#i am incoherent with all the feelings

[clarrolx]

this is for @noverturemusings, this is my review of chapter 46 of In The Face of Your Light, in no particular order.

[timethehobo]

A missed apology.

[joanofexys]

Thinking about the Minyard twins and how for each other they'd do it all over again. That Andrew would always rather someone's hands be on him than ever touch Aaron. That Aaron, covered in blood that wasn't his, risking his whole future, would bring down that racquet a thousand more times because it was for Andrew. Aaron who wants to help people and Andrew who wants to help Aaron. They're brothers, they're strangers, there are things they'll never be able to understand about each other, and things only the two of them can comprehend. Andrew would get in that car every time even if it meant he died. Aaron would always reach out to Andrew when he found out about him, even knowing how much it would hurt. The amount of times Andrew saved Aaron's life so Aaron has a chance to save lives. They spend so long clinging onto hollow promises and feelings of betrayal. Unsure how to say “you’re my brother, of course I love you” through anything other than “I’d do it again”. They’re two of the people who never gave up on each other even when everyone else had, even when they’ve still been strangers longer than they’ve been siblings.

[snufflepup]

Everything you do I'm obsessed with you. I dont mean to scare, but you're just so cute ♡

[bromcommie]

so I was digging through the Vast Legally Grey Junkyards of the Internet in search of better quality footage from AoU for my edits, specifically the scene with the CA FASCIST grafitti in Sokovia—which I unfortunately didn't find, but what I DID find was a bunch of deleted/expanded scenes that I didn't know/didn't care enough to pay attention to before. Which is fine. Most of it is techno babble and rushed plot setup. However. This stupid-ass ten second clip makes me literally insane. It makes me. Want to kill and maim and chew on the bars of my enclosure. And not in the sense that the contents make me oh-so-emotional, but because the potential of them could. Because what do you mean.

What do you mean those four and a half lines were cut for pacing/time when it's a ten second difference and the rest of the scene is in the film anyway. What do you mean you cut it because it didn't fit the narrative. It's literally couched in two minutes of plot it could've been so easy to slip it in there. A passing reference that would add at least a smidgen of depth to both the (already fucking incomprehensible) plot + politics of the antagonists, and to one of the main fucking characters. Like you were SO close what do you mean you cut every feeble attempt that was made to scratch the surface of Steve's character outside the whole nightmare scene we're supposed to feel so bad about what do you MEAN.

The fact that this minimal exchange—paired with that graffiti scene where Steve is confronted with the actual legacy of Captain America and what he's come to mean to people around the world and then quite physically discards the identity + him still circling back to the mantle at the end of the film anyway because he doesn't know how to do or be anything else, feels like he's too changed for this idea of a normal life that stems from before the war and the ice and doesn't know how to live without carrying that, without being useful in this one specific way—has more meat on its bones in the whole lead up to Civil War and ultimately Endgame than half of this movie's sledgehammer-over-the-head lines about home and family with Barton's kids laughing in the background or whatever like some fucked up C list hallmark movie is downright infuriating to me because like. You clearly thought about it. It passed through your head. You wrote some version of it into the scene. You shot it and edited it and watched it a few times and then you went "nah off it goes to the cutting room floor, we have enough of that. Add those seven and a half seconds to the 20-minute long, entirely CGI Hulk sequence, that we need more of. Surely that will fix the pacing issue".

Side note: this is me not even getting into the fact that, at this point in the franchise, this would have been one of the few lines we'd get of Maria actually saying something or interacting with anyone in a way that is even marginally removed (which this barely is) from simply delivering plot information. This is the only time we kinda get her view on something or even an inkling that she used to be a goddamn intelligence agent. And how that history informs her view of the situation and how it could possibly clash with Steve's own. And that woman is in every fucking movie. (Not to mention the fact that the two of them were just in a movie together, for Christ's sake, and going through something together you could pretty fairly characterize as traumatic and bond-inspiring to boot—and in AoU we can barely tell they even know each other. I mean the bar is so low and they still managed to limbo right under it.)

[uhbasicallyjustmilex]

miles kane saying “you cunt”

[butts-bouncing-on-the-beltway]

I know that people are rarely their best selves at a funeral, but do you ever just watch your family move through the process of mourning the Patriarch and have a sudden and violent and vivid understanding of Why Everyone Is The Way They Are

[shsl-analyzer-guy]

god help me I'm thinking thoughts again. Why did DR3 think it was okay to end with reestablishing HPA and reviving the system built specifically as a critique of the real-world justice system and systemic oppression. Why did it do that. Why did its final moments decide the natural conclusion was re-establishing the status quo but it's fine becuase the "right" people are in charge of it now? It's still the same awful system? This fixes nothing. Nothing changes. They rebuilt the system. They put the same system back in place. Sure, Makoto could be a good headmaster FOR NOW he's not. Fucking. Immortal???? We as the audience KNOW HPA started as a good institution but became corrupt because it was imperfect and allowed room for corruption. Re-establishing that system doesn't fix the problem. It's a band-aid. It's a 1-gen band-aid with a time limit. It fixes nothing. Nothing is fixed. Things won't change. It's the same. It's the same. The problem is the system that encourages corruption. Do not bring it back. They brought it back. Why did they bring it back

[eyesoftxmorrow]

i'm not rly the type for mcyt stuff, but i think i finally managed to articulate why qsmp in particular just feels so incredibly special to me.

it's the way that the language proficiency of literally everyone involved is slowly evolving the longer they play together. the way that the english speaking players are making an effort to talk to one another in spanish and vice versa. when this thing started i remember hearing from multiple eng povs that they had to lean a lot on the google translate tab (and thats ok!), but something that really excites me is when i see those same eng ccs express how much they want to learn more about speaking spanish bc it's a way that thet can genuinely connect with their fellow players.

it's not even the fact that it's a minecraft smp; that just Happens to be the medium through which we get to watch this unfold. it's the first time, at least to my knowledge, that we're able to watch both the spanish and english-speaking communities bond over a game they love at a level as involved as this. both sides of the community are equally prominent, and more importantly, they're united in a way that i've never really observed in an online space until now. genuinely ive never seen anything like this before and its just really fascinating to see how all the players take on the challenge of building that bridge over something that once was a communication barrier for them. i love language i love cooperative gaming i love humans having fun learning new things from one another

[applestorms]

much love to the (multiple) mutuals i’ve seen agony posting on this fine new year’s day my heart is with you all in spirit 🎉🎉 the pain is incredible but this too will change

[agentark]

a purely self indulgent whatever this is about a vibe I love

there's just something about an eerie town, a few old friends, a slowly building sense of dread, radio static, an outsider, I think we're being watched, remembering

oxenfree 🤝 the fernweh saga

Aelsa Trevelyan - The Fernweh Saga, Book 1 // The Beast From 20,000 Fathoms // Oxenfree - Night School Studio // Paramore - Figure 8 // Aelsa Trevelyan - The Fernweh Saga, Book 1 // Oxenfree - Night School Studio // Trocadero feat. Meredith Hagan - Contact Redux // unknown // Aelsa Trevelyan - The Fernweh Saga, Book 1

[chocolate-cream-soldier]

Well that was a Finale!!!

[thinkin-bout-milgram]

Triage: Initial Thoughts

Hello! Venus back at it again with the 4-5 AM theory time! This time we’re looking at Shidou’s second MV, Triage! 

I’m going to be going through my various thoughts on everything as usual, going point by point to analyze each thing. I’ll be referencing Triage, his first MV Throwdown, and the always-fast audio drama translation by @onigiriico​! 

Alright, let’s do this!

Shidou’s kids died immediately, but his wife had a chance to live.

I’m basically just going to give a quick play by play of what I think happened in the video.

Surprise, Shidou has kids! And a wife, but we figured that already. They’re all very cute and all until they fade out like ghosts pretty early on. Before that happens, though, I think that, chronologically, the opening sequence of Shidou walking with some groceries happens first.

He’s just going about his day, walking around, having a great time. He’s intending to take stuff back to his family and cook dinner or whatever he usually does that we see in the cute scenes.

Then, though, he gets a phone call. He answers it (this is the untranslated “Kirisaki desu” part; please let us know if you find a full translation of what he says on the call there!) and we move on to the next scene. However, later, at 1:57, we hear the line die. I think that this is probably Shidou getting a phone call from the hospital. He sounds casual in his initial response because he probably assumes it’s work related, but once he hears what happened, he drops the line and immediately heads over.

I think Shidou’s kids must have died immediately because of Throwdown. Throwdown has absolutely no references to his kids (though he does mention liking children and stuff like that in his first audio drama, which now kinda stings) and, were he also trying to save them, I’m sure there would’ve been at least some references. 

I think it’s far more likely that, whatever happened, both his kids died immediately, but his wife was in a condition where he could still try to save her. That’s when Throwdown occurs. Shidou probably focused intensely on trying to save his wife as a way to cope with the death of his children. Then, after his wife officially died, it really hit him that he had nothing left, and he was forced to process it. That’s when he started feeling all the guilt and wishing for death. 

This isn’t really relevant, but my best bet is a car crash. It seems like a likely and viable way that his kids could’ve died instantly while the wife could’ve kept living. As a minor note on that, he’s also walking back with groceries, which could indicate that someone else (the rest of his family) might’ve had a car. I don’t remember if Shidou mentions anything about driving or anything like that at any time, but if I had to call a method of death right now, that’s what I’d go for.

NOTE: I do want to disclaim this by saying it’s also possible that one of his kids was the flower person in Throwdown. He gives a receipt to one of his kids, so that could make some sense. I need to go back and compare the flower person in Throwdown with the people in Shidou’s family now that they have appearances. I also need to reread his first audio drama; he says something about it being fitting that Es is judging him, which could check out if his crime relates to trying to save his kid instead. If I am wrong and it was one of his kids that he was trying to save, then everything about what I’m saying still checks out; just swap everything I say about his wife with one of the kids.

Shidou purposefully showed us the least forgivable parts of his crime in Throwdown.

Looking back on it, Shidou painted himself in an awful light in Throwdown, and I’m sure it was intentional. After all, he was trying to get us to give him a guilty verdict. If you say that a prisoner like Muu might have been altering what part of her story we received in order to get her desired verdict in the first round (innocent), Shidou could absolutely do the same thing with a guilty verdict.

He doesn’t show us any of the context of his loved ones and how much he loved them; that was all stuff we had to read between the lines of. We see him butchering plant after plant only to end in horrific failure without ever seeing him succeed at anything surgical. (He still should’ve hypothetically been saving lives while doing all of this; it’s not like he was ONLY killing people.) 

He even shows us the horrified reactions of the loved ones of patients he killed. I can only imagine that he would do that if he was trying to spark a negative reaction in us.

In contrast, this MV is very straightforwardly showing how the day he lost his family went for Shidou and directly examines what verdict Shidou wants (more on this later). I think, therefore, that this is probably a much more honest view of the situation than Throwdown, at least in terms of how Shidou perceives the truth. 

Shidou is constantly plagued by the guilt of what happened.

The simplest way to explain this is with this image: 

When showing Shidou’s family turning to ghosts, he views the man that he used to be as dying with them. Shidou, as he was, is dead. Still, what happened clearly still impacts him. That’s pretty obvious, but I’m talking down to the details. He mentions kids and liking them in both of his audio dramas. Further, take this lovely image: 

Pancakes. Shidou made pancakes for his kids. In BOTH Minigrams 3 (Pancake) and 24 (Pancake: a Second Trial) Shidou is directly shown talking about pancakes and their relation to children. He really wants Amane, the young child, to try some. It seems like he used to make pancakes for his kids before they died. He’s very clearly not recovered in any sense. That’s not surprising, but it’s still something to point out.

Triage takes place almost entirely before and after Throwdown.

That sounds a little confusing, but all I mean is that Throwdown is completely isolated from this MV. Some parts of this MV happen before the events of Throwdown; those are the ones featuring Shidou’s wife and kids, as well as the ones where he simply looks younger. The other parts are clearly looking back at the same time frame, but are from Shidou’s present perspective, here in Milgram. Those are the ones where he reflects on his verdict or directly addresses what verdict he wants.

Most directly, I think the part at 2:14 indicates this. Shidou, looking back on the death he caused (knives in the pomegranates and other food, dead flowers, receipts from the surgeries that we also saw in Throwdown), says “I want to be INNOCENT / I want to live.” That’s him, in the Milgram prison, right now, coming to terms with the fact that he actually, genuinely wants to live right now.

In the audio drama, he’s clearly conflicted. He still says that he wants to die, that he wants to atone for his sins and that dying is the only way he can make it up to the people he killed. He also, though, says that, at least for right now, he wants to live. Futa and especially Mahiru are on death’s door, and there’s no telling what other injury might occur. He believes he’s essential to saving lives within the Milgram prison (and I think he’s 100% right).

He even directly references this in the song lyrics, talking about “extracting the fang.” The fang is clearly Kotoko, given that Milgram has referred to the damage Kotoko does with fang imagery before and given that that’s what he’s currently healing. He has to be the one to save them because he’s the only one who can; as a result, to save lives, he has to care about his life right now. While he’s still unsure of what final verdict he wants, he knows that he needs to stay alive, at least going into trial 3.

VOTE: INNOCENT

Personally, this one’s a no-brainer. Es theorizes in the audio drama that Shidou only harvested organs from braindead patients, and though he never outright confirms it, based on his responses, it seems to me like that’s true. That means his crime isn’t as severe as we initially thought it was.

Additionally, he’s right; he is indispensable to us right now. He outright says in the audio drama that if he stops giving Mahiru care, she’ll die, whether or not anything else happens to her. That basically tells us that voting Shidou guilty means Mahiru dies. That’s not good, and I’d rather avoid prisoner death when we think it’s possible.

I also just don’t think it’s smart to change verdicts on him here. If we decide that, after all is said and done, we can’t forgive Shidou, we should do that with the third verdict. Here, we want to leave both options open. Right now, Shidou is torn between wanting to live and wanting to die. If we switch to guilty, we’ll ruin any chance he has at recovering a will to live and a will to atone through any means other than death. If we want to preserve the option of forgiving him in the end, I think we have to forgive him here. We can debate whether his actions were forgivable or not in the last round.

[dazais-guardian-angel]

I'm finding it difficult to reconcile the fact that what I've always wanted and envisioned for Nikolai and his relationship with Fyodor based on fanworks and the very very little canon information we've had to go off of so far, will very likely be very different from what we actually get.

While I understand the appeal of Fyodor taking over Nikolai's body via his blood ability, and the inherent, romantic, ironic tragedy of that — for Nikolai, the person who yearned for freedom, to meet an end by having his soul eternally trapped in the body of the person he loved the most, while Fyodor lives on in his body, never truly knowing how much he was adored by him — I would just hate the idea of that happening now? It just feels far, far too soon for Nikolai to be dead, for his character to no longer have a role or a purpose; his mind and behavior is so utterly fascinating in all its bizarre contradictions, there's so much more to explore and discover with him, he's one of BSD's most complex characters, or at least he's set up to be, and I really hope Asagiri wouldn't throw him away this soon without doing anything more with him.

I never really thought that Nikolai would be the one to end Fyodor for good, way down the line (that can only ever be Dazai's job, to me, since he's his foil), but I always imagined he'd at least have some kind of role in attempting to kill him, since that's his ultimate wish. I imagined that it would be ugly, frenzied, unhinged, desperate, Nikolai finally being forced to acknowledge the horrible truth that's always been buried within his subconscious but he's never wanted to accept: that going against all human reason and killing someone he cares so deeply for will not, in fact, simply make those feelings go away, and will instead make them unable to ignore in his despair. The realization that he'll always be chained to human emotions, to love, no matter how much he thinks he can be free of them. And then, the ensuing breakdown from that. Yes, it's extremely fanficky lmao, but that kind of drama makes sense to me for him and them. It's interesting.

There was also the angst angle of Fyodor being immortal, and Nikolai's agenda perhaps stemming from wanting to save him from that, and being able to finally free him from it in the same way he himself wants to be freed. Killing being the ultimate expression of love, not too dissimilar to Mushitarou killing Yokomizo, both putting on an act of being hateful/vengeful/hostile towards the other in order to cope with the fact that deep down they can't bear the thought of them being gone.

But then we got Fyodor's "death" here, and Nikolai's reaction to it was so unbelievably underwhelming and calm that it made me question everything I thought I knew about Asagiri's writing skills him, and what the story is going for with him. And combined with this revelation now that Fyodor is (unsurprisingly!) immortal, but specifically in the way that he can be killed but supposedly resurrects endlessly (which I really like in of itself, don't get me wrong)... it makes me question what exactly Nikolai knows, or will know, and it somewhat destroys the potential angst we could get with them in the end, or at least drastically changes it.

If Nikolai already knows Fyodor can't be killed, that means we'll never get a moment where he tries to kill him and then has to face the fact that he did the deed and it didn't make him feel freed, and he instantly regrets it. It also means we'd never get a moment where he tries to kill him and then discovers he can't truly die, and the ensuing insanity that would occur from that. It also makes me even question the legitimacy of his reaction to Fyodor's "death" here... was it so damn apathetic and lukewarm because he already knows it wasn't permanent? I mean, I'd like an explanation for it feeling so ooc, it would make me feel better about that, but I can't deny that it would be disappointing to have yet another part of this arc that was just an act and not genuine feelings....

Now, that isn't to say that it's impossible to do anything interesting with Nikolai already knowing the truth. He could be wishing to try to attain free will through the illogical pursuit of an impossible task: in this case, killing Fyodor. There's a beautiful, tragic paradox in him wishing to attempt something to gain his freedom that he and we know is impossible, especially if subconsciously he takes solace in the fact that he'd be able to kill Fyodor without actually losing him for good. If Nikolai doesn't already know, assuming he's not dead he's likely going to find out the truth soon when he next sees Fyodor alive and kicking — I can't imagine a way he wouldn't find out. In that case, we wouldn't get the aforementioned scenario where he tries to kill him and discovers it's futile, which is the most juicy to me I won't lie, but I am still fascinated by the idea of how Nikolai will respond just seeing him suddenly alive again and having to process this after having just mourned him. It's interesting to imagine how he might respond to and treat Fyodor after at last knowing how it truly felt to lose him, and realizing how much he didn't want that, and then suddenly having him back. It might cause him to finally understand that his desire for freedom is unobtainable, and cause him to spiral, and fundamentally change their relationship going forward. An eventual tragic end for him such as Fyodor taking over his body would not feel out of place to me in that case, perhaps, but still not until we've had more time to see Nikolai reflect and see his possible change in perspectives.

I don't know, I'm just rambling at this point lmao. I know very well that so much of my expectations and desires for Nikolai and Fyolai are built up from fan content over the years just because there's been nothing else to work with, and that it's unfair to judge what Asagiri decides to do with him/them based on preconceived notions. Whatever he does could still be interesting in the end, even if it's not what I initially wanted or expected, and being open to being surprised is always a good thing. At the end of the day we still know barely anything about Nikolai, so it's not completely fair for me to judge something as ooc for a character we still know so little about.

But... it's because we know so little about him and have gotten so little of him, that at the very least, I'm gonna be really upset if he does die here from being possessed by Fyodor like people are worrying about. I really don't think he will, because I'm pretty confident the helicopter pilot is the one Fyodor swapped with/resurrected in the body of as per soup's theory, and again I'm not saying it wouldn't be fitting eventually... but I really don't want it to happen now. :/ I just think Nikolai still has so much potential as a character and so much more we need to see of him before his likely inevitable and tragic demise (however it happens), so whatever Asagiri decides to do with him I just really, really hope we don't lose him so prematurely; it would honestly be such a tremendous waste imo.

[the-lark-ascending69]

The Robin x Nancy x Steve love triangle is compelling not when Steve and Robin's friendship is nearly destroyed just over a girl, but when their own flaws lead them to distrust and hurt each other. They just happen to come up and be in opposition to each other when they're in love with the same girl. Maybe Robin gets excessively excited, thinking she will have Steve's unconditional support, and then becomes defensive and retreats back to her more mean and sarcastic persona when she realizes Steve very strongly opposes to her pursuing Nancy (babygirl decided to spill her heart just the moment before Steve was going to tell her he and Nancy got back together). Maybe Steve's mistake was clinging too much to Nancy and the future he himself imagined for both of them, and assuming Robin would never actually interfere in his heterosexual picket fence dream, because she would inevitably find another lesbian to be with and certainly not his dream girl, Nancy Wheeler. Maybe Robin feels his opposition as a personal attack (Nancy is his girl, at his point, why wouldn't he tell Robin to back down?), and bites back because she feels like a cornered animal, desperate to defend herself (no, she's not fundamentally broken! She's allowed to feel! Don't hurt her!). Maybe Steve should have considered the fact thay Robin isn't his personal support lesbian and it's unreasonable to expect her not to develop feelings for a girl that wasn't even dating him at that point yet. "If you loved her so much, maybe you should have told her about your feelings before I told her about mine! You can't get mad at me! I didn't even know you liked her! But you do know she doesn't like girls, right?" He says. And she says "you don't even know what she wants because you never listen to her! Steve The Hair Harrington only ever thinks about himself. And to think I actually thought you weren't a mayor asshole, but it seems you were just watching from afar, waiting for her to leave her boyfriend and come back running to you and your six babies."

She thinks she was stupid for letting his charm affect her enough to befriend him, and he's just angry she suddenly gets to have a say in his relationship (even though he would realize she was right about Nancy all along if he just listened to at least one of them for five minutes).

[uhbasicallyjustmilex]

ARCTIC MONKEYS 25/06/23

okay now that i've had some time to (slightly) emotionally and physically recover from yesterday, i need to flail about the highlights:

1) meeting one of my absolute favourite humans who i would never have got to know if it hadn't been for this little corner of tumblr - and then getting to share the excitement/nerves/elation/exhaustion rollercoaster of seeing am with them was just - there aren't even words for it. so special 💖

2) learning how to navigate rain ponchos

3) impulse buying too much merch (but also not regretting it. the glasgow tour poster is going to be the first thing going on my wall in my new flat)

4) the mirrorball starting to twirl just before they all came onstage and sending the colours of the afternoon sun everywhere

5) the sheer rush of the moment they all walked onstage together (also that was pretty much the only time i got to glimpse nick and matt at all 💔 from where i was standing i could mostly only see alex and jamie)

6) seeing alex a few metres away in real life after months of looking at his beautiful, dorky little expressions in photos/videos was surreal in the best possible way- there's just something so different about the way you get a sense of someone's energy when you're in the same space with them?? and as someone who's endlessly interested in people, i'm fascinated by how alex simultaneously gives off really reserved, self-contained vibes at the same time as being such a dynamic and captivating performer - like he’s so good at tapping into emotions without letting them be a door into how he’s actually feeling (if that makes any sense, my post-gig brain is not very articulate) i guess that all very much makes sense with all the stuff he's said about personas/performing, but it was still so interesting to get to really feel that sense of his presence in live time. he's definitely very much in control but in a very understated kind of way

7) a bunch of birds circling overhead on one side of the crowd, alex seeing them and dramatically declaring 'release the rest of the birds' 

8) me and the lovely human i went with turning to each other with expressions of sheer joy when the opening bars of crying lightning were played (and don't sit down. and four stars. and arabella. and - you get the picture. getting to share the sheer delight of your favourite songs being played is just the loveliest feeling 💗)

9) alex doing a quirky little 'ha ha' laugh in the middle of body paint 

10) mirrorball coinciding with the most beautiful pink dusk and half moon just above the stage, and getting to witness alex’s piano playing at the start of it

11) body paint. just. body paint. i think my soul left my body.

12) how much energy and enthusiasm alex seemed to have throughout the set - especially after the last week or so it was just the loveliest thing to see him messing about and having fun. and his voice sounded SO good. how anyone manages to sing like that (let alone sound like that less than a week after cancelling shows due to laryngitis) is an absolute mystery to me

13) alex's theatrical hand gestures for crying lightning (the one for gobstopper was a particular favourite)

14) hearing 505 when dusk has just fallen and you can see the smudged moon behind the deep indigo clouds is the only way anyone should ever hear 505 

15) alex and matt having a giggle about something mid set

16) obviously i was aware of how stupidly talented they all are - but there's something about seeing it unfold in front of you in real time that makes it really hit you. the sound wasn't great where i was for some of the time so i don't feel like i got the best audio sense of everything, but i was just so struck in particular by matt on the drums and also alex with his guitar playing. i feel like when i'm just listening to their records i'm so busy listening to alex's voice that i forget how incredible a guitar player he is and - wow. just. yeah. it honestly took my breath away.

17) getting the distinct impression that it provides alex with a sense of amusement to deliberately do that thing where he sings the lyrics at slightly different speeds to trip the crowd up

18) even though i ended up being in significant pain for the second half of the set and had to go find somewhere a little further back where i could lean against the railings (chronic pain conditions and standing for 6+ hours apparently isn't the best mix), nothing could dull how magical it was hearing all the tracks from the car that they played closer to the end. standing there in the dusk and feeling so much about everything is something i'll never forget. it truly brought home to me so poignantly everything about why am's music means so much to me and how much love i have for them 💜

19) being in the exact line of direction alex blew kisses to at the end

20) the hazy post-gig walking in the dark under lit up green trees with the lovely human i went with and our conversations about am and creativity and the courage of sharing music 💖