#i'll only die after seeing THAT

[velummortis]

Jang Hee Bin Ramble

@ longtime followers, you thought you'd seen the last of this, did you?

Anyway, so it's been my unhinged desire to see every version of Jang Hee Bin since I was 12. I'm proud to tell my 12-year-old self that I've seen in more-or-less completion:

Kim Ji Mi's 1961 Jang Hee Bin [eng sub]

Nam Jeong Im's 1968 Femme Fatale, Jang Hee Bin

Lee Mi Suk's 1981 Women of Legend: Jang Hee Bin

Jeong Seon Gyeong's 1995 Jang Hee Bin [eng sub]

Lee So Yeon in 2010 Dong Yi [eng sub]

Kim Tae Hee in 2013 Jang Ok Jeong, Living in Love [eng sub]

Currently watching 1988's 500 Years of Joseon: Queen Inhyeon and the 2002 version. Slide 2007's Shadows in the Palace and 2012's Queen Inhyeon's Man and all I have left to see is 2016's Jackpot and 2005's drama special How Sad it is, to be Forgotten!

Watching the 1981 version is like watching college students use clairvoyance to select future talents to shoot inside their $1.50 set complex and slapping on Court music. As in, the actors are carrying the show. The 1995 version improves on the 1981 in almost every way while using the same script but now comes with an unhinged energy best seen in the random montages and subsequent baby-throwing.

I don't have any impression of the '88 version yet but the 2002 is everything 12-year-old me hoped for, although a little dry at times. Everyone's seen the other versions from 2010 forward so I need not elaborate there. Still waiting for someone to find footage of the 1971 daily drama in some abandoned warehouse or something.

[wildflowercryptid]

i am predominantly a diehard kieflo enjoyer, but am also a gleeful multishipper who can appreciate the potential of other couples so i'm doing my service today by suggesting a ship name for kieran/crispin if there isn't one yet : mutsushipping. crispin is another name for the mutsu apple, which is a cultivar from aomori ( one of the prefectures kitakami is based off of. )

[bluepopofanarts]

Me playing again KH2 and seeing Luxord Heartless. A bit familiar by his design with the Lich ? (And by the name because Grim Reaper is also a "Death" vocabulary's family )

The same Heartless that pushed Sora using the power of awakening the time too many and causing him to finish in Quadratum. Where the "Luxord looking driver guy" is ?

Plus they share some same elements:

- the design/name like I said. By the sad eyes with the red version and the Lich.

-the symbolism of cupidity. If Reaper is the Greed of Jack for gold, the Lich is Sora's Greed for his friends. And these two Heartless try to steal it by inducing death to their victims (Jack by keeping the Aztec coffin curse in place and Sora by using a magic that cost him something)

-Reaper appeared in the only world with "real humans" and the Lich is kind of a guardian gates to a "real human world that happens to be imagination but in this world the imagination is Sora's reality". I know there were also Reapers in Dark Road but I don't really remember what kind of Greed they represent (Queen of Heart ? Keyblade Weilders gang greed for I don't remember what ?).

Another hints to link Luxord to the mysterious driver...

That guy is pretty enigmatic. He knows things but nit everything...

...Don't judge me...I'm waiting KH Missing Link and KH4 news the best I can.

[faunabel]

apparently i also put tolerate it by taylor swift on my playlist for vene....... i also see it. perhaps in a looser sort of way.

[somewhereincairparavel]

CRUSH UPDATE #3 (ik this is getting annoying, I'm a lil embarassed but I want to rant okay) today's Sunday so he came!! We had sm interaction today omgg 🥹

Like we stared at eachother alot and smiled and stuff, we do this warm up kinda thing while standing in two seperate lines, and he almost always stands facing me, today one of his friends (who stand all the way across the room) went "dude why are you standing all the way over there?come next to me" and omgg he literally took a brief glance at me and shrugged his friend off (albeit without giving him any verbal answer) before one of the coaches yelled at him to go stand next to his friend lol.

I kid you not right after that happened, the warm up started and his friend kept suspiciously glancing between me and my crush lol (did he know something was up? Idk)

We also do this warm down thing, and the coach told me to sit in the middle, and my crush was too busy removing his shoes, that when he came, I was already seated in a way where we wouldn't be able to face eachother :( he searched for me in the rows of ppl and literally smiled at me a little disappointed after he found out. I could literally just feel us talking w our eyes lol

In the end of the class, I was looking at him getting picked up by his mom from out the room's window, and he waved at me TWICE, once as he was approaching his mom, and another as he turned back and looked at me staring at him from the window ahh

I honestly never had the chance to ask him if he gonna come to class on the week days, so I'll more or less have to wait and see for myself tomorrow, the reason he didn't come all of last week was bc he was sick.

[tardis--dreams]

This work week will suck so bad I'm dreading it so much

[meixiaotian]

still thinking about how each animorph's fate is directly related to how much they enjoyed the war

[garciapimienta]

not a single person asked for my opinion but I have decided i'm going to trust iñaki again, I think he can be the goalkeeper he always seemed he was going to be and that last year's performance was more of a mental thing than an actual reflection of his abilities

[wishwandrers]

Dark Urge well he means so much to me

[kurokoros]

first of all, the duffers absolutely didn't have the full series planned out from the start because Stranger Things was originally pitched as a limited series with 1) the potential for a direct "sequel" that would follow the younger kids as adults (basically, they pitched "It") or 2) an outright sci-fi horror anthology. second of all, even if the duffers did have everything mapped out from the start that doesn't mean that plan isn't garbage.

[r0bee]

REX AND AMANDA'S ROMANCE HAS ME ABSOLUTELY FUCKED UP RN OH MY GOD

(full on comic spoilers under the cut just in case)

FUCKING ME UPPPPP

[astrarche-x]

back to obsessing over Richard

at first he doesn't seem to have any obvious fatal flaws - no hubris, no hunger for power etc

but his fatal flaw is this little voice in his head that whispers sometimes ''maybe violence IS the answer tho"

it's not like he believes that it's a good solution; but sometimes it's the more reliable solution. more efficient solution. faster solution.

and oh how he wants to speedrun his way back to being respectable citizen

(which is, of course, very ironic given the methods. but deep down he believes that he's so good at killing he can afford being immoral. he tries to get rid of this belief but to no avail.)

[earanie]

Me souvenir de quoi ? De mon mari, de mes filles ? Je me souviens pas Sandra, c’est pas ça qui me revient… ce qui me revient c’est… c’est l’autre, l’autre Catherine, celle que personne n’a envie de retrouver.

SANDRA WINCKLER & CATHERINE KEEMER in LES TÉMOINS 2.08

[warlordfelwinter]

listening to juri's speaker playlist and reminiscing fondly about the red war and i was so zoned out that i managed to convince myself i could replay it and then i Remembered and it was like lucy pulling the football away from charlie brown except my brain was somehow both charlie brown and lucy

[fazcinatingblog]

My boss is giving me a pay rise and I've already blown it all on five comedy shows in April and my best friend's moving overseas forever at the end of March so I need comedy to fill the Biancyes Fasolo pizza hole in my life and

[unproduciblesmackdown]

also to go "wow this is just like in pentiment" about absolutely anything and/or "wow this is just like iphigenia crash land falls on the neon shell that was once her heart (a rave fable)" about absolutely anything further:

the Narratives within crash land falls where like, in the end iphigenia being Given the story of both "this is going to happen anyways" and "so why don't you see it as a noble sacrifice to accept." the situation happening to Create a story that she was killed, so her father must be tragic, and sympathetic. that iphigenia does take on that Narrative of taking on the Noble Willing Sacrifice, and it kills her, but she also would have been killed anyways, as everyone also knows. that we even get a bit of pentimentesque [other characters observe & assess things] like, the fresa girls as a chorus, and one at the end like yeah She Was No Saint, i saw everything, but being cut off by The News that's like yeah looks like iphigenia was killed, that seguing into her father saying yeah she was killed, god's will was done, She's A Saint now. seguing to the emcee who introduced the play, but that superceded by achilles, and that superceded with iphigenia's extasis monologue as the end of the play. that whether iphigenia's a saint or not, she dies. that [the whole play] tells us as much, like, this isn't a What If kind of retelling where she escapes her fate, this is a retelling examining itself like, she Will die because the story's preset, so what to do with this as the story that has to take her there, what to do with this as iphigenia who has to go there

that iphigenia takes on another narrative in addition to the one offered by like, violeta as guide and oracle telling her she has to die (As A Noble Sacrifice), that again (as per iphigenia in aulis being like uh hey daughter. let's go to aulis so you can uh marry achilles (it is to be sacrificed)) achilles is this bait, but it's only in the ending that there's any Story about being with achilles, and when iphigenia goes to the mercenary soldier who she knows will kill her, she's the one telling him what to tell her about where she's going and why, i want you to tell me achilles is waiting for me....and she still dies, because This Is The Story. as also applied to the reality, iphigenia as another dead and missing girl following & preceding many; any disappeared deaths when consumed as disposable & replaceable, not given part of any narrative about it. while also iphigenia only gets a chorus of fresa girls from there being crosses put on the factory wall with their names, with one girl even remarking like hey they spelled my name right for once. but at the same time they're also like, both mere Apparitions but also like standins for people who are simply alive. real [shades]esque kind of, i suppose, but like they're not Sanctified for dying either, they'll comment on iphigenia but not with any like, divine knowledge, just as this out of place rich girl. whether iphigenia's A Saint or Not A Saint, she's still dead either way. she wants to be a fresa girl, they maybe want to be her, but everyone's doomed anyways thanks to way larger forces and the Stories that have been told and will be told again

but there's also the moment right before the final section wherein, before she's having to say what she wants within the bounds of [she has to die], there's achilles asking "you still want me" and iphigenia answering with "i want everything" and her vision for, like, getting to be alive actually, i'm on the gulf where the sea is gray, and no one wants a piece of me....the whole inciting event here where iphigenia wants to evade her fate however she can, exiting the bounds of her life, the physical bounds and the family unit and walking away from the rank of status / class / wealth, trying for [have her body for herself] and what the body wants, the sensuous indulgences of (a rave fable), let's hear some more about the roman state like "we don't like the examination and challenge and upending of class and convention in a bacchanalia, so only do the official versions we permit;" the Threat of people's desires for themselves, when that's going to be counter to those in power who'd want these people to be resources at their disposal; the burden on the disempowered to suffer [the only way out is through] with the Additional pain & loss that has to be taken on in pursuit of their autonomy, while also of course suffering for the autonomy they lack, that restricted and controlled and mitigated versions of what you might want are deigned to be provided or permitted so that you have Something, but that everyone's actual undeniable personhood will always be spilling past those bounds, the potential power of transgressive pleasure when one's wellbeing and autonomous choices are counter to the power structures that have to constantly try to suppress and preclude this. achilles just as bait, doomed to die like iphigenia is also still doomed, sex was never going to save everyone and the [recognizing connection as these two parallel people / We're The Same] with your lover here is not going to save everyone but it still makes more things possible for them both; iphigenia does know what she wants, and gets some of it because she wants it, same with achilles in turn, while it can't save anyone from their fates still. but it can mean something even if it doesn't transcend, like even a fleeting night of insignificant dancing that doesn't change anything can mean something, and we all die, but that doesn't mean it's Nothing to be killed any more than it's Nothing to have your desires or choices one way or another to be wrung out of your life before you are

anyways, the stories. the Looking and Presenting here. achilles and iphigenia first encountering each other as images put together and presented by someone else for their own purposes. the presence of what's seen through film/camera/recording versus in person; the potential power relations and even violence in framing, presenting, and the intended looking and assessing. repeated language about eyes/looks that burn, while also that connection between iphigenia and achilles, and their finding the least room in what they do have of their lives for more of their own wants and selves and something genuine and not predetermined, is also connected to eyes and looking and being seen and light and burning. while they're also connected to the protection and possibility of night and darkness, getting to exist and be Without being lit up or seen; that with the power that's still in play, it's never like, well then you should have nothing / no reason to hide; the penultimate moment in the play with achilles being one that's in person and fades into darkness, rather than coming in from the light of a projection / video onscreen as the introduction....iphigenia needing to be guided through a crossroads to even get to achilles in person; violeta giving the Advice and Story and Tradition to pray to eleggua, as iphigenia does before getting to encounter achilles for real, who also doesn't get to break out of a role or a fate in full in any way, but their tragedies are like, pointing towards [autonomy, imagine it] in both the ways they manage to find a little bit of it for themselves, in no small part for simply recognizing each other as in the same boat here, and in the ways they still don't have it and still can't get it

and anyways it's also inevitably saying like, telling a story?? this Play is a told story!! looking? assessing? interpreting? you're doing that in the course of experiencing it! and it's really so fucking true.