#if we're gonna mix up real life and fiction might as well do it in style huh

[sisterdivinium]

Warrior Nun truly is the most fucked up fucking show in the whole fucking world isn't it

Thecla (Ancient Greek: Θέκλα, Thékla; Greek: Θέκλα; Turkish: Tekla) was a saint of the early Christian Church, and a reported follower of Paul the Apostle. The earliest record of her life comes from the ancient apocryphal Acts of Paul and Thecla.

In one scene, female beasts, particularly lionesses, protected her against her male aggressors.

It is also said that Thecla spent the rest of her life in Maaloula, a village in Syria. There, she became a healer and performed many miracles...

...but remained constantly persecuted.

In one instance, as her persecutors were about to get to her, she called out to God, a new passage was opened in the cave she was in, and the stones closed behind her.

Around AD 280, Thecla features as one of the characters in Methodius of Olympus' Symposium, in which she displays considerable knowledge of profane philosophy, various branches of literature, and eloquent yet modest discourse. Methodius states that she received her instruction in divine and evangelical knowledge from Paul, and was eminent for her skill in sacred science ("Logos 8").

According to some scholars, Thecla's story inspired many later stories of women saints who dressed as men

All of these women were empowered by Thecla, a woman who did things that not many women would ever dare to do

In Spanish-speaking countries, she is also facetiously counted as the patron saint of computers and Internet, from the homophony with the Spanish and Catalan word tecla ("key").[citation needed]

(text on Thecla of Iconium taken from Wikipedia)

[yellowloid]

hello dear! i just read your songs analysis and i think they’re really insightful and clever! i would be so happy to read other song analysis from you (both from tlsp and am)! also i love that you wrote the analysis from a personal view but not under the milex lens (although i would love to read your take on that version)!

hi anon, and thanks!! i'm happy to hear you appreciated my analysis, i love overanalysing lyrics so i'd be 100% down to make more. just drop the am/tlsp/mk songs you want me to analyse in my inbox (and whether you want the analysis to be strictly personal or you want me to go Full Milex Demon TM), and you can bet i'll end up writing a long-ass analysis post. i have so many theories (sometimes even different ones for the same song lmao like in this case) and they're just waiting to be put on paper.

now, since we're on the topic...

✨️mr. schwartz and body paint milex analysis✨️, by yours truly

(once again, this is just fan analysis. it's just as valid as any milex fanfiction i've ever written - meaning that it's completely fictional and i'm not in any way shape or form implying anything about them as real people. just having fun with lyrics and possible interpretations!)

(+ as i said in the other post, i'm analysing them together because there are so many interesting analogies between them and i think they might be connected. brace yourselves because this is gonna be long)

so in the other post i talked about anyways (and the ultracheese, but we could also add star treatment to the mix) as an introduction to the new album, how from what we've seen so far of the car it seems to be a very self-reflective album.

the vibes are quite similar, but if the tbhc self-reflection was done on purpose, almost calculated, the one that seems to characterize the car appears to be almost... annoyed. there's this subtone to it, a faint hue that gives it a sense of reluctant introspection. he's not doing it willingly - he's almost forced to do it, incapable of bottling his thoughts up any longer. like he finally understood he can't run forever (could be the effect of the pandemic, who knows). Also, the tbhc lyrics were absolutely cryptic, and even though the car ones are just as cryptic in some instances, we also find very straightforward, concrete lines ("come here and kiss me before it gets too cute / [...] and if we guess who i'm pretending to be / do we get a prize?" from Mr.S. as well as "watching your every move i feel the tears are coming on [...] and i'm keeping on my costume [...] and if you're thinking of me, i'm probably thinking of you" from BP). if tbhc had ten layers of mysterious metaphors covering it, the car has like... eight, i'd say. still very cryptic, but with a tiny bit more clarity to it. there’s still a lot of smoke covering it, but we can make out shapes a bit more clearly than we did in tbhc.

speaking of anyways specifically, i'd like to focus on that for a moment. everyone knows how it's a very, very personal song - but i don't see enough people talking about the evident parallels with see ya when i see ya:

"what a place for both the opposite sides of my double life to finally collide"

"you're feeling alive, a jekyll and hyde / [...] leading that double life"

like. do i even need to say anything. see ya when i see ya as a whole just screams of alex, but those lines? that's just miles telling everyone "yeah, this is about my absolutely platonic no homo bro", except it’s full homo and he knows he couldn’t make it any clearer even if he tried

also special mention:

"spilled the unspillable beans" (from the bourne identity)

"i put myself on mute before i spill the beans / oh, not again" (from SYWISY)

like. are you getting the vibe? because i sure as hell am

now, taking into consideration the whole discourse about double lives, masks and façades, let's get to Mr.S. and BP. as i said in the other post, in both songs it feels like he's talking to two different 'you's: himself (alternating it with 'i') and a mysterious interlocutor who appears to be someone he has history with. you and i both know who i’m thinking about lmao

body paint comes before mr. schwartz in the tracklist. he starts off strong, straight to the point:

"for a master of deception and subterfuge / you made yourself quite the bed to lie in"

these first two lines seem to refer to him not being able (or not being allowed) to be his true self; this is also confirmed by the 3rd and 4th lines, which are all about the need/urge to keep up (false) appearances and the misery that comes from it: "do your time traveling through the tanning booth / so you don't let the sun catch you crying". the sun could be spotlight, the media and the world's eyes on him, watching his every move. this whole “façade” aspect could easily be interpreted as him hiding his sexual orientation from the world for fear of being judged.

in the second stanza, this awareness also translates into self-deprecation (possibly internalized homophobia):

"my teeth are beating and my knees are weak / it's as if there's something up with the wiring / you can poke your head behind the mountain peak / you don't have to leak that you've gone into hiding"

he blames himself for this situation, for "having gone into hiding": the guilt takes up the form of physical symptoms and he asks himself whether there's something wrong with him ("something up with the wiring"), but at the same time he won't "leak" it, he refuses to admit it.

then there's a turn and he seems to be talking to the other person: "i know what you're thinking", which has Big Milex Telepathy energy, because who else could he share that kind of connection with?

now let's consider these lines from mr. schwartz:

"might be half a love song in it all for you / timing wise it's probably for the best / come here and kiss me now before it gets too cute"

at first he seems to be considering the possibility of giving himself and the other person a chance - the timing is right, they should just live in the moment without dwelling too much on anything else ("kiss me now before it gets too cute"). but then, after the chorus, this happens:

"gradually it's coming into view / [...] as fine a time as any to deduce / the fact that neither you or I has ever had a clue"

it's a bittersweet realisation slowly hitting him: right after he's almost been able to say fuck it and just live in the moment, he realises that neither he or the other person really knows what they're doing - what they've been doing all this time, maybe in terms of how deep they were really in, or how getting that deep would only inevitably end up hurting them both. he’s justifying them and at the same time almost criticising them, because they didn’t know what they were getting into and they really had no idea what they were doing (although, may i add, the other person might disagree on that. they certainly did know and he's just looking for excuses).

and then we have these lines from body paint, which seem to continue on that same route:

"watching your every move i feel the tears are coming on / it won't be long / it won’t be long"

he can't stop lingering on everything the other person does, almost obsessing over them - and at the same time this makes him even more miserable, because of two possible options:

a) he considers giving their relationship a chance, but fears it won't last

b) he feels like he's running out of time, and he needs to make a decision because the other person is still moving around, they won’t wait for him forever, and he feels "it won't be long" until they'll eventually move on. (may i add 2.0, if he thinks miles could ever move on and forget about him then he's even dumber than expected. oblivious king 😔)

however, stubborn as he is, he's choosing to keep up the façade despite his pain ("mr. schwartz is staying strong for the crew"; "and i'm keeping on my costume" in BP), keeping up his appearance ("wardrobe's lint-rolling your velveteen suit"), because he knows that's just how the industry works ("mr. schwartz is having tea with the grips / asking after all the wives and the kids / it's at the heart of what the business is"); he can’t live freely – he’s committed to the role he plays in the industry and he’s convinced breaking character and living his truth is simply not an option. neither he or the other person can change that, it’s just how things work ("there's not one god damn thing that you can do about this"; this also reminds me of these lines from star treatment: “i found out the hard way that / here ain't no place for dolls like you and me”).

but deep down he knows that, no matter how hard he tries to ignore his and the other person's feelings - it doesn't change the fact that those feelings are there, they exist and they can’t just pretend they don’t ("and if you're thinking of me, i'm probably thinking of you"). because that's what they've been doing for years – thinking of and obsessing over each other.

i also find this very interesting:

"and if we guess who i'm pretending to be / do we win a prize?"

it feels like he's responding to miles' attempts at deciphering him, of reading through his behaviour over the years after 2016 (through the entirety of coup de grace + some change the show songs). all these years, miles has been telling him through the veil of song to drop the façade and just be who he is, to stop being afraid and give them a chance, because no matter what he'll always be next to him. this is alex's reply: cynical, because the rose-tinted glasses (the same "rose tint" he mentions in mirrorball, perhaps) are gone, he can't see things the same way he did in 2016 because he forced himself to wake up from that dream. because he's convinced it was just that, a dream - one that could never come true.

but he knows the facts are there, he hasn't forgotten about the past and he knows miles hasn't either. and they can pretend everything is absolutely platonic on the outside, for the sake of their public image, but they both know what used to happen behind closed doors: "straight from the cover shoot / there's still a trace of body paint / on your legs and on your arms and on your face"; photoshoots representing their public side, and the two of them being the only ones who are able to see through each other's public façade. they marked each other in some way, and that mark is very much still there - but it's only completely visible to them, because they're the only ones who really know what happened. it's between them, a secret hidden in plain sight.

(+ these lines sound 100% fully sexual, i'm sorry it's the truth. we all thought about it and i won’t hear anything else about it) (also shout out to @haonsworld for speaking the truth about this part. you're braver than the us marines)

and yeah, alex may be skeptical about the possibility of them ever being something again ("having attempted twice, both incorrectly"), at the same time he can't let go of a tiny spark of hope, asking both himself and miles: "do we get a third try?"

this could also be interpreted as the other anon was saying - that is, them discussing the possibility of tlsp3, and how to make it happen.

either way, although a bit scared of failing, he's asking for a chance. he's hoping for it, despite maybe not knowing exactly how to handle it. but miles has been waiting for him all these years, hasn’t he? and he's ready to stand next to him in that journey.

after all, miles says it himself in caroline: "let me save you from yourself because / caroline, you're living on the edge this time / [...] take my hand / and go and lead the life that you've planned / 'cause you're gonna be just fine / my caroline" ❤️