you know what’s absolutely terrifying???? having to cut a baby’s nails………
Katsuki has to cut your baby’s fingernails when he discovers a tiny little scratch by her eye one morning. it’s barely there, a small thing, but it’s there, marring her little face nonetheless. he frowns at her when he holds her the next morning, her dreamy eyes alert and blinking up at him, she smiles.
“Now I gotta cut yer claws down,” he mutters to her, voice quiet as to not wake your sleeping form in the bedroom. he pads throughout the house with her chubby face resting on his shoulder, her gums gnawing at his bare skin, but he doesn’t seem to mind it.
he finds himself in a conundrum though, once he realizes just how fucking—how sharp the damn clippers are. they’re tiny, lavender in color, but they’re meant to cut though the nail with such precision. and yes, he’s a pro hero, has had to adopt the title of EMT, firefighter, emergency surgeon a few times in his life when need be.
but…those people weren’t his baby girl. they weren’t this tiny and precious, and they never looked up at him with a face so similar to his, it makes his heart squeeze tight in his chest. he frowns at her again, even deeper, and this makes her hiccup a little giggle, gummy smile spreading wide.
“You’re only gonna wear mittens from here on out,” he grumbles after a while, finally daring to pick up a tiny hand that she instantly curls around his thick finger. it’s the cutest image, he thinks to himself, but he catches sight of the jagged nail, the culprit. his heart squeezes even tighter though, when he realizes that he can’t protect her from every hurt in the world, even if the hurt comes from her own hands. and the realization is an aching one, but he tells himself that he, at least, can patch her up.
you walk in minutes later, find Bakugou curled over your daughter in the rocking chair he built for her room. his tongue pokes from the corner of his mouth in concentration, his eyebrows furrowed. your daughter babbles to him the whole time, her sweet voice cooing the softest little noises that he responds back to.
“I know, I know,” he mumbles to her. “Ya don’t like baths, and don’t like your nails cut, either. What other shit do you hate, huh?” he asks, and she seemingly responds with a long, sighed out coo. it makes him smile, despite the way his hands slightly shake when he cuts the next nail. he’s terrified, of somehow hurting her even more, of cutting too close, of scratching her. but he treks on, and kisses her fat little fingers every time he clips another nail.
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that reblog on tbe tlp and dps post i made had me pondering over it for 10 minutes and im about to explode PLEASE SHARE MORE OF YOUR THOUGHTS BECAUSE THEY ARE SO TRUE AAAA
oh my GOD happily i love yapping about this??????
okay first my credentials: i have watched dead poets society 200+ times (i stopped counting, but i have it completely memorised beat for beat), i’ve read the novelisation, i’ve watched the little prince 50+ times and it’s one of my comfort movies, watched it on the plane like two days ago, and i own eight copies of the book in five different languages <3 so
more thoughts below the cut
NOW
i will say there are more obvious parallels to draw between dps and the tlp movie BUT the book has the same innate messaging in a way that is very very special to me. gonna start off with the more obvious things and then get more niche and specific and i will TRY TO MAKE SENSE.
so movie-wise, the aviator serves as the keating figure without a doubt (i would argue this is true in the book as well, but as the book lacks the mother/daughter-little prince all grown up/weird silly second dimension plot line, this parallel is more nuanced and i need to explain it more deeply) and the little girl is neil (though. in the book. undoubtedly the little prince) and her mom is mr perry etc. TODD IS THE FOX IN BOTH THE MOVIE AND THE BOOK AND I WILL ELABORATE but for convenience sake im splitting this up into movie thoughts and book thoughts so they dont get muddled
movie:
one of my favourite things about the little prince movie even though it adds like a whole plot that is not in the children’s book is that it conveys the message of the book VERY well, and a message with THAT MUCH NUANCE is really hard to put through, especially in an animated children’s movie. that being said, i feel like a lot of people don’t really THINK about it, just in the sense of knowing there’s a vague message but not really dissecting it, especially not in the same way that people dissect dead poets society. which i think is really interesting because their messages are fundamentally REALLY similar, with the little prince talking a lot about keeping your mind from getting closed with age and never forgetting wonder and creativity and interest. letting yourself be propelled by knowledge but not in a way that prioritises practicality over pure joy, and then dead poets society specifically preaching (though i’m loathe to use that word) to OPEN your mind THROUGH wonder and creativity and interest, to actively prioritise the joy over practicality at any moment you CAN.
(emphasis on when you CAN, though, because as keating says, there’s a time to be cautious and a time to be daring. sucking the marrow out of life does not mean choking on the bone. which, incidentally, is very similar to something that the aviator mentions in the book, i’ll come back to that)
as such, both movies center a child who is bearing the burden of these undue expectations that for most of their lives up until the point in the movie, they’ve happily pushed themselves to meet in order to keep the peace in their lives. they were perfectly happy (to an extent) being the child they were being asked to be. that is, until someone ACTIVELY shows them there’s more to it than that.
in fact, while one of these is an animated face in which there is not a clear view of much but the eyes and the other is an actual person, these are screen grabs of both movies in the first moments in which they are exposed to that which is going to show them there’s more than that, and i’d be inclined to argue they’re very similar. mild shock overtaken by awe, fixed stare on what they’re consuming (as far as the first page of the little prince vs keating quoting whitman)
this is when they’re starting to realise that they are more than a machine to please the adults in their lives (who are also written very similarly, with, of course, one notable exception: the mother is the one who ultimately realises she was not being fair to her kid, whereas mr perry doubles down and… well. you know.)
this awe-riddled inspiration, the epiphany of the Creative World being real and something they’re allowed to explore and enjoy is facilitated by both the one who did the introduction (the aviator/keating) and support and camaraderie with someone else (the fox/the poets) (yes i know the fox does not technically talk, however, it is clearly a sentient creature in the movie that provides comfort and companionship to the little girl and therefore i will in fact argue that it counts)
NOW i know i said todd is the fox in both iterations but in the movie i dont think the fox is limited to parallels SOLELY with todd, for instance, it very much encourages the little girl to continue with the story, with the aviator, and while it is occasionally like, covering its eyes out of fright, it’s largely serving to push her out of her comfort zone. as such. the fox is both todd and charlie. (the other poets as well but less so in the sense that i can NAME them and draw specific parallels, so mostly todd and charlie)
it is absolutely no secret to us that charlie and todd are the ones closest to neil in the movie, and that charlie and neil’s closeness definitely pre-dates neil and todd’s, and charlie takes neil’s idea of doing the dead poets society and RUNS with it, (lovingly) bullies everyone into coming, gets it to happen and sort of yells over any doubt that neil could have had that he was doing something he wasn’t supposed to do. todd is supportive but wary, and while the fox in the movie is not in the same capacity as todd in this sense i think there are certainly scenes where we see it just sort of become overwhelmed with what’s going on (like the first time they mess with the plane)
i could go into depth about the whole grown up world thing but that would make this much much longer
the rest of my thoughts are very much related to both the book and the movie and thus i will continue but centre them on the book
book:
i mentioned the messages of the little prince compared to dead poets society above and i just think that’s such a big thing for me because they really do mirror each other and showcase similar thoughts, this idea of the aviator sort of being forced to pursue “practical” things (i think specifically the book cites arithmetic and geography? i can’t remember right this second but i know arithmetic is one of them) and how even though he WAS forced to sort of let go of his personality that was creative, he never really did. he just was careful with who he let see it. which is very keating coded tbh like let’s be real if nolan knew what he was like he NEVER would have gotten that job. but i think specifically because he knew this already and was sort of reminded of it by the little prince LEARNING it it’s very much neil and mr keating. this is why i really think todd is the fox, you have the whole conversation in the book about taming (which i know is kind of in the movie but the book centres it in a way that is slightly different)
to tame people is to change. i will be unique in all the world. to me you will be unique in all the world. you are responsible forever for what you have tamed. when you leave i will cry. etc etc etc
todd and neil tame EACH OTHER. obviously todd is not neil’s first friend, but they have a relationship clearly different from neil’s with the other poets (romantic headcanon or not) because they really have TAMED each other.
also. i think mr perry views neil as his rose. that’s a whole other dissertation.
but. i think the reality is that the movies/book both centre creativity and seeking to understand pure thought in a way that is like two sides of the same coin, but there’s such little overlap that maybe it doesn’t feel obvious?
at the end of the day, there’s really no convincing me that
“what is essential is invisible to the eye, it is only with the heart that one can see rightly”
is not in fact another iteration of
“we don’t read and write poetry because it’s cute…. medicine law business engineering…. poetry beauty romance love, these are what we stay alive for”
because they’re so similar at their hearts.
tldr: the little prince and dead poets society actually carry similar characterisation and messages and i think that speaks a lot about both pieces of media, especially considering that one is literally meant to be for children. it’s almost like tlp is a precursor to dps. a warning to which dps is the result of ignoring. if that makes sense. i’m not sure any of this made sense but THANK YOU FOR ASKING
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