the backdrop of World War II, leaving an indelible mark of loss and the fragile beauty of human connections.

9. Personal Transformation: Illuminate characters' growth through adversity, offering a beacon of hope and inspiration. Charles Dickens' "A Christmas Carol" narrates Ebenezer Scrooge's extraordinary journey from a bitter miser to a beacon of compassion, reminding readers that redemption and personal change are within reach.

10. Existential Questions: Delve into existential themes that provoke deep introspection. Albert Camus' "The Stranger" challenges readers to ponder the meaning of life through Meursault's detached and nihilistic worldview, prompting them to question their own existence.

With these techniques, you have the power to touch your readers' souls, leaving an indelible impression. Remember to weave these moments seamlessly into your narrative, allowing them to enrich your characters and themes. Let your words resonate and ignite emotions, for that is the essence of impactful storytelling.

[pikahlua]

Look, it's probably still not time to go really deep into it, but I did mention there are ways this ending where Tomura dies could work for me. Honestly I didn't have much of an issue with chapter 423 itself before the internet's emotional onslaught over it, but now that I'm hearing rumors the chapter was received well in Japan and a number of western fans have decided to couch all their disappointment in racism and rage at the target readership, maybe I should give some cursory thoughts just to counteract the stupid.

The Bittersweet Ending

Here's the thing. For all the game the bird app likes to talk about how MHA is happy and kid-friendly and not dark and that's bad somehow, it's kind of funny to me how little MHA actually meets expectations in that regard. If I were to divide MHA arcs into categories based on their endings, I would probably have to put the majority of them into the "makes me cry" category. Even arcs where the hero wins with ostensibly happy endings often have absolutely gut-wrenching moments, like All Might's retirement in the Kamino arc, Tsuyu's apology in the UA Dorm Contest arc, and Nighteye's death in the Overhaul arc. I don't think it's possible for me to watch the Sports Festival arc and come out of it with anything but mixed feelings of hope and haunting. Stain may have lost his battle, but his effect on society sure seems to give him the win when it comes to the war. The Paranormal Liberation War arc has a pretty rough ending where there may still be a sliver of hope, but goodness is it a small one.

Sure, some of the teariest moments are a result of happy scenes like Eri smiling for the first time at the cultural festival, but what I'm getting at is that MHA tends to go for more hopeful endings rather than happy ones. And those hopeful endings are often stained by some other tragedy, a price to pay for the hope. Just because MHA isn't full of random death doesn't mean it doesn't contain poignant loss. This was one of its early selling points in fact. MHA's most hopeful moments have always felt so real because the story acknowledges that these things should often play out messily. We've seen the mess, and now chapter 424 has given us a glimmer of hope. The question is now where the story will take us from here.

The Anticlimax

This post has come back for me in the most unexpected way, not gonna lie.

I often hear “anticlimax/anticlimactic” used as a negative criticism, especially colloquially. This criticism assumes an anticlimax is always written unintentionally. But that’s often not the case; anticlimax is actually fucking fantastic when placed in the right hands. And Kohei Horikoshi is a goddamn anticlimax connoisseur. I say he’s a connoisseur because Horikoshi has the gall, nay, the gumption–dare I say the balls to showcase the versatility of anticlimax as a storytelling technique for more than just comedy (although he does also use it for comedy a lot). He dares to use it in action scenes, horror/thriller scenes, and even fuzzy heartfelt scenes, all to the great effect of toying with our emotions. And he successfully has us feel exactly what he wants us to every time–because that’s the point. These aren’t cheap jokes; they serve a purpose! They illustrate an actual, meaningful point about whatever scenario they are used in to make the story more realistic, to combat the fridge logic “well actually” complaints endemic to fandom. Because Horikoshi is a fan himself.

When I write "realistic," I don't mean to apply this quote here to indicate that death (especially for edgy aesthetics) is realistic. I mean to indicate that imperfection is realistic. Izuku isn't a perfect hero. Tomura isn't a perfect victim, and by victim I mean "character for the hero to save." Izuku says it himself:

A perfect victim for the hero to save would yield to the hero's attempts to turn and save them. They would see the wisdom in the hero's position and 100% change sides to agree with them. Trite.

Doing this runs the risk of erasing the victim's identity that comes before. Izuku never has a perfect answer to all of Tomura's problems with the world.

Izuku is the same as All Might. He's only human.

[...]Horikoshi has no compunctions using anticlimax in big, important, non-humorous scenes (even if the anticlimax ultimately adds humor to the scene that was otherwise unexpected). This man has no fear. He ends his famously popular take on the tried and true trope of tournament arcs with one big let-down that affects not just the audience but the in-universe characters. [...] You wanna tell me Horikoshi didn’t know exactly what he was doing here? You wanna tell me Horikoshi didn’t know about the fandom war over Katsuki’s hero name? That he didn’t purposefully fucking troll the fandom with this? That this isn’t the single greatest brick joke in the history of published media for its effect both in the canon and in the meta? Fuck you, we’re building up the tension around the most wildly popular character’s hero name reveal for 248 goddamn chapters (that’s five-and-a-half years) just to make it the cringiest fucking thing you’ve ever heard in your goddamn life. His hero name must be the closest audio rendition anyone can imagine shaped like a middle finger and fucking nothing less will suffice. Congratulations, fandom: you played yourselves! You made a war no one could win! Horikoshi could have chosen Ground Zero or Kacchan as Katsuki’s hero name and risked alienating half his fandom either way, but you didn’t realize there was a third option, which of course he took: to risk alienating the entire fucking fandom.

I'm just saying, an ending like this isn't out of character for Horikoshi. In light of this trip down memory lane and Izuku's parallel with All Might in that they acknowledge they cannot save everyone, I'm interested to see what Horikoshi does with this ending whether or not Tomura survives. What sort of hope will he offer?

The extended ending arc

The only real extended ending arc we've had in MHA that might give us a glimpse at the inner workings of Horikoshi's mind is the School Cultural Festival arc. Because of that (and the many other things I've mentioned before this post), I will say there is cause to believe we will have a hopeful ending. Again, I don't know what that looks like. A lot of people seem to have a specific thing they need to have happen to save the story for them, and I cannot speak to those.

Except for Deku vs Kacchan 3, which is what I need to have happen lol. And god does it seem really fucking possible now.

[moineauz]

𝐓𝐇𝐄 𝐒𝐔𝐍𝐁𝐈𝐑𝐃'𝐒 𝐒𝐈𝐗 ( rockin'roll ! )

"and if you don't love me now, you won't ever love me again."

★ 𝐓𝐇𝐄 𝐒𝐔𝐍𝐁𝐈𝐑𝐃'𝐒 𝐒𝐈𝐗 / the 70's rock band that took teyvat by storm

ISSUE 01. Everyone knows who The Sunbird's Six were. Their songs revited through the nations: tender and ethereal with each poignant verse. Yet, the group of six showed they could sing verses of ardour while thirsting with unrequited rage that tore souls apart in one sitting. Their debut and only album ‘Vermilion’ was hypnotic and utterly divine. It was a mosaic of winsome pieces that were put together to make one gut-wrenching album that you ultimately ugly cry to.

SO WHO WAS THE SUNBIRD'S SIX? Comprised of four founding members from Mondstadt, one from Snezhnaya, and the other from Fontaine, we get a cast of Teyvat's most talented musicians. Specifically, Diluc Ragnvindr as lead guitarist, songwriter and vocalist and ( Name ) St. Laurent as lead vocalist and songwriter. The duo bewitched the throng and perhaps themselves with both their flaming allure and vocals. Youth of the 70's wanted to become ( Name ) with all her charm and freedom while some fans died to get a strand of Diluc's hair alone. The other members include Jean Gunnhildr on keys, Rosaria on drums, Kaeya Alberich as bass guitarist, and 'Childe' as rhythm guitarist.

ISSUE 02. Yet, as The Sunbirds Six became a renowned household and rock name, their disbandment remains unknown- until now.

★ 𝐏𝐑𝐄𝐕𝐈𝐄𝐖 𝐎𝐅 𝐓𝐇𝐄 𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 𝐖𝐈𝐓𝐇 𝐓𝐇𝐄 𝐒𝐔𝐍𝐁𝐈𝐑𝐃𝐒 𝐒𝐈𝐗

Kaeya Alberich ( bass guitarist ) : Ha! We were good... too good.

Rosaria ( drummer ) : Back then- things were simpler. You wanted to play? Grab an instrument and fucking play. That was our original motto... until things started getting messy. And by messy I mean Diluc and Childe. Maybe even ( Name ) too. *Sighs* Actually, all of us. But, you can't write an album like 'Vermilion' without going through all that shit.

Jean Gunnhildr ( pianist ) : When the four of us first came together, we were decent. We all loved playing- some more than others- but we were okay! *Smiles slightly* But, if you're going to go beyond the walls of the Ravginder basement- we needed more.

Childe ( rhythm guitarist ) : Do I sit here? *Laughs* Oh okay. When I was invited to join the band- I said, "Okay, my partner will join too." and of course, there was zero objection cause you don't find a musician like ( Name ) anywhere... a small part of me selfishly wishes that she [ ( Name ) ] said no when I asked. *Laughs* But who am I kidding? I'd go through all that again and again... even if it meant dealing with Diluc-

Diluc Ragnvindr ( lead guitarist ) We only needed another vocalist, a female one. So, we found one.

Kaeya : I was the one who told him we needed a female vocalist and I found her and Childe.

Rosaria : Rockin' roll is not serious till you really add whatever emotions ( Name ) had in the mix- and that's exactly what she did.

( Name ) St. Laurent : *Smiles sweetly* It was ugly, so ugly. However, bygones be bygones. It was only rockin' roll.

Diluc : It was not just rockin' roll.

★ ARTISTS AND OTHERS. Diluc Ragnvindr, 'Childe' or Ajax, Jean Gunnhildr, Rosaria, Kaeya Alberich, Zhongli, Lisa, Neuvillette, Albedo Kreideprinz, Xinyan, Pantalone, Rosalyne Lohefalter and more.

UPDATES AND POSTSCRIPT. Updates at least once a week (subjective to change). Female pronouns and vocal references.

SIDE COMMENTS. I love rock so let’s combine both. (If you genuinely understand the song reference in the beginning you are my friend now). Inspired by Fleetwood Mac, Stevie Nicks, Florence Welch, the ambient sounds of the 90’s (Mazzy star and Mojave 3), Daisy Jones & the Six and of course the 70’s. Warnings will be in each chapter.

WHAT DO THEY SOUND LIKE? Here is a playlist of the previous artists and more to give you a feel!

★ 𝐕𝐄𝐑𝐌𝐈𝐋𝐈𝐎𝐍 / the album , track 01

expect occasional changes to the track as the story develops

PREFACE — who are you? WILD CHILD — don't stop the music!

Vermilion

Stay Around (or not)

Reverie

Don’t Look Back Now

Runner Up

Tell Me You Love Her

Bright, Young, Woman

The Voices

White Lies

Visceral

Underneath My Skin

Valberry

Gone to Waste

Shoot Your Shot

From Afar

Dawn’s Shadow

In Leather and Faux Fur

Two for Two

My Monoceros Caeli

Deep Six

INWARDS NOT OUT — tell me, how have you been honey?

TAGLIST. @aphrodict @tragedy-of-commons @tipheeweefee @nyoomiin @https-mika @stvrdew @kascar-chronicle if you are interested in becoming part of the taglist, then drop by through an ask!

[moments-on-film]

Moments on Film: Carmy and “Just Keep Going”

“Just keep going” is a recurring mantra in The Bear. The first time we hear it, it’s Marcus telling Sydney as he helps her clean up the spilled veal stock in S1. Cousin Michelle says it to Carmy during their poignant scene at the Christmas dinner. Carmy says it to himself by replaying Michelle’s words in his head as he awaits the results of the fire suppression test. The last time we hear it, Carmy says it to Sydney to help her focus and calm down as she’s recovering from Marcus’s outburst in the S2 finale.

I think “just keep going” has been Carmen’s personal mantra his entire life. It has had to be. And while it may have served him well in years prior, I believe it has now, finally all caught up with him.

Because of Carmy’s traumatic and abusive upbringing, he has trained himself to never properly reflect on what just happened. How could he possibly? From what we have been shown so far, his mother is extremely abusive, controlling, manipulative, and threatening. In their brief scenes together, she called him by his brother’s name, threatened him to the point that I believe she physically abuses him, and in fact slapped his face while he was very sweetly comforting her and trying to calm her down. The look on his face after being slapped is gut wrenching, mainly because, as always, there’s so much in his expression—a world of hurt and emotions, and you know he will never tell anyone about what she just did. All he can do is repress his feelings, suppress the urge to react in any way, and literally just keep going. He has to. It’s how he has survived. And it’s killing him.

Gif source: @sarcasmcloud

We still don’t know what Carmy’s relationship with his dad was like. He says he “didn’t really know him well enough to miss him.” Is this true? Or did Carmy also have to survive physical and emotional abuse, in addition to neglect from him, starting at a very young age? Either way, he’s had to keep moving forward and not look back, likely afraid of what will happen if he stops and actually does. This is another reason why he’s always scanning people’s faces, body language and tone to see if they’re mad at him, and waiting for the other shoe to drop. He has been surrounded by erratic, unpredictable behavior. He has had to think ahead, plan his next move, anticipate people’s behavior, reactions and responses so he can be prepared. He has had to live a life of propulsion, never looking back. Staying still, reflecting on the abuse he has had to survive as well as the recent trauma of his brother’s suicide could potentially cause a complete and total nervous breakdown, so he pushes on.

In the flashback scene in New York, we get another, heartbreaking example of how “just keep going” is killing Carmy. His boss is an emotionally abusive tyrant, but for Carmy to call it out, first he would have to acknowledge it. To do that, he might also have to think about and acknowledge the abuse he’s suffered, likely from his dad, certainly his mom, possibly his “uncle” Lee, even his brother. He is not ready to reckon with any of the abusive behavior in those relationships, so he keeps his head down, and does anything he can to get through the day, even if that means vomiting his unspoken feelings out of his sick and exhausted body before every single shift.

Even before New York, which—ironically and devastatingly, was supposed to be a time where he could “decompress” and escape the trauma at home, he was doing anything and everything to stay ahead of slowing down and facing what he’s been through. For years he’s been putting one foot in front of the other, scared to look down, lest he fall off the tightrope.

Presumably since after high school, he’s been traveling around, and in constant motion. Numerous restaurants in California, Copenhagen, then New York. Carmy has so much unprocessed trauma from multiple sources that has never really dealt with, he’s literally been on the run. He has been distracting himself and filling the void by throwing himself into work, and in the words of cousin Michelle at Christmas dinner, he has, in fact, been, “running around like crazy.” He might change his location, but his unprocessed trauma follows him everywhere he goes, causing him paranoia, anger, shame, guilt, self loathing, dread and fear. It’s also made him sick.

The only way to escape is to never be idle for a second, which is why he’s in constant motion. Carmy as a character is rarely completely still. His hands are constantly moving, in S1 in particular he is perpetually running his hands through his hair, feeling his forehead, smoking, and fiddling with his spoon. He hands tremor and tremble when there’s nothing to occupy them. None of this is an issue when he’s scrubbing floors or furiously chopping vegetables. He can be so unsettled and it all stems from the need to stay in motion to distract himself.

Life in a kitchen can easily swallow someone’s entire life. There’s always so much to do—from the prep to the cooking, the tasting, managing staff, actual service, cleaning, ordering supplies, and doing it all over again to keep the place running. Orders come in that have to be filled. It’s relentless, and at the highest level, requires complete and utter focus to be completed successfully. Natalie correctly points out the toll the restaurant takes on Carmy in her first scene with him. “It’s eating you alive”, she tells him. And it is. In S1, Carmy talks about how much time they would spend cleaning at The French Laundry. It’s hard to let your mind wander when you’re in motion and just keep going, so that’s exactly what Carmen does.

The rare moments where Carmy does pause and rest, he has life threatening night terrors, crippling nightmares, and horrible anxiety. In a prior post I analyzed Carmy’s visibly elevated vital signs in S1 and S2. He is so repressed and stressed out it impacts his entire body. With no outlet, his unresolved trauma, undiagnosed PTSD and extreme anxiety manifests inwardly and makes him ill. His dangerously heightened pulse and heartbeat are often visible onscreen. He has trouble breathing. He’s constantly chewing tums or chugging Pepto Bismol to calm his stomach. One of the few items in his apartment visible to Sydney as she enters is a giant bottle of ibuprofen. As I mentioned before, he often looks sick. There’s so much tension coursing through his body sometimes he actually looks like he’s burning up with fever. He’s not taking care of himself. He’s not eating well, and he barely sleeps. His coat is too thin for the freezing Chicago weather, and that’s when he actually wears it to go outside. He blinks his eyes hard in stressful moments, which is a trauma response. The way his body reacts during his panic attacks is frightening. There have been several moments where he looked like he was going to collapse and have a heart attack.

He has been running around, over working himself, repressing his emotions and feelings, neglecting his own needs, health and happiness and in constant motion for probably the past decade. As I detailed in a prior post, Carmy is lost at the present because he’s never allowed himself to slow down and find out who he really is and what actually makes him happy. He’s been in complete and total survival mode.

There is no way he can keep up at the level he has been operating and not completely collapse at some point. I think that’s a huge reason, subconsciously, that he slipped into the relationship with Claire. Among other reasons, he is exhausted and it was a way out and seemingly a soft place to land. She is also probably the first person to physically touch him, maybe in years. Of course he wanted to lean into the potential comfort and care that he thought she might be able to provide. He needs touch and tenderness so desperately that he invited her to the restaurant, his sacred space, mere seconds after she stroked his face, a turning point in their “relationship.”

Claire initially allowed him just enough relief that he wasn’t about to explode. However, in the end, it proved to be such a distraction that it pulled him even further from reality, his duties, and people who he actually should have been spending time with, namely, Sydney. The lack of healthy balance caused him increased anxiety and much more harm than good. His panic attacks actually increased and got worse during his time with Claire. She also only served to unhealthily unearth the past he’s been running away from by bringing painful memories he’s tried to suppress screaming to the surface.

I am very worried about where a potential next season(s) will take Carmy, emotionally and physically. He is headed for a serious crash and burn if he thinks he can just ignore his numerous health problems and keep running from his past. He is only human. They will all catch up with him and I believe they already have.

I’m also worried because we know the writers like to do call backs and tie threads together. Plot points, relationships and lines are never wasted. I’ve said in my posts prior to S2 how badly I think Carmen needs to see a Doctor. The fact that Claire is one, but it never factored into S2 is so odd to me. This is what makes me think we perhaps have not seen the last of Claire.

Carmy physically exhibits crippling distress, and noticeably elevated vital signs, in the form of shallow breathing, rapid pulse, pounding heartbeat and a face that often looks flushed with fever. He actually had a “gnarly” panic attack while he was with Claire. He needs medical attention, but we were never shown her acknowledge this or make a recommendation about the help he needs, or give him tips to calm down, apart from essentially “just ignore your problems and they’ll go away.” This is all so strange to me because Carmy is not well, Claire’s an ER Doctor in residency, and she experienced him during a horrible panic attack. What is the first thing they do at the Emergency Room? Check your vital signs. Can’t she see he’s sick? Wouldn’t she want to help him, personally, not to mention professionally, to get treatment and ease his suffering? It doesn’t make any sense to me.

He has, however, found a new way to self soothe in his most painful moments to calm down his nervous system—with visions of the one thing that helps him stabilize and breathe, visions of Sydney.

I really hope that the next time Carmy and Claire see each other isn’t because he’s being brought to the Emergency Room where she’s a Doctor because of something terrible, like an illness, accident, or major health emergency. That said, I think he is on the brink of a crisis. A major health issue might be the only way for him to stop and actually slow down enough to rethink his life and how he’s been spending it these past years.

Season 2 ends with Carmy believing he needs to double down on his mantra and “just keep going”like he always has, push himself to the max, and sacrifice his entire existence to run the restaurant, but that is not sustainable. It is not service, it is servitude. I believe he is exhausted, burnt out and headed for disaster from living this way for the past decade. He’s a master at masking that he’s barely hanging on by a thread. This is a huge reason why Sydney is his lifeline. Unlike Claire, who’s supposedly “known” Carmy for years, within days Sydney accurately diagnosed Carmy’s problem (S1E2) “you need help”, she told him. She saw through what he was trying to hide, to what he needs most. She caught him before he fell and she’s been holding him this whole time. I honestly believe that by walking in the doors of The Beef, Sydney saved Carmen’s life, but neither one of them truly realizes it yet.

I really hope for the sake of Carmy’s physical, emotional, mental, and spiritual health he will see that slowing down, coming to terms with the abuse and trauma he’s survived, taking care of himself, resting, and getting professional help is a life and death situation for him.

Carmen needs to realize that he hasn’t and isn’t living a full life with the mantra “just keep going.” It has worked so far as a survival tactic but he deserves and needs to live a life where he can be healthy, fulfilled and happy. A life where he’s not just going but growing. I hope he realizes this before it’s too late. For the sake of his health the stakes are extremely high and he has no time to lose. Every second counts, indeed.

©️moments-on-film 2023

[simchanel]

STARBUZZ EXCLUSIVE 💫!

Lennon Greenwood Drops Heart-Wrenching New Album as Divorce Finalizes!

In a whirlwind of emotional turmoil, beloved singer-songwriter Lennon Greenwood has released her most personal album to date, titled Gutted, just as her high-profile divorce from actor Jesse Foster becomes official. The album, filled with raw emotion and poignant lyrics, is already making waves in the music industry, with fans and critics alike praising its authenticity and depth.

Greenwood, known for her soulful hits and powerful stage presence, has channeled the pain and heartbreak of her recent split into a musical masterpiece. The album covers themes of betrayal, loss, and resilience, offering listeners a glimpse into her tumultuous journey over the past year.

The timing of the album’s release has only added to its impact. As news broke of her finalized divorce, Greenwood’s poignant lyrics and haunting melodies in Gutted provided a cathartic outlet for both the artist and her fans. Songs like “Midnight Confessions” and “Crossed Lines” are already being hailed as some of her best work, resonating deeply with anyone who has experienced the sting of a broken relationship.

Sources close to Greenwood reveal that the creative process for Gutted was both therapeutic and challenging, with the artist pouring her heart and soul into every track. Despite the personal pain, Greenwood has emerged stronger, using her music as a powerful means of expression and healing.

Stay tuned, StarBuzz readers, as we continue to follow Lennon Greenwood’s journey. One thing is for sure: this incredible artist has turned her personal heartbreak into a triumphant musical comeback, reminding us all of the power of resilience and the beauty of raw, unfiltered emotion.

[garoumylove]

I know there will be several talented people doing write ups on this but I just want to add my own two cents as well because this got me emotional.

The reason I write Garou fanfics so much is because I find his psyche absolutely fascinating and close to my heart. He presents with such anger and sassy cockiness while dealing with so much inner turmoil. And most of the time we don't get to see that inner turmoil but every once in a while ONE/Murata will lift that veil through one panel or a piece of dialogue and we get a glimpse of the troubled young man and all those painful feelings inside. And it's that pain, inner conflict, the vulnerability he guards so closely that I love to explore and that makes me fall for him over and over again.

This panel is one of those. As I've mentioned a while ago, I'm not a fan of the way Garou has been characterised in the manga since he reappeared on the surface at the end of the MA arc and especially not a fan of his characterisation post MA arc. This, however, is the Garou that I love. The troubled young man who pushes his way through life with a heady mix of bravado and stoicism. And then we get this.

"I'd love to show you how 'easy' it would be...' accompanied by a somewhat gruesome inverted panel with blood splatter. To me, this is the first time Garou is letting out his pain and frustration at his loss with Saitama. His ideology, while simplistic, got him through a tough childhood and adolescence. He clung to that goal and shed an exorbitant amount of blood and sweat over it only to discover it was never going to be. The loss of that would be gut wrenching. And finally here we get him giving us a glimpse of that raging pain. Of that vulnerability.

But what gets me even more is the next line "You worthless hunk of junk that can't even bleed or feel pain". This is one of the most obvious and clear times that Garou is coming face to face with his own pain. To me, it's like he's finally admitting that he is in pain. Not physical pain, but just this existential pain that he finds himself sometimes drowning in and doesn't know what to do with.

And then next panel he just goes right back to work with the older guys looking after him which I find so fucking sweet and adorable, telling the lad to put everything down and stop working.

At this point I see Garou starting to deal with all that backlog of pain and trauma. He is not in it all the time but he allows it to come to the surface, holding it, feeling it and then he goes back to this new low-key life. This isn't something he is going to process in one go. This will be an ongoing process. Diving head first into that chaos, those demons in his head, into everything that hurts and unravelling it a little at a time before swimming back to shore and going on with his life.

It's a process that I think is a lot more poignant and powerful than the happy-go-lucky de-fanged puppy characterisation we currently (but didn't used to) get in the manga. The Garou we get in the webcomic still has those fangs, but he lets himself be more than that little by little. One day, he will be at peace with who he really is and every time I think about it, I kinda want to tear up.

[watchnrant]

WandaVision: A Genre-Bending Exploration of Grief, Identity, and Superhero Storytelling

WandaVision is a bold, genre-bending triumph that redefines what superhero storytelling can be. The series opens with a surreal plunge into classic TV sitcoms, paying homage to I Love Lucy and Bewitched—a bold move that quickly proves its worth. WandaVision reminds us that emotional stakes can hit the hardest in a universe of super-powered battles.

Elizabeth Olsen is mesmerizing. Her portrayal of Wanda Maximoff is a masterclass in character evolution, as she moves effortlessly between sitcom whimsy and gut-wrenching emotional depth. Wanda’s desperate attempt to control her unraveling world is heartbreaking and terrifying, and Olsen makes you feel every ounce of that pain. Paul Bettany matches her performance with a comedic brilliance that brings new layers to Vision, turning their shared scenes into captivating emotional duets.

But WandaVision is far more than a love letter to nostalgia—it’s a fully immersive experience. Each episode meticulously recreates a different TV era, from the black-and-white charm of the 1950s to the neon flash of the 80s. The period details, from set designs to costumes, are spot-on, giving the series a rich visual texture. You’d be forgiven for thinking you were watching an episode of The Dick Van Dyke Show—until the cracks in the facade start to show, hinting at a far darker reality lurking underneath.

Visually, WandaVision is a feast. The shifting aesthetics aren’t just clever flourishes but integral to the story. As the series moves through different eras of TV, the visual style mirrors Wanda’s emotional unraveling. The glossy perfection of early sitcoms begins to fracture, reflecting the way grief and trauma distort her perception of reality. This isn’t just a fun gimmick—it’s a profoundly affecting metaphor for Wanda’s internal collapse, making her unravel something you feel as much as you see.

At its core, WandaVision is about grief, trauma, and identity. Wanda isn’t just mourning Vision—she’s grappling with who she is after everything she’s lost. Her immense power allows her to bend reality to her will, yet she’s unable to confront the emotional wreckage inside. The show visually represents this struggle, with each glitch and shift in her constructed reality as a metaphor for her fractured sense of self. WandaVision brilliantly captures a woman at war with her identity, trying to reconcile her past, pain, and future.

This identity crisis shapes Wanda’s every decision. Unable to let go of her trauma, she creates a world where she can hide from it. But as the cracks in her illusion grow, it becomes clear that even her immense power can’t protect her from the truth. The show’s layered narrative and visual style turn Wanda’s story into a poignant meditation on how trauma reshapes our sense of self and how running from grief only deepens the wounds.

One scene that perfectly encapsulates this tension is the dinner sequence in the first episode. What starts as a lighthearted sitcom fare quickly spirals into something unsettling as Wanda struggles to control her reality. The laughter fades, the lighting shifts and the discomfort is palpable as her carefully constructed world teeters on the edge of collapse. In moments like these, WandaVision masterfully balances its tonal shifts, moving from quirky homage to psychological thriller with a deft touch.

The series is a slow burn, but that deliberate pacing makes its emotional depth possible. WandaVision takes its time, allowing the audience to sit with Wanda’s grief and confusion. This might feel jarring for some, especially for those expecting the fast-paced action Marvel is known for. But this slower pace is essential to the show’s impact—it gives the emotional stakes time to breathe, and the payoff is worth the wait. As Wanda’s world unravels, the tension builds not through action but through her illusions’ slow, steady collapse.

Marvel’s decision to prioritize emotional complexity over explosive action in WandaVision significantly departs from its usual formula. This shift signals a broader evolution in superhero media that embraces introspection and character-driven storytelling. WandaVision shows that superhero stories can be just as much about our internal battles as the external ones, setting a new standard for what the genre can achieve.

While Olsen and Bettany are the heart of the series, the supporting cast also shines. Kathryn Hahn is a standout as Agnes, bringing comedic flair and a sinister undercurrent to her role. Her shift from a nosy neighbor to something far more ominous is one of the series’ most thrilling transformations. Teyonah Parris, as Monica Rambeau, adds emotional depth to the broader MCU connections, grounding the story while bringing her vulnerabilities to the forefront. Monica’s own experience with loss, having been snapped away and returning to find her mother gone, mirrors Wanda’s grief, adding layers to the show’s exploration of trauma. Both actresses enhance the ensemble, making WandaVision a rich tapestry of performances.

Matt Shakman and Jac Schaeffer deserve immense credit for crafting a show that blends absurdity with emotional resonance. The tonal shifts—from sitcom pastiche to psychological horror—could have easily derailed the narrative, but instead, they heighten the series’ complexity. Shakman’s direction and Schaeffer’s writing push the boundaries of superhero storytelling, resulting in a series that feels as innovative as it does intimate.

Another scene that stands out is Wanda’s confrontation with Agatha Harkness (Kathryn Hahn) in later episodes. This moment exemplifies the total collapse of Wanda’s illusion, and Agatha’s role as a manipulator intensifies the tension. The scene is a high-stakes emotional showdown that strips away Wanda’s defenses, forcing her to confront the pain she’s buried under layers of sitcom facades. This confrontation highlights the show’s seamless ability to shift from personal drama to supernatural spectacle, all while keeping the emotional core intact.

Of course, WandaVision isn’t for everyone. Its experimental structure and slower pacing may alienate viewers expecting the fast-paced, action-heavy fare typical of the MCU. But for those willing to embrace its reflective nature, the series offers a more profound, more emotionally charged experience. It’s a gamble that pays off in ways that redefine what superhero television can be.

WandaVision isn’t just a standout in the MCU—it’s a standout in modern television. Its blend of genres and experimentation with form transcends the superhero genre, positioning itself alongside Legion, which uses genre as a framework to explore deep emotional and psychological territory. WandaVision proves that superhero stories can be as rich, layered, and complex as any prestige drama, showing that sometimes, the most compelling battles are the ones we fight within ourselves.

So, is WandaVision a triumph? Absolutely. By blending sitcom nostalgia with emotional depth and mind-bending twists, WandaVision redefines what superhero storytelling can be. Marvel has set a new bar for its TV future, and if this is the direction they’re headed, count me in.

[bengiyo]

Eternal Yesterday Ep 8 (Finale) Stray Thoughts

It's time to say goodbye to a show about letting go. I'm getting in my feelings and I haven't even pressed play yet. This show is a prime example of what I love most about Japan. If anyone is going to handle difficult topics well, I trust them to do it. This show has such a surreal premise, but it's been one of the mostly thematically cogent show I've watched all year.

We left at Koichi hiding from Mitsuru, but now they're back and about to have their first time together. I am prepared for my typical Japanese disappointment.

"It's getting hot in here, so take off all your clothes."

Oh no. Have the hoses spraying in the intro been about how these two have their major intimate moments in the rain?

I've been a fan of boys talking before their first time since Four Moons (2014).

It is so poignant, and so much like Japan, to layer the first real bed scene MBS has attempted (and I think the only one from Japan this year) with the grief that in so many ways this is a goodbye. Koichi gets to break down in the shelter from the rain again and lament that he can't stay with Mitsuru anymore. They finally explicitly share deeper physical intimacy with each other, but it only affirms how much they meant to each other in the past tense, because Koichi can't stay. I'm feeling an intense melancholy coming on.

Though, props to Kamiya Rio and Sora Inoue for doing the best job with kissing from MBS this year. It pales in comparison to what Taiwan and Thailand are willing to do, but I respect it from two Japanese actors.

Emotionally overwhelmed by the table talk with the dad.

I was not prepared for the reveal that the mother lost her own battle with ideation, and then hung around as a walking corpse. That's so messed up.

I like the gentle way the dad acknowledged that he knew that Mitsuru and Koichi were more than friends, and crossed the boundary that separates them to offer his son some physical and emotional comfort. "You don't need to force yourself to heal," is such a gentle thing to say to someone grieving the loss of a loved one.

And now we're on a camping trip alone five years later.

I am actually okay with hand waiving the discovery of Koichi and everyone forgetting the supernatural. We don't need to revel in the grotesque there.

I am deeply saddened by the realization that Mitsuru may never find a way to reconcile his feelings for Koichi and experience another close connection. That is unfortunately a very familiar experience for me.

Oh no, we're getting the story from Koichi's perspective. I'm going to cry.

JFC the reveals in this finale. Koichi was adopted by his uncle because his mom abandoned him.

We're going to need to have a real reckoning with Japan about how the couple I've believed the most this year were genuinely mutually attracted to each other had one of them dead the whole time. I am aching.

This was such an emotionally gut-wrenching experience. I haven't unpacked feelings this show yanked out in fourteen years.

Final Verdict: 10, Recommended for fans of poignant queer cinema. I suspect many others will DNF or rate this show poorly for its themes about sadness. However, I assert that this show never tricked us about that at all. This entire show was a meditation on grief and how certain losses stay with us. This is not unlike 180 Degree Longitude Passes Through Us for me. Few BLs have made me feel as intensely as this show has, and I will be thinking about it for a long time.

[rhejac]

the end of evangelion (1997)

My brain is pretty tired from watching this movie. I love the concept so much, though. The visuals of everyone becoming one, everyone seeing the psyches of others, the darkness that lies beneath everyone's skin, was absolutely mesmerizing to watch.

Asuka's violence at the beginning of the movie was so cool to look at from an animation standpoint. Seeing her complete confidence in her mission and the way she tried to take out every Eva had me on the edge of my seat. It was gut-wrenching when she did lose. It was like I felt all the pain and gore myself as her Eva gets eaten to death and she screams in horror.

Shinji's journey through the movie was equally captivating and harrowing. His deep psychological struggle, depicted through surreal and intense imagery, was a powerful exploration of his inner turmoil. The moment he confronts his mother, and the subsequent scenes where he grapples with his sense of self and his place in the world, were profoundly moving. The merging of human consciousness, while visually stunning, also conveyed the immense loneliness and desire for connection that Shinji experiences. It was heartbreaking to witness his pain and confusion as he navigated this new reality.

The climax, where Shinji makes the decision to reject Instrumentality and embrace individuality, was a poignant resolution to his character arc. His choice to return to a world where people are separate but capable of forming genuine connections underscored the series' recurring themes of identity, loneliness, and the human need for understanding. The final scene, with Shinji and Asuka on the desolate shore, left a lasting impression. Their ambiguous interaction, full of raw emotion and vulnerability, encapsulated the complex and often painful nature of human relationships.

Overall, The End of Evangelion was an intense and thought-provoking conclusion to the series. Its exploration of deep psychological and existential themes, combined with its stunning visuals, made for an unforgettable viewing experience. Despite the exhaustion, I can't help but appreciate the profound impact of this film.

[denimbex1986]

'All of Us Strangers, loosely adapted from the novel ‘Strangers’ by the Japanese writer Taichi Yamada is a narrative that deals with love, loss, and loneliness, keeping queerness at its core.

The story follows a writer named Adam who spends time in his apartment working on his next writing piece, meets a mysterious neighbor, and as the closeness among the characters increases Adam finds himself drawn back to his childhood home, revisiting ghosts in his memories.

The concept of the story is inherently fascinating. The notion of confronting long-departed parents, particularly as a gay man like Adam, carries immense emotional weight and complexity. The idea of meeting them as an adult, grappling with one’s identity and the memories of past struggles, is both nerve-racking and astonishing. The film’s near-perfect execution captures this essence, rendering the experience raw and surreal.

Throughout the narrative, the emotional intensity builds with each visit Adam makes to his parents in his memories, occurring approximately every twenty to twenty-five minutes. These encounters serve as poignant reminders of the challenges he faced in coming to terms with his identity, which has taken the form of loneliness for him.

Now, ‘coming out’ is a deeply personal and multifaceted experience, often defying easy articulation. It involves a myriad of factors and emotions, including the stigma that a person has about how they will be perceived once they come out, how they need to stand up for their dignity and be proud of their newfound identity that they have struggled for almost all their life, and somewhere critically assuming that what the other person might make out of it and yet being strong and emotionally vulnerable enough to go through that — all this internal conflict and external pressures faced by queer individuals is perfectly summed up through writing and acting.

Conversations about queerness are subtly woven into the fabric of the film, leaving a lasting impact. In one memorable scene, Harry, portrayed by the talented Paul Mescal, reflects on the connotations of being gay, expressing how he perceives it as somewhat derogatory while finding the term “queer” more inclusive and nonchalant. This dialogue subtly underscores the societal biases and stereotypes associated with different labels, highlighting the journey toward self-acceptance and inclusivity. Another significant moment occurs when Jamie Bell’s character, Adam’s father, opens up about his awareness of Adam’s struggles as a child. He recalls Adam’s moments of solitude and tears, revealing his own internal conflict about intervening. His admission that he refrained from taking action out of fear of exacerbating Adam’s potential bullying is a gut-wrenching revelation. It exposes a harsh reality, delving deep into the later guilt that his father is left with.

Scenes like these do more than just capture the queer narrative, they offer authentic glimpses into the lived experiences of queer individuals, and through genuine portrayals and heartfelt dialogue, you cannot let go of the feeling that these characters are going through.

Moving ahead, what amplifies the emotional impact is the acting, particularly through Andrew Scott’s nuanced performance. In the initial scenes, Scott’s character, Adam, never fully displays overt crying. Instead, he subtly conveys his inner turmoil through teary eyes and attempts to conceal his emotions by covering his face. This choice adds layers to Adam’s character, suggesting a desire to hide his pain, both metaphorically and subliminally. I found this choice rather endearing. Scott’s portrayal effectively builds tension as Adam struggles to contain his emotions, creating a sense of unease for the audience. When Adam finally unleashes a torrent of intense tears, the moment is all the more powerful for its contrast to his earlier restraint. Remarkably, this emotional outburst occurs without Adam’s face directly facing the camera, intensifying the discomfort and emphasizing the rawness of his pain. ‘Andrew Scott’ truly channels perfection throughout. His portrayal captures the subtle nuances of Adam’s “broken feeling,” conveying it not only through physical gestures but also through the modulation of his voice.

‘Paul Mescal’ also brings a captivating enigma to his role as Harry, infusing the character with a sense of mystery that persists throughout the film, which makes perfect sense as the movie enters its climax. Both actors bring forth their finest work. The chemistry among the characters they are playing makes you root for them and almost leaves you in disbelief before the final credit rolls. Furthermore, Claire Foy and Jamie Bell, again elevate the experience with their performances, drawing you into the inner worlds of their characters with empathy and authenticity.

The one-hour and forty-five minutes long film seamlessly transitions to various sequences while keeping the narrative concisely interesting yet broad in its approach. The screenplay is one of the most intriguing factors in keeping the viewer hooked as everything (intentionally) seems a little disorganized in the beginning. The cinematography and visual storytelling take this tale in a mainstream sort of cinema which doesn’t resonate with the kind of story structure that it wants to follow, and I believe that is where the creativity peaked. The use of lighting is so effective, especially in one sequence where you feel Adam’s feeling of claustrophobia — effectively.

Lastly, the writer & director Andrew Haigh, known for his work in shows & movies like ‘Looking’ and ‘Weekend’ yet again brings one of the most authentic queer experiences. From on-point and stellar dialogues to a complex story structure, the director and his team give it all in and tease you with an unsaid animosity through its screenplay, making you gush while the tears of tragedy pour down, in short, making the experience for me ‘moving’ and for many a ‘must-watch’.'

[linessareads]

The Boy from Clearwater: Book 1 by Yu Pei-Yun and Zhou Jian-Xin (illustrator) (translated by Lin King)

Review:

The Boy from Clearwater (published by Levine Querido in November 2023) is a YA graphic biography written by historian Yu Pei-Yun and illustrated by Zhou Jian-Xin. It is a poignant Odessey about the life of Tsai Kun-lin, a (real-life) young man arrested during the White Terror for his association with a political book club. Beginning with Kun-lin's childhood, readers experience tender childhood moments of sneaking sugar cane along with the confusion and chaos surrounding the Japanese and Chinese occupations of Taiwan.

Overall, this is a solid graphic novel with a lot of educational value. The years of Kun-lin's life are intersected with notes regarding the many political shifts and thought movements occurring during his childhood and early adulthood.

I loved how the translators differentiated the different languages being used through the color of the text--it added a deeper emotional element to the whole thing, especially in chapters where the characters who grew up in a Japan-occupied Taiwan struggled to communicate with their older peers. I was particularly touched by how this element related to Kun-lin's father and the difficulties he endures in the "background" of the novel. Throughout, Kun-lin's once-rebel father expresses subdued sadness about the desecration of Hoklo Taiwanese and its connections to traditional Taiwanese culture (there is a particularly thoughtful scene in which he checks in on Kun-lin's studying, speaking Hoklo, before shifting to Chinese after Kun-lin expresses the need to meet Chinese standards). I reread the book just to take notes to see how the different languages weaved in and out of each other and the larger meaning in that tapestry.

It would be impossible not to highlight the work of Zhou Jian-Xin, the graphic novel's illustrator. The hand-penciled artwork was both refreshing and gut-wrenching in its unflinching portrayal of Kun-Lin's struggles and the beauty of Taiwan. I appreciated the combination of hand-drawn and print techniques the artist utilized, especially in the application of heavy, dark linocut prints to depict Green Island. Zhou Jian-Xin's portfolio can be found here: Jian-Xin Zhou – Literarische Agentur (mertinwitt-litag.de)

I did find myself wishing that the novel contained more insight into Tsai Kun-lin and the people around him. While we get hints of who they were as people and their struggles, the biography invests more time in summarizing events than investing in personal portrayals of its figures. The real Tsai Kun-lin became a human rights activist after his imprisonment and was very vocal about his political opinions. It seemed like a loss to not explore the development of his passion for human rights and politics during such a politically tumultuous time in Taiwan's history--particularly when The Boy from Clearwater explores his time in prison after he was wrongly arrested for his supposed political affiliations. Tsai Kun-Lin was largely portrayed as apolitical, which doesn't necessarily seem accurate to his real-life pursuits. However, this may have been influenced by the current stress on the Taiwanese people.

This would be an excellent graphic novel to introduce teenagers to the complex history of Taiwan and the suffering native Taiwanese people endured during the rotating occupations of the 19th and 20th centuries. With the continued turmoil in Taiwan, this novel couldn't have come out at a better time.

The second tome of The Boy from Clearwater is set to release in May 2024.

More information: Tsai Kun-lin:

Human rights activist Tsai Kun-lin dies at the age of 93 - Taipei Times

Encrypted apps and false names: new Taiwan book club takes no chances | Taiwan | The Guardian

Tsai exonerates White Terror victims - Taipei Times (the translation of this article appears to contain some errors)

For those interested in more media concerned with the White Terror/its impacts:

ELEGY OF SWEET POTATOES by Tehpen Tsai: A heavily-reality-based novel focused on the story of Tehpen Tsai, a young man detained by the Kuomintang regime during the White Terror. This novel explores the idea of "thought crimes", punishment, and trauma.

TRANSITIONS IN TAIWAN: STORIES OF THE WHITE TERROR edited by Ian Rowen: A collection of non-fiction and fiction works by many of Taiwan's most celebrated authors focusing on the events of the White Terror and their impact on Taiwanese culture and life.

THE MAN WHO COULDN'T LEAVE: A VR short film directed by Singing Chen that depicts the life of a political prisoner on Green Island during the White Terror. (Trailer can be found here: The Man Who Couldn’t Leave (2022) | IDFA Archive)

DETENTION: A Taiwanese psychological horror game created by Red Candle Games. This story explores the White Terror, Taiwanese religion, and the multi-generational impact of colonization and violence.

[unofficialadamtaurus]

FINALLY HAVE TIME TO READ AGAIN LETS FUCKING GO EPILOGUE!!

holy SHIT you weren’t kidding when you said this one was all about the vibes! Which is like my absolute FAVORITE thing about your work. legit the first paragraph already had me like 🫨 and I AM FUCKING LIVING for all the details that just add more to Adam. it is EVERYTHING!!

the whole description of mine #9 is amazing!! the sounds, the lighting, the weather, the state it’s in??? for real you just have this way with presenting a scene and setting that is 😩 SO GOOD.

His palms twinged and he gingerly tugged off his gloves. On his palms, up his fingers, and even across the backs of his hands lingered silvery bands of scar tissue from that foolish attempt to escape. He couldn't even remember the reason for the argument with his parents that had prompted him to run; he only remembered the pain in his hands and his father yanking him down to cover moments before a spotlight swept over where he had been. He remembered, too, his mother cleaning and wrapping his wounds with tears shining in her eyes.

GODDAMN first memory in and I’m already emotional. that memory is so fucking poignant

“Come," he told the wolves, and though his voice shook his will did not.

THAT IS FUCKING HYPE

And seriously I gotta it again because holy SHIT I LIVE for how everything is presented

THIS PART ESPECIALLY

He turned from the main path onto the smaller one splitting between the faunus dorms. He paused at the second building on the left. Its back half had collapsed, but the doorway remained—though the door itself hung crooked on its hinges and had gotten stuck in the ground.

If he looked, and he could not bring himself to do so, he'd find a series of scratches in the metal frame, each one labeled with initials. His height, the heights of other children who had grown up and died here.

He closed his eyes. Beneath the wind, there were echoes: conversations too distant to remember more than the hum of voices, sharp peals of laughter, and encouragement for the weary.

When all of that resolved into a sharp shout to get back to work, Adam opened his eyes. His gaze dropped automatically to the scratches and for the first time he saw that three of the height markings formed a distinct symbol, disguised amid the rest.

JFC LEGIT one of my favorite moments in HP right there. oh my god it is constant gut punches reading this part, and the mix of describing his memories and the scenery is v well done!

The woman hadn't realized Adam was listening. She probably would have regretted putting the idea in his head if she had. Gods knew she would regret what he became.

GOD MY FUCKING CHEST HURTS

"I'd ask forgiveness," he told the roses, "but I think I've done the unforgiveable."

UGHH god that line but also THEY’RE ROSES. THE FLOWERS SHE GREW WERE FUCKING ROSES I-😭

These roses were only out of control because he, in his cowardice, had refused to return. The least he could do was bleed as he made his apology.

STOOOPPPPP IT GUY. HE IS SOOOOO IWBZSUWBVSUBWBWKB

He traced those names with his fingers. The stonemason he'd commissioned had looked at him with such pity when he made his request. The first names without last names, the blank spaces, the names he knew he hadn't recalled correctly, every single one a story cut short.

This was a flawed memorial. It was also the only one he had. His attempts to track down records, personnel lists, company documentation—all had ended in failure. No one had bothered keeping a record of the faunus who had lived and died here. Their ghosts were his and his alone.

GODDD. Like I just know he carried that the whole time. How he went searching for info. In every mission, every win or loss in the WF ughh 🤧

His sorrow and nostalgia here are so heart wrenching. Just how and what he lost is really put into detail and it fucking HURTS. and he still wants to do good, and he now fully believes he CAN now 😭😭

My guy I fuckin' salute you for making it all the way through to the end and giving me these top-tier reactions the whole time. The fact that the vibes in the epilogue came through crystal-clear to you puts a huge smile on my face.

It was very satisfying for me to have one chapter at the end of Hollow People to actually give Adam a backstory and - even if it's belated - kind of bring things full circle for him. His history's alluded to throughout the story, you get a pretty good idea of it from the way he acts and thinks, but he's actually kind of a black box...right up until the epilogue. And that's when you can look back and see his perspective so much more clearly (at least when he's not sleep deprived and trying to murder his ex).

It's an ending that I hope leaves you feeling as bittersweet as hopeful.

[artorojo]

"Saving Private Ryan," directed by the masterful Steven Spielberg, is an epic masterpiece that transcends the war genre. From the heart-pounding, gut-wrenching opening on the beaches of Normandy, to its poignant and deeply human conclusion, the film is an emotional rollercoaster that leaves an indelible mark on the viewer.

Spielberg's meticulous attention to detail is evident in every frame, offering an unparalleled level of realism. The D-Day sequence is a brutal symphony of chaos and heroism, capturing the sheer terror and sacrifice of war with unflinching honesty. It's a testament to the film's power that it's often considered one of the most realistic depictions of combat in cinema history.

Tom Hanks delivers a tour de force performance as Captain John H. Miller, anchoring the film with a portrayal that is both commanding and profoundly human. The ensemble cast, including standout performances from Matt Damon, Edward Burns, and Tom Sizemore, brings a depth and authenticity to their roles that elevates the narrative.

Beyond its technical brilliance, "Saving Private Ryan" grapples with profound moral questions. It's a meditation on the value of a single life amidst the vast and incomprehensible scale of global conflict. The film forces us to confront the staggering cost of war and the responsibility we have to one another.

John Williams' haunting score weaves through the narrative, adding a layer of emotional resonance that lingers long after the credits roll. The cinematography, by the gifted Janusz Kamiński, captures the brutality of war while also finding moments of haunting beauty in the midst of devastation.

In the end, "Saving Private Ryan" is more than a war film; it's a testament to the strength of the human spirit, the bonds of brotherhood, and the sacrifices made in the name of duty and honor. It's a cinematic triumph that stands as a testament to the enduring power of storytelling. This film is nothing short of a masterpiece, a powerful and unforgettable journey that leaves an indelible mark on the soul.

[insufferablebard]

The Goncharov brainrot has finally won. I need to talk about the parallel cigarette lighting scenes between Goncharov/Andrey and Katya/Sofia.

Not to go full John Green metaphor on y'all, but lighting someone's cigarette is pretty clearly established in the movie as both an act of love and an act of violence. It's tenderness, it's an offering of service and pleasure - and it's going to kill them from the inside out. "I love you, that's why you're doomed". Hell, there's literally a cut between a smoking gun and Ice Pick Joe lighting up in the first scene, it's not subtle. So what do they MEAN, the cigarette scenes with Goncharov/Andrey in the rain and Katya/Sofia at the window?

Andrey's lighter won't work in the rain, so Goncharov lights his cigarette with his own. It's such an unexpected moment of connection, everything is so bleak by that point, but they share this near-kiss at the end and it MEANS SO MUCH. And yet, that's when it really hits home that they've killed each other. Andrey is the one that shot Goncharov, sure, but the train out of Naples is gone and he missed it for this. So Andrey doesn't have long left either, after Goncharov bleeds out. He could have left it all behind, he didn't have to burn. But Goncharov set him on fire - was that worth it? And Goncharov himself, holy shit, I guess that memory is the first and only thing he has left to reach back for as he's dying. How gut wrenching is that?

And then Katya and Sofia. Katya's cigarette won't light, she's almost shaking with frustration and pent-up emotion from everything else going on, and what does Sofia do? She takes her hands to steady them and offers Katya hers. Doesn't light it, shares it. Why? Why is it different? They share drags out of a window into the sunset. It's because, in what is perhaps the one act of agency and peace the narrative affords them, they don't destroy each other - they quietly share the death that's coming. It's kind of why I'm a hesitant "Katya and Sofia faked their deaths" truther. It's very poignant if they actually died, but there's such a sense of relief and escape in that scene. You can just see them retiring together.