#i rte it

[ghostofwriting]

riding the edge (smau): twelve

R.C x Reader

Synopsis: Rafe Cameron is a "bad boy" motorcycle creator known for his thrilling rides and shameless thirst traps, which attract a massive following. Y/N is a thoughtful and passionate Bookstagram influencer who thrives on sharing deep literary insights and reviewing the top trending books.

part thirteen

Note: pay attention 🫢

[randltrash]

[oifaaa]

For some reason it is so strange to see one piece on BBC iplayer like this is not a show I expect the British public to watch

[bellaxgiornata]

I did a thing. POV: You're dating Mikey and he's happily no longer working with the Kinsellas.

[everythingsf1ne23]

them 🥹 also Kin is coming to Neflix ahhh

(photo from Emmett’s twitter!)

[lovewilltellamillionstories]

I grew up in Derry, went to uni in Dublin now I live in Brighton. Living for those links with my fave pair.

[irishthings]

[noeavoiding]

Ronan Raftery as Emerson Stafford || Obituary

[route-to-eutopia-if]

so the president don't like V and D? I thought he favors them seeing the relationship description in the dossiers.

Hi Anon! for this question I have two versions of explanations for you (I tend to ramble more than I need to so forgive me lol you can just read the short ver. and call it a day!)

Short version

Doesn't want to see his child form an intimate relationship with an Alter or the rising star of the empire differs from generally seeing them in a positive light, considering it is two different matters completely.

Both V and D work for/with Bastien in a way, and while giving them a nod of approval as someone he may allow to exist in MC's lonely childhood, for them to start a whole another form of bond with his kid is another topic in which he most likely doesn't want to even begin to imagine about.

Long version

We will need to take it in context here that Bastien tries to keep MC's existence, and anything related to them, behind closed doors as much as possible. If, let's say, MC somehow falls for D, who has to be in public spotlights all the time. You will start to understand his aversion towards them being in a relationship, right? And we don't need to mention about V bc we all well aware of how taboo/forbidden a romance between Alter and Stargazer is in society. So it's automatically a big no-no for him as well.

It's not like the idea of S being in a relationship with MC will soothe his arching headache more than the other two, but put Eutopia's standard into contexts; choosing S as a partner who has so many powerful strings to pull from for MC's protection is way worth than risking MC's secrets from spilling by entrusting them to a couple of kids (in his pov).

I tried to avoid asks about relationships (even they are the most asked topic currently in my dm) bcuz not only there are several contexts missing in the game as of right now, there are so many more of its nature hidden behind the future updates of each RO's storyline. It's not like I don't plan to answer (will def get back to it once the story progresses a bit more) It is just not something I can talk about lightly so I hope people understand when I somehow sidestep and outright ignore a certain question, however, if it's not too spoilery I will definitely answer. ((As much as I can anyway.))

[burned-lariat]

This smug bitch is our future.

God help us all.

[duine-aiteach]

D’fhéach mé ar clár télifís go hálainn anocht! Tá sé documentary ar an amhrán N17 le The Saw Doctors. Aistear An Amhráin is ainm do agus bhí sé ar an RTÉ 1. Is é an clár seo as Gaeilge ach tá subtitles as Béarla freisin.

Is é The Saw Doctors an banna ceol is fearr liom agus is maith liom an amhráin seo! Tá mé i mo chónaí i Londain anois agus, cheap mé ar an líne ‘when the auld fella left me to Shannon, was the last time I travelled that road” ó am go t-am mar, tá sé fíor! Chuaigh mé ar an bóthar sin 33 bliain ina dhiaidh sin nuair a d’fhág mé Éireann. (Agus chuaigh mé suas agus síos an bóthar seo nuair a chuaigh mé go dtí ar ais ar ollscoil gach mí.) Is é an N17 bóthar ó slán agus beannacht.

[theimpalatales]

I adore the cinematography in Kin, particularly in the first few episodes of season 1 (directed by Diarmuid Goggins).

There's a voyeurism to many of the shots that place things like furniture, doors or windows in the foreground between the characters and the camera, creating distance between us and them – like we, the audience, are privy to family matters we shouldn't be seeing.

There's a sense of intensity and a fight for control to the extreme edges of the frame the characters are painted into.

And, as intense and powerful as the characters can feel, there is always the sense that the world is bigger than them. The characters are, ultimately, swallowed up by the world.

I think this is so clever because it feels like such a fresh way to shoot a show about gangsters, and it completely fits with many of Kin's themes. Throughout Kin, we see a fairly humanistic exploration of gang families and how difficult it can be for the characters to become free from the criminal endeavours they're surrounded by; once you dip your toe in the pond, you're sucked in. Events have a way of spiralling out of an individual's control, and actions have severe consequences that manifest like falling dominoes.

The world the characters inhabit is bigger than them; the house always wins. It doesn't matter that Mikey wants to stay clean to better his chances of seeing his daughter again, or that Amanda doesn't want her son having anything to do with the family's criminal activities. Even as they wrestle for control of their lives, it's made apparent that they're up against forces bigger than any of them. They are Kinsellas, they exist within this criminal world, and they will have to face the consequences of that.

But neither are these characters helpless. They are in constant conflict with each other to shape the world how they want it to be. They are characters fighting for their survival, for their right to live the way they want to (whether we agree that's morally acceptable or not). We even see explicit examples of characters like Mikey and Amanda being in a position to walk away from the family business and leave it all behind. But this isn't truly what they want.

The Kinsellas go up against Eamon Cunningham. We watch Amanda orchestrate assassinations to hit back at the men who killed her son. Eric is the first Kinsella we see carry out an execution. Mikey (briefly) engages the legal system to be able to see his daughter, and then he and Anna disregard the court's orders for them to have no contact. And the Kinsellas are constantly butting heads with each other as they reap the rewards of their criminal activities. They each have agency and power that they use to try to stay afloat in this treacherous world. The characters' conflict and struggle are visually apparent in the framing and composition of the shots.

Finally, going back to the first point I made (and, wow, I had no idea I'd be making a post this long, I am so sorry!): the voyeurism. From my (little) understanding, gang members in Ireland have almost a reality star-status. The public know who they are, the papers are constantly reporting on them, and their lives appear to be glamorous and, to some, enviable in some ways. Kin almost entirely strips this perspective away to look at the individuals behind this sense of celebrity, to examine the traumatic impact of being involved in a world so deadly and dangerous.

The wealth and glamour is present, but it isn't the focus of the show. Instead, what we get feels like an exposé, a peak behind the curtain into the true lives of these gangsters. Mikey suffers from epileptic fits often brought on by the stress of the job. Amanda and Jimmy lose their son and we watch them grieve. Eric goes to prison and his girlfriend struggles with the drastic change to their relationship. The list goes on as we are treated to the serious and real consequences of being part of this criminal world.

The colour grading and lighting also help hammer this home. It's neither highly saturated or overly desaturated. Rather than having the contrast bumped up, it almost appears soft. Against a backdrop of criminality and drama, the visuals of Kin invite its audience to view these characters as people first, to view them and their actions with empathy, if not always sympathy.

Kin is a show with something to say, and it knows how to use its cinematography to deliver that message to its audience.

[arabela25]

RIP stillslibrary-dot-rte-dot-ie 🙏 I will always miss you

[iholli]

oh they have NO right making him this cute

[aidansplaguewind]

Frank Kinsella

KIN S2E01

[cinemaocd]

So we are rewatching the O.C. with our 18 year old son who has never seen it before and I told him just as we were sitting down to watch The Dearly Beloved, "just so you know this episode has the most iconic moment in the series. I'm not going to tell you more, just wait..."