#just some light lyric analysis

[wavesoutbeingtossed]

So while I’m on my “You’re Losing Me” riff, another thing that really strikes me about the song is how pervasive loneliness is in it.

This isn’t inherently unique in Taylor’s music; she is after all the narrator in most of her songs. They are inherently self-centered and not in a selfish way, but in a literal way: these are songs about her and her perspective. It makes sense then that YLM is uniquely about her experience in this relationship and this breakdown.

But when I talk about the theme of loneliness, it’s how alone she as narrator is throughout the story. Even in the opening salvo, where he says, “I don’t understand,” and she says, “I know you don’t,” the conversation represents two people fundamentally pushed to their own corners.

There is a clear split between we and I throughout the story.

We thought a cure would come through, now I fear it won’t. We loved this room cause of the light, but now I just sit in the dark and wonder if it’s time. Should I throw out everything we built?

There’s a divide between when they were on the same team, and when she’s been cast adrift. They were working on fixing their problems, but now she alone is burdened with the knowledge that they’ve passed the point of no return. They chose a home to house their future dreams together, but now she’s left all alone in the dark feeling those dreams slip away. They built a life, but now she’s the one having the make the call to take it down.

But it gets progressively darker than that. The line about being a phoenix mending all her own gashes has always jumped out at me, because it connotes her dealing with blow after blow by herself, having to put herself back together each time, the onslaught relentless even if she ultimately overcomes. Yet it’s him who tears her apart for good. The image it paints is of a person continually facing her own struggles on her own, dealing with the fallout like a lone wolf (sorry for the continued animal allusions?), but whatever it is that the subject he does breaks her worse than the thousand cuts she’s experienced before. Even here, the idea is of a person who shoulders her burdens by herself and being praised for it (something something when I used to fight you’d tell me I was brave etc. Even though I know that’s an entirely different situation but it’s also not) or at least being expected to do it, but the subject’s actions — or lack thereof— cut deeper than any of those lonesome fights. She keeps fighting for herself, trying to grow from the hurt, but his “blow” threatens to undo it all in one fell swoop.

Of course, as the song continues, the story expands and becomes one about miscommunication and apathy. I’m not one to believe that every single line in Taylor’s songs is literal; she’s a master at metaphors and scene setup, so as much as some commentary interprets the line about glaring and sending signals as literal and therefore putting the onus on her for not communicating effectively and expecting the person to be a mind reader, I feel like this is where her affinity for being flowery paints a far sadder picture.

She glared at him with storms in her eyes could mean she’s acting pissed but not saying why, but it could just as easily be a metaphor for sharing anger/upset with your partner who refuses to acknowledge its weight. (How can you say that you love someone you can’t tell is dyin’ when it’s right in front of you?) I sent you signals and bit my nails down to the quick could be seen as again not saying what’s wrong and expecting him to pick up on her behaviour, but I also feel it’s an instance where her penchant for emotive language is at play: it’s not that she expected him to read her mind, it’s that she tried every way she could and he still didn’t care. The signals could be that like a lighthouse in a storm: clear and guiding, but dangerous if ignored. She told him in all the ways she could, literal, emotional and physical, that she was wasting away, but he wouldn’t take it seriously. It once again details the experience of a person living through this tragedy completely on her own, whose pain is dismissed at every turn.

Which brings us to, “My face was gray but you wouldn’t admit that we were sick.” It could mean, she was making herself ill and he ignored the reasons why, but as I mentioned in my post earlier, death hangs over the entire song. (There’s a larger essay to be written about that theme alone.) To me, it’s not just that she’s grey because she’s ill, her face is grey because she’s (metaphorically) dead. She’s already died (or the relationship is dead) before he’s even admitted there was anything wrong to fix. She alone is sitting with this realization.

As the song continues, the loneliness with the burden of this knowledge shifts to the loneliness of everything she feels she’s done or felt that’s been ignored or dismissed.

My pain is an imposition. (On you.) I gave you all my best me’s. (And I didn’t get yours in return.) I bled and tried to be the bravest soldier only in your army frontlines. (But you didn’t fight in mine when I needed you.) I’m the best thing at this party. (But you’d never acknowledge I exist.)

By the time she gets to the end of the bridge, she’s fading fast but even as she’s losing the battle, she’s still imploring him to fight for her and them in a last-ditch effort. Show me you’re still with me. But she never gets that answer, because ultimately they’ve lost the pulse, and her heart has stopped. While the song begins with them fundamentally misunderstanding each other, it ends with her confirming her fears in the opening: there is no more we, but there is no more her either. She’s gone, all alone, without anyone there to see it.

In spite of the fact that the song is super catchy and uptempo, with a characteristic banger bridge that is fueled by anger and seeping with resentment, “You’re Losing Me,” is incredibly sad and kind of morose. It leaves such an uneasy feeling in the pit of my stomach, which I imagine is only a fraction of the feeling of the person experiencing the story is.

[whiskeyghoul]

She blinded me with science || [Spencer Reid X Goth!reader]

A/N: self indulgent little fic here. I have been in a writing slump for a few weeks and needed to do something just a little self indulgent. So we have this which has been on my mind for ever. I love Abby Sciuto from NCIS and thought how fun it would be to see our little nerd fall in love with the alternative lab rat of the FBI. This is not proof read or anything so it might not be the absolute best but I just wanted to put something out here again.

WC: 1737

Tags: fluff, crush, first meeting, love at first sight possibly, multiple parts, opposites attract, self indulgent fic, reader is described as female, reader is alternative

Warnings: Mention of human remains.

Read part 2 here, read part 3 here

The music coming from the lab was muffled. Even through the closed door Spencer could hear the barely legible lyrics as he got closer and closer. As he reached the door and knocked there seemed to be no answer. Certain his knocking wouldn’t be heard over the noise that he now recognized as Siouxsie and the banshees. He opened the door. As soon as the barrier between him and the music was lifted it sounded so clear. It was turned up to 11 and he wondered how anyone could even focus with music that loud.

That was until he saw you, swaying along to the music, the white coat exaggerated the movements. Swishing from side to side as you reach for a pasteur pipette while bobbing your head along to the music. You seemed absorbed in the music, focussed on your work leaning over the bench and carefully dripping a clear substance on a piece of paper while still perfectly on beat with the music. Spencer cleared his throat loudly, hoping to make himself known before he interrupted you in whatever you seemed to be doing. Though it didn’t quite reach the decibel level to alert you. “L/N” he called out your last name but once again no response. So he took a few steps closer. Once Spencer was close enough he reached out and softly tapped your shoulder. You jumped in response, whirling around in shock with the pipette in your hands raised like a weapon. Like somehow you would be able to defend yourself with the lab instrument. A yelp falling from your lips. 

“Oh my god! Can’t you knock!” You accused, eyes wide as you placed your free hand on the top of your chest, taking a deep breath. “I did. I also tried to clear my throat to not scare you.” Spencer retorted, his voice raised a little louder so you could hear him over the music. You twirled around, placing the pipette in the holder. “I’m Doctor Reid, from the BAU.” He continued loudly. You turned, holding your left hand up to shush him. Your right fishing the remote from your coat pocket. It gave Spencer some time to look you over. 

Your lab coat was about the only light thing you wore. The outfit underneath was black on black on black. A band tee with illegible writing that peeked over a corset, layered with a ripped fishnet top underneath. The abundance of necklaces of all different lengths, cascading down your neck like silver waterfalls. Ripped jeans he wasn’t quite sure were safe for the lab environment, but the skin of your thigh caught his attention. Something inside of him stirring. He fidgeted with his hands in front of his body.

“So… you were saying?” You spoke. Spencer’s eyes snapped back to your face. You looked up at him with big eyes, a small smile accompanying them. The music was turned down now giving him room to think. Though your eyes still made it difficult to really focus. “Oh, I am Doctor Reid, from the BAU.”  He answered after swallowing for a moment. “Ah! You are here for the clothing analysis, right? Penelope mentioned one of the team would come pick it up. Normally it's her or Derek, though I think Derek has complained about hearing loss.” You whirled around while rambling on, pony tail waving behind as you turned, bounding over to a table with scattered papers. Spencer followed close behind, not focussing on the words rather just the tone of your voice, a slight intrigue towards you. He didn’t even know your first name, yet somehow your mannerisms, your unconventional style, it made him want to know more. “Right.” He said, realizing he hadn’t technically answered your questions. 

Spencer looked over your shoulder as you picked up a stack of papers neatly stapled together. He thought he might be a bit too close as he could smell the subtle perfume wafting off of you. Though he also strangely enjoyed it. It was sweet but not overly so. A hint of cherry that was fitting in his eyes. The color of the fruit matching that of your lipstick. As you looked over the paper and began to talk again, “So, the substance that was on the clothes seems to be turpentine. Commonly used in oil painting. The vapors can already cause irritation to the eyes, skin, and airways if exposed to them for longer periods of time.” you rambled off the words as you read them. “There were some other things found on the clothes that coincide with the oil painting. Different pigments and paint residue.” You turned, eyes still on the paper nearly bumping into Spencer as he had been standing so close. When you looked up at him surprised he could feel a tightening in his chest. “Oops, sorry.” You apologized, a small smile on your lips.

You apologized to him while he was the one in your way. “Oh it was my fault. Shouldn’t have stood so close. Sorry.” He muttered. The words falling from his lips unceremoniously. He felt like half of his intelligence had up and left his brain as he talked to you. Not really knowing what to say at that moment. His hands fidgeted at his sides again. His left hand playing with the hem of his cardigan sleeve. He cursed himself internally for being reduced to a stumbling mess in front of you. You kept standing there though. Clearly you had turned around to go somewhere and Spencer had been in your way. Yet he was nailed in place and so, it seemed to him, were you. “Did you know they used to make oil paints with human remains?” You spoke excitedly. Like you had been waiting to tell someone, anyone, that little fact. He knew that. He knew that for a long time yet seeing you, tell him a fact with such delight, made him want to lie. “Now I do.” He answered, his smile matching yours.

“It was called mummy brown. They ground up mummies, both human and animal, and put it in the paint.” You continued. Your voice trailing off slightly after the word animal. You held up the stack of papers to him. “Everything you need is in there. If you need me to clarify something just give me a call. Or stop by whenever you want.” Spencer nods after your sentence. Taking the papers from you his hand touched yours ever so slightly. His brain short circuited for a moment before the neurons started firing accordingly again. “I eh- I don’t have your number.” he stumbled over the words.

As if you realized that in that moment you took a step aside and walked past him. Walking over to a desk and rummaging through a drawer. Spencer walked a bit closer to your desk. No longer being nailed in place by some unspeakable force. You pulled out a thin sharpie, and Spencer raised a brow ever so slightly at that. You walked back over, holding out your hand to grasp his. Spencer placed his hand in yours. His mouth felt incredibly dry for a moment. His tongue was uncomfortable in his mouth. His heartbeat raced faster. Nothing like he had ever really felt before. You could have done it on the papers, or maybe even a sticky note. Yet you decided that his hand would be the perfect place to write down your number. He thought about it for a moment, your hand was soft and warm. You twisted his hand, writing down your phone number along with your name. Once you finished you let go off his hand. Spencer looked at the black numbers, committing them to memory, and your name. God your name would be bouncing around his head for days. “Y/N.” He said, testing the name. It felt right.

“That’s me, you better put that in your phone. These markers are not nearly as permanent on skin. It’s the oils.” You went on, capping the marker as you spoke. “I will. Thank you.” Spencer said and smiled. He stayed standing in place for another moment. Trying to commit you to memory just in case his eidetic memory failed him. He realized he was staring a little and cleared his throat. “I eh… I have to go.” pointing his thumb to the door. You giggled a little, a sound that made Spencer’s cheek heat up a little. “Right, pretty boy, head on out. I need to get back to work too.” You smiled casually. Spencer’s face was only heating up more. He swallowed. The nickname the others used for him sounded so much better when it came from you. He turned around to hide his ever heating face from your sight, walking over to the door quickly. Once in the opening he quickly looked back, giving an awkward wave that you returned with a smile. 

When Spencer entered the bullpen his face had calmed down a little. Not feeling nearly as hot as before. He was able to think clearly again, but when he looked at your number and name on his hand he felt giddy inside. Reaching his desk he sat down, placing the analysis file on his desk. “That took you long enough, pretty boy.” Derek called out from his desk, humor in his voice. The nickname had no effect when he said it. “Sorry, the lab tech… she was explaining some things to me.” Spencer quickly lied. “Alright, can I get the file?” Derek had his hand already out. Spencer gave him the file and Derek’s brows raised at the number scribbled on his hand. “You got her number?” He smirked. Spencer pulled his hand back covering the numbers and your name with his other hand. “If something needed more clearing up.” He retorted. Derek merely chuckled at his awkwardness, “She’s friends with Garcia, you wouldn’t have needed her phone number.” He added with a smirk. Spencer felt his face heat up a little again, embarrassed. He knew that. He knew that he had known that. But in that moment he couldn’t think.

He looked back at his hand. Your name on his skin. A little flutter in his chest kicked up when he did. Derek cleared his throat, making Spencer look up again. Derek pointed at him with his pen, before opening his mouth. “You better call her soon.”

[remxedmoon]

You should tell us about color psychology that sounds cool as hell

YES… HA HA HA… YES!

GGGOD I WISH I WASN’T OUT OF THE HOUSE RIGHT NOW. but i’ve been thinking about colors literally all day so you all get to be subject to my madness! sorry this is long and rambly wauaua. nightmarishly long post under the cut.

okay. first things first, a few basics. color theory and color psychology tend to get confused a lot in discussions, but they usually refer to different things. color theory is more about we physically perceive colors (color wheels and color schemes the like), while color psychology focuses on our emotional response to colors. if you’re familiar with the children’s hospital color theory post, that poster wasn’t actually talking about color theory, but color psychology (and also it’s incredibly surface level and heavily misunderstands the subject because in what fucking universe does the quantity of positive associations with a color matter more than the context it’s used in and sorry i have personal beef with this tumblr post).

color theory is also a special interest of mine but i’m not gonna touch on it too much here because it’s not entirely important. mmmaybe another time…

essentially, certain colors (and color combinations) have associations in our brains and that affect our behavior and emotions. these associations are also very much affected by the context a color is used in. colors don’t exist in a vacuum! so while red can symbolize passion and love when used in something like a dress or a bouquet of flowers, it has a very different connotation when it’s, say, splattered on the walls or smeared on the ground in a snail trail.

or for a less Children’s Hospital Themed example, i’ll put my euphrasie and king designs here!

(of course the saturation and brightness of these blues play a massive part in how they’re perceived but this is not a post about color theory this is n)

and, of course, combining colors in a piece can also change their meanings!! i’m about to get real fucking normal.

i’m gonna be focusing on the color combo of red and yellow here because it’s the one that’s most relevant to my art (and also it’s really interesting.) basically, seeing these two colors together activates the part of our brain that controls our appetite, making us actually feel hungry. this is why so many food companies use red and yellow in their branding! it’s neat stuff!!

also, if you’re familiar with it, this is why the mv for butcher vanity uses this color palette!! along with red’s general associations with danger and blood, the color combo also physically induces hunger. pretty fitting for a song about cannibalism!

(there is also red’s association with lust and passion and how that intersects with the double meaning in the lyrics but i cannot derail this post into being an analysis of butcher vanity i’m sorry. we’d be here all week. maybe another day... wipes a tear from my eye)

and i think this might be the reason why some people feel hungry when they see my art, even when i’m not drawing food. while i don’t tend to use red outright, most of my art has very warm undertones (red-oranges and yellows especially), which could be activating that hunger response??

(ah fuck color theory managed to weasel its way into this post again)

admittedly this part is just speculation on my end. i think my rendering style and Shapes also play a role in it, but it’s interesting for me to think about!!

this is only scratching the surface of how complicated colors can get. i was going to go on an entire tangent about color grading and how green lighting can make a scene feel unnerving but this post is already Too Fucking Long. aaaa super sorry if this is Rambly or hard to understand!! i’m not Entirely sure how much the average person knows about color theory and psychology so if there’s any confusing terms here i’m fine with adding stuff for clarity!

wauauuaa thank you so much for asking!!!! i love talking about colors.

tl;dr colors have a bunch of different emotions and meanings tied to them, but you’ve gotta pay attention to the context in which it’s being used. so maybe take a step back before you put that thick red trail on the floor of your children’s hospital.

[viccharine]

what a wonderful caricature of intimacy

(commentary + process under the cut, reblogs appreciated!!)

about the piece: was anyone else obsessed with the line “accessorizing with a rosary tucked inside her lingerie” ???? genuinely, “build god and then we’ll talk” was my FAVORITE song almost entirely because of that line, it’s SOO GOOD. maybe it’s because I’ve kinda made it my thing to illustrate songs, but I really appreciate when songs have really descriptive lyrics/ideas that translate really well into visual art.

also, more about my process: I’ve realized two things about myself and my art w/ this piece:

1. i don’t really like working with color at all!! it’s just not very fun for me, I’d much rather work in shades of black and white and use my beloved screen tones instead :)

2. i like a lot of angular shapes— curved lines make me mad and i would prefer not to mess w them (read: loser who won’t put in the effort to draw anything resembling a circle)

I really enjoyed almost “carving” out this figure—i usually start with a black canvas and add a blob of white that vaguely resembles the form and then slowly using black to carve out the figure. adding the screen tones and creating the back-lit effect was also super cool (the lighting probably isn’t that accurate, but i never said i was GOOD at it)

also, if you’ve been following me for a while, you probably recognize this concept from my earlier dance dance piece:

they are very similar concept wise, but around a year apart!! i think I definitely like the execution of the more recent one better, but it’s cool to see the evolution of my art despite me not making art that often anymore. I can’t say much to whether or not the anatomy in either of the pieces is accurate, but I would probably assume that the recent one is more accurate

usually I would end these types of posts with some commentary about the song, but I really don’t have much to say analysis-wise! build god and then we’ll talk is still one of my fav songs off afycso, and sonically it’s definitely one of the most interesting songs panic! has ever put out—very happy to have finally made a piece to show my appreciation for the song :)

anyway that’s it byeeeeeeeeeeee!

[indigovigilance]

A Nightingale Sang in 1941

This is my inaugural meta (yay!) Eventually I will learn how to add gifs and whatnot to make this more interesting but today, I give you a wall of text.

I need to give credit where credit is due to three existing metas that I’m drawing upon heavily here:

A speculative continuation of the 1941 story, which includes an almost-kiss while “A Nightingale Sang in Berkeley Square” plays on the gramophone,

A behavioral analysis of Aziraphale during the S2E6 finale (will find ref later if possible)

A meta-analysis of the way in which “coffee” is used as a symbolic equivalent for liberty and freedom of choice, a running theme of this show (will find ref later if possible)

I’m going to expand upon meta #2 and #3 and explain why I think there is are very compelling reasons to believe that #1 will be canonized.

At the end of S1E6, an instrumental version of “A Nightingale Sang in Berkeley Square” plays diegetically, but the lyrical version plays non-diegetically over the credits (we hear it but the protagonists don’t). So we the audience could plausibly say “that’s their song,” but as of the close of S1, we have no reason to believe that they know that it’s their song. Even Aziraphale’s S1E3 (1967) suggestion that they dine at the Ritz could be a reference that only he gets, or just a fancy restaurant suggestion.

So when I was watching S2E6 and Crowley said “no nightingales,” I was jarred. What does that even mean? We know it has something to do with dining at the Ritz, but what does it mean to them? The reference only works if they know it’s their song. But we’ve only ever seen them hear it together after the averted apocalypse; if this is the direct reference that Crowley is making, it leaves our 1967 reference contextless and twisting in the wind.

If we assume that there was a romantic story beat in 1941, wherein “A Nightingale Sang in Berkeley Square” (which, incidentally, was written in 1939 and saw the height of its popularity at the end of 1940, so timeline-wise it’s spot-on) became their song, then a lot of events get renewed interpretations through this lens, in a way that makes this story much more cohesive and the “no nightingales” comment even more soul-shattering than it already was.

Let’s presume that immediately after this became their song and just as they were discovering their romantic potential, they were forced back into hiding. Forever after, references to the song serve as a macro for “I’d like to pick up where we left off that night.”

The 1967 suggestion of “dining at the Ritz” now becomes a directly romantic suggestion. It also gives better context for “you go too fast for me.”

Actually going to the Ritz in 2019 is not simply a celebration or even a callback to 1967, it’s a callback to their almost-romance of 1941.

When Crowley says “no nightingales” in 2023, this isn’t to say “we’re not going to eat together at the Ritz anymore.” It’s saying that the romance that began that night, the precious, fragile romance, is over.

I’ll give you a moment to dry your eyes before we move on to metas #2 and #3.

In light that this is what has been going on - they know they want a romantic relationship but have gotten so used to hiding and denying it that they are more comfortable keeping the status quo static and quo-y then trying to achieve their ideal - a lot of S2 behavior can get a fresh view.

Crowley’s reaction to Nina isn’t a realization that he’s in love - he knew that already. You can only ask someone to run away with you so many times before you are forced to admit some things to yourself. No, he’s realizing that trying to hide it (which was justified by survival), hasn’t been working, but despite failing at being stealth nothing bad has happened. He’s realizing that it may finally be safe to show it.

Crowley’s confession, then, is not a revelation. It’s making the subtext text. He’s not telling Aziraphale anything he didn’t already know. He’s saying it now because he thinks he’s safe to do so. Pin in that.

Lots of people have lots of theories about Aziraphale’s motivations in the S2 finale, which can more or less be divided into 4 camps: the genuinely held belief, the coffee theory, the lie theory, and the mutual trick theory (some version of the body-switching at the end of S1). Let me start by saying that I love all the fans and all their theories and I find their analyses to be insightful. The genuinely held belief theory, while I believe it to be erroneous, has been incredibly conducive to so many wonderful conversations and I love being in a community that has those conversations. But I’m going to explain why I think the lie theory finds the most support in canon.

Re-watch the finale (when you feel like you can) from 35:18 to 36:19 and then from 40:45 to the end, paying very close attention to Aziraphale’s words and his eyes. Michael Sheen is telling us a LOT with his eyes, and in the back half of the finale scene, with pacing.

For 60 seconds of footage, this setup is doing a lot of work. If Neil Gaiman wasn’t doing enough to beat us over the head with how evil the Metatron is, that glare at Crowley at the end with the non-diegetic ominous horns should convey the message. But again, focusing on Aziraphale. He initially refuses to talk to the Metatron; he’s made his position quite clear. There is no hint of regret or wavering; this is not someone who’s aching to return to the fold. The Metatron ignores his refusal and functionally forces him to accept a “cup of coffee.” The coffee isn’t spiked, but it is a metaphor. It is symbolic of choice. The Metatron is going to force Aziraphale to make a choice. Meta #3 does a great job of exploring the idea that a choice between anything and death is never really a choice. Hang onto that thought.

Notice I had you start up again 3 seconds before “The Conversation.” That’s because it’s important to note where the Metatron is right now. He is across the street, staring straight in through those giant windows to where our protagonists are about to have The Conversation. He is watching.

When Aziraphale returns, Crowley begins his “let me talk” riff. Aziraphale ought to be interested in what Crowley has to say, since the preamble is pretty compelling. You’ll notice that Aziraphale quickly turns to the window and back, through which he (but not we) can see the Metatron standing there, watching them. Aziraphale is then doing his best to get Crowley to STFU without raising the suspicion of the Metatron, eventually having to cut him off.

Because unfortunately, Crowley’s entire impetus for speaking up now is that it’s safe to do so. Only Aziraphale knows that they are in very real danger (or at least, Crowley is, but I’ll come back to that).

You might take something from the fact that he’s shaking his head while talking about “incredibly good news,” and seems to self-censor his criticism of Metatron (or more specifically, he takes ownership of any criticism of the Metatron, censoring out Crowley’s role in that, with the emphasis on I in “I might have misjudged him”).

Notice in the flashback that he begins the conversation reasonably relaxed. The Metatron also says a series of things about him that not only are false, but everyone, including the Metatron and Crowley, know are false: Aziraphale is not a leader, he’s a defector; he’s not honest, he lies all the time, in fact this entire season revolved around his one huge lie of hiding Gabriel. Not only does the justification not make sense coming from Metatron, but it shouldn’t make sense that Aziraphale would accept these reasons and it shouldn’t make sense to Crowley either. So is Aziraphale including these details in his recounting to Crowley so that he will get suspicious and figure out the jig? Maybe. Let’s continue.

Immediately upon being offered the job of Supreme Archangel, Aziraphale says “but I don’t want to go back to Heaven.” This is direct evidence against the genuinely held belief theory. If returning to Heaven and making a difference was a genuine motivation, we would have gotten a different response at this moment. But then we get something more.

“Where would I get my coffee?”

This is a beautiful response for a number of reasons; coffee should be trivial compared to the opportunity to be a Supreme Archangel, so it serves to highlight just how little interest Aziraphale has in returning. Taken at face value, it’s the Aziraphale equivalent of “not even at gunpoint.” But remember that coffee is a metaphor for liberty in this universe and this season. So what Aziraphale just said, in the language of Neil Gaiman metaphors, is:

I don’t want to go back to Heaven, I would rather have free will.

What does the Metatron do next?

He brings up Crowley.

Watch Aziraphale’s eyes before and after the mention of Crowley. He goes from confused to eye-flicking panic in the space of two syllables. Aziraphale already understands that his “no” is not being accepted, and that bringing Crowley into it can only possibly serve as a threat.

So the coffee, the choice, is a false choice. No one ever orders death. The Metatron has forced Aziraphale into a situation that looks an awful lot like a choice (it comes in a blue cup, after all) but it isn’t.

We definitely have some reliable narrator problems here. I’m going to presume for purposes of analysis that these cut-outs are accurate but incomplete, and that a more explicit threat about what would happen to Crowley if Aziraphale did not return to Heaven was made.

If we assume that Aziraphale has been made aware of a threat and is trying to hide that from Crowley, the rest of this scene reads very differently. Aziraphale cannot say, “you are in danger but you will be safe if you swear your allegiance to Heaven” or “I have to go, no matter what, and the only way we can be together is if you come with me,” but nonetheless he now has to convince Crowley to do the one thing he ought to know Crowley definitely doesn’t want to do all through subtext. Which we’ve spent an entire season establishing that they can’t communicate well when they are allowed to use their words. Disastrously, this is not a magic trick that Aziraphale can make work when it counts. Their failure to practice good communication means that, right now, when it counts most, they are not going to pull it off.

We see that Aziraphale is very hopeful that Crowley will pick up on his cues and play along. Obviously, he doesn’t.

If the whole riff about Hell being bad guys and Heaven being the side of truth and light is taken as genuine, it discards a massive amount of character development that we’ve witnessed in Job, Edinburgh, etc. (again, to all the genuine belief subscribers, I think it’s a compelling argument but it simply doesn’t account for the evidence). So if it’s not genuine, why say it? Again, to alert Crowley that something is Off, because Crowley should know that Aziraphale doesn’t actually believe that. They saved humanity from Heaven and Hell. They hid Gabriel from Heaven and Hell. Crowley knows that Aziraphale knows that Heaven and Hell are just two sides of the same coin. Notice again that Aziraphale glances out the window while he’s talking up Heaven; he knows the Metatron is watching, he can’t not defend the position of Heaven. I think it’s also worth noting that Aziraphale forcefully glances and gestures off to Crowley’s left (away from the window) when talking about Hell, and then turns his head to Crowley’s right (towards the window) to try to get him to realize that a representative of Heaven is literally standing right over there, just look out the window please dumbass!

When Crowley is asking Aziraphale if he said no, and we see the back of Aziraphale’s head, again we can see him turn his head to glance out the window. This is also when he changes strategies, and admits that Heaven could use a little reform. Because now there’s a problem almost as big as getting caught, which is that he won’t be able to get Crowley to go with him.

Which unfortunately makes the next part of this so much more heartbreaking. Because when Crowley begins his speech about being a team, Aziraphale wants to hear it. He can’t bring himself to shut down Crowley again, even though it could get them both in massive trouble. Notice that he glances out the window again during this, and the look of panic on his face. He begins to shake his head when Crowley mentions that Heaven and Hell are toxic; this can be taken a lot of ways but I’ll argue for the interpretation that he’s trying to get Crowley to STFU and stop saying shit that could get him destroyed.

After Crowley puts on his sunglasses we are in the “back half” and Sheen is doing a lot with phrasing here, specifically pregnant pauses.

“Come with me… to Heaven!”

“We can be together… as angels!”

Based on the pacing decision I am thoroughly convinced that the first half of each of these statements is intended to be the message to Crowley and the second half is always a qualifying statement to satisfy the Metatron.

Unfortunately, these pregnant pauses are completely backfiring in their effect on Crowley. The sentiment gives him hope and the qualifying statement crushes it again immediately. He is being taken on a horrible emotional rollercoaster with these declarations which are only further amping up his instinct to run away.

The only truly genuine, unaldulterated statement I think we get from Aziraphale is

“I need you!”

When it becomes clear to Aziraphale that there’s been an irreparable breakdown of communication between them and the subtext is not getting across, he says:

“I don’t think you understand what I’m offering you.”

He means this literally. Crowley has not understood that Aziraphale is offering him protection from whatever threat the Metatron has made.

Which makes this part extra-devastating and also absolutely in keeping with a major running theme of this season.

“I understand. I think I understand a whole lot better than you do.”

Your understanding and my understanding are different understandings.

Crowley views the offer to return to Heaven through the lens of his trauma. He understands what life in Heaven would be like. But he doesn’t understand that Aziraphale is offering him protection.

But Aziraphale just heard Crowley say that he understood everything, and he’s still going to leave. There might be a little suspense of disbelief here to believe that Aziraphale really interpreted the statement this way, but we know that Aziraphale isn’t always the brightest battery-operated candle in the drawer. So under the assumption that Crowley did understand him and is still rejecting the offer, rejecting him—

“Well, then there’s nothing more to say.”

Please pay very close attention to Aziraphale’s body language for the next part. He’s active, agitated, turning side to side, arms swinging. This is a very fidgety angel.

“No nightingales.”

Aziraphale is now completely still. He’s feeling that feeling. You know it. The one where your entire body is getting sucked into the pit of your stomach. The aching paralysis.

This is their song, the one that began their romance in 1941, the secret code for all other attempts at flirtation. Crowley has walked out on him before, Aziraphale has been stubborn and obstinate before. But they always came back together, sometimes with an apology dance or other rituals that belonged solely to them.

But now the song is over.

By saying this, Crowley has broken up with Aziraphale. We can see in Aziraphale’s sudden transition from fidgety to paralysis that he has understood it this way.

Then he turns away from the window so that the Metatron won’t see him cry.

The kiss was heart-wrenching already. But we’re not done with this analysis.

During the kiss, Aziraphale has a choice to make between two very compelling bad choices. This is the Job dilemma. But worse.

If he doesn’t kiss Crowley back, he will let Crowley think that he doesn’t love him. He will have missed out on this (maybe/probably their first kiss?) and regret it forever.

If he does kiss Crowley back, in full view of the Metatron, they are in deep trouble.

He seems to do his best to split the difference. I would even go so far to say that the awkward arm waving is Aziraphale acting for the Metatron’s benefit, to try to portray that he doesn’t want this even though he absolutely does (just not like this). The anguish when they break the kiss is absolutely real, and the first thing he does is glance out the window. Through all this he has remained painfully aware of their spectator.

He wants to say I love you. He mouths it. He breathes it.

But the Metatron is watching.

He can’t tell Crowley I love you. So he has to say the only other thing that has always unequivocally meant “I love you” when he said it to Crowley. He has to hope that Crowley understands him now, even though he never has before.

Spoiler alert: Crowley doesn’t.

My forgiveness and your forgiveness are not the same forgiveness.

One more point against the genuine belief fans (I love you): if the offer to let Crowley back in is what changed his mind, then Crowley declining removes that incentive. Aziraphale should/would have consequently retreated to his last stated position of “I don’t want to go back to Heaven, where would I get my Crowley—I mean, coffee?” [post-publication nod to @theonevoice for a great little meta] It simply doesn’t hold up to scrutiny.

I think a lot of fans were already making these assumptions about the use of the nightingale song so this meta may not feel revelatory, however, it isn’t canon (yet), and I’m sure I’ll find company that agree that canonization of this connection would strengthen a lot of these story points, as evidenced by how it is already assumed by many fans.

If you made it to the end - omg thank you! Please leave a note and tell me your thoughts!

Bonus: somebody already made the song connection here

~~~

if you liked this, you may also like:

Book of Life and what it means for Crowley

The Erasure of Human!Metatron

Baraqiel and Azazel

~~~

Recommended related (lie theory) metas by other people:

making the subtext text by @theonevoice

Aziraphale's Decision Matrix by @yowlthinks

Nothing Lasts Forever: META by @phoen1xr0se

[aakaneeee]

Round 7 was.. definetly intense and I have many thoughts about it, so I did a whole analysis.. yes it's finally here!

Time to start :3 (I will mostly try to make this coherent and chronologically correct, I might fail though! because we know how freaky i can get when it comes to Luka)

without further ado, let's get into it!

tws: drug use, violence, blood, overall quite gore-ish;

I. ROUND 7

Round 7 starts with a low intro, sung first by Till, Luka following. Till has his energy back, or atleast part of it. Luka, as always, has his perfect voice, but he seems to be a little more expressive this time, as if he's enjoying the performance, just like the lyrics suggest. Everything goes seemingly smooth, and they receive holographic instruments that almost seem to parallel eachother: Till, an electric guitar, and Luka, a violin. And yet, as the second pre-chorus emerges, Luka approaches Till, putting his hands around his neck, a cruel reminder of Ivan. He is... dizzy, to say the least, even getting a nosebleed, but he doesn't stop singing until the very end, even though images of the one he's been taunted with appear on the screen behind them. His eyes seem to light up when he sees a familiar figure in the crowd, Mizi, somehow remembering her even with her hair completely different, veiled, and between millions of aliens. He reaches out, and Luka is obviously at least annoyed at this, either mad that his trick didn't work, or that Till destroyed a perfect performance. Even so, it's too late for Till: Right before getting a hold of Mizi's hand, he is shot in the neck, falling down. Mizi is.. devastated. A flashback of them as kids plays, with a xylophone instrumental. Then, the camera cuts back, from a happy, smiling Mizi, to one crying over Till's soon-to-be corpse. In his last moments, she takes his hair out of his face and cups it. He tries to caress her hand, and then his arm falls next to him as the light fades from his eyes, destined to look into the distance forever. The text "LUKA WIN" flashes on the screen, but even the double-winner is too distracted to care, as in a safe distance, yet right in front of him, is an injured Hyuna, crouched forward, without her usual, characteristic confidence. They stare blankly at eachother as the screen shows new text: SPECIAL GUESTS, paired with photos of a grieving Mizi and a shocked, in pain Hyuna. We are shown Luka advancing as the winner, the last one left, supposedly, and everything goes black.

II. LUKA

(I will have a lot to say for the both of them, unsurprisingly, but I feel like Luka is still a little bit in the lead... again. who is surprised)

From the first frames we see him in, his clothes are obviously more revealing that in previous rounds (using plural since we have seen part of his Round 4 outfit in the intro of ROMH), using not only the usual open back, but also a huge v-cut showing his chest, and his hip open, specifically where his branding is. I imagine Heperu would've chosen this to show off that it's his pet. Not only that, but his surgery scars are also shown off. I suppose it might be something to brag about here? Maintaining a pet human is probably already really expensive, so it's a differentiation of class if they also afford to have surgeries? I see it as probable. When he begins singing, we see something new. He's a lot more expressive, and it carries through the whole round. Not only that, but when his first high note reaches, he almost crouches down forward, as if he was struggling with it (even though he had more difficult notes in round 5.) Personally, for me, I don't think he was going to use his 'technique' from the start. Some may argue that it's his usual, but he got the biggest score in Alien Stage history in round 4 (I may be mistaken) against Durian, and Durian had no dead loved one that Luka could've used against... him? (I'm still confused about Durian, Acorn and.. Tortilla.😭) So he's obviously insanely talented and only uses it when he feels a threat. Most of Luka's actions in Round 7 felt risky, unplanned, and decided on the moment, which really is unlike him. This feels, like one of my previous posts say, like he was drugged, just like Till. In his daze, maybe he considered that Till would stop singing, or maybe, not even sing at all, and that he'll have an easy opponent. But no, Till proved strong, and then, it came to the next possible way he could 100% win: disorienting him. A thing others have pointed out.. Luka's fingers are probably very cold, and it mightve reminded Till that Ivan is a corpse now. One of the most cruel frames of an already very cruel series was, atleast for me, shown in this video: Luka holding in his laugh after his 'plan' (since, as i already said, i dont think it was actually planned) works. For me, it's another piece of proof that he wasn't in his right mind, the carefully built facade of his wouldn't have just broken by his own will. But, even though he could swear it worked, Till doesn't stop singing. Sure, he's dizzy, dazed, but he still is singing. Shock only comes again when Till sees Mizi in the crowd, and anger, or atleast annoyance, is easily readable on Luka's face. He even pauses singing, looking at Till reaching out for his God, always unattainable, now in the reach of his fingers, in a position I could describe as hesitant, confused. Even so, he gets a win as Till gets shot in the neck. Unfortunately, he doesn't have time to revel in the victory, as he watches in shock, as 'the love of his life' appears in front of him, yet at a safe distance, injured. They stare at eachother, but it's different, it wasn't a blank gaze like in Round 5, it feels a lot more vulnerable.

I love how we've been shown past Luka's empty shell this round. Seeing him actually expressing himself, seemingly taking immense pleasure, almost in an euphoric, naive way, in the round around him. There is no way he genuinely enjoys it, or would've enjoyed it without.. exterior measures. We've seen him reacting to cameras around him in Sweet Dream. We can only imagine that was his truly 'sober' state. As I said, it's really amazing how we can see a more candid version of him.

III. TILL

From the start, it seems like Till has regained his spirit back. He's definetly more energetic than in Round 6, his hair is slightly messy again. His outfit, just like Luka's, is more revealing, but his branding has always been visible, unlike his opponent's. He is doing surprisingly well, not going down without a fight, maybe not going down at all! (I love being cruel) He's singing his heart out, every lyric he says showing desperation. And even though he was going so well, everything has an end. Because his declining mental state goes even more downhill as Luka acts like the freshly deceased Ivan, who left him with so many questions and dillemas. It feels like everything is crowding up on him, the huge stage feeling like a small box. His nose starts bleeding, and just as he was about to faint... He sees the love of his life, Mizi, in the crowd. She's reaching out to him. She's there to save him. He reaches towards her in happiness... Except he gets shot right before it. Mizi is finally reaching to him, right how he imagined when he felt like dying, after singing in that damned club. But just as you can't touch your own imagination, you can't touch a God.

Mizi is, and always will be unattainable. The moment he tried to touch her, the Universe is against him, once again. When he wanted to approach her, a powerful light engulfed him. When he died, it was back to pitch dark. In the flashback, it's implied that Till tried to escape, or atleast went against the rules, togheter with Mizi. They seem to be very close, as Mizi trusts him enough to hide, and bury her head into him. It feels affectionate, familiar, something Till holds onto, because he probably considers it one of his best memories. But nothing lasts. From a smiling, happy Mizi, it pans to the new her, now crying over Till, who was taking his last breaths. She gently brushes his hair out of his face, her hand holding it. In his last moments, atleast, he got what he wanted: Mizi's gaze on him, only on him, and just as always, he can't say anything to her. He just lightly chuckles, as his eyes lose light, and his arm falls next to him.

IV. IVAN

His intention was to make Till hate him. That's why he kissed him. He wanted to be forgotten. He already thought Till didn't care that much about him, so surely his actions would make him hate him? Wrong. Ivan was never Till's ray of hope. He was aware of it: Till only had eyes for Mizi. And yet, his death wasn't forgettable, like he thought. He used to mock Sua for her plan, saying that she'll only become trauma, and ironically, he did the exact same thing. Till sees Mizi as pure light, a goddess. Yet, he remembers Ivan in a shaky manner, a dark red veil over the flashback of the kiss. Mizi was his hope, and Ivan was his misery. Unfortunately, Ivan didn't realize this, considering himself to not be grief, but rather, nothing for Till. Oh, how wrong he was.

V. HYUNA

I really like the idea that the Patreon gave us. Its good to be confirmed that Hyuna, just like the others, is truly human, and by that I mean, flawed. Maybe I am interpreting it wrong, but from what my brain cooked up, she was.. somewhat willing to sacrifice a life (either Till or Luka) for the sake of humanity. (again, I might be wrong) We see another side to her in Round 7. She grabs Mizi and looks at her in a pleading way. She knows she's asking of her to see another of her friends die. Even so, she thinks it's better. I'm really curious about what she was doing on stage. Did she go after Mizi, because she saw she might've gotten caught again? Maybe.. she thought that Mizi was actually going to get Till, and she wanted to save Luka, too? You can never know.

VI. MIZI

First of all, she is still naive, which is so on brand for her. She went into a rescue mission, alone, with no weapons except for a smoke grenade. She still doesn't know what she has to do, and it's obvious. It seems like she took another route from Hyuna, who came up on the stage, while Mizi mixed with the crowd. Even so, I'm grateful that in his last moments, Mizi let Till rest. It was such an honest scene and I adored it. What I didn't adore was the parallels between her leaning over Tills body in Round 7, and her leaning over Sua's body in Round 1.

VII. PARALLELS

1. Till reaching towards Mizi, both in his hallucinations, and right before his death, where she still remains untouchable.

2. "The dark crimson air embraces us" -> "In your place, there's only blood and cold air left" (Black Sorrow) + "Lost in forever's embrace" (CURE)

3. Mizi leaning over Sua's body (Round 1) and Mizi leaning over Till's body (Round 7)

4. "In a blink gone!", sang by Till, in this, the visuals parallel his Birthday reveal art.

5. Luka raising his hands to his face, parallels Ivan tracing his hands up his microphone (they even have the same timing from what I've seen).

6. Mizi looking at Till from her capsule in Round 2, with Mizi looking at Till through the screen during Round 7.

7. Mizi throwing the grenade and Till breaking Freddie in Round 2.

8. Luka's hands on Till's neck are a 'gentler' version of Ivan choking Till, so aliens wouldn't consider it as violence.

9. Luka and Hyuna looking at eachother in Round 5 and Luka and Hyuna looking at eachother at the end of Round 7.

10. The way Luka pulls Till's lip down reminds me of that one freaky Luka image..

VIII. LYRIC ANALYSIS

Blink Gone works for all characters, in my opinion. Every one of them lost something, in just a blink.

"The clock goes tick-tock, tick-tock" I can only imagine this referring to the fact that Till's life is soon to coming to an end.

Till sings the more pessimistic lyrics, while Luka sings the ones about forgetting what's in the past and enjoying the moment. As much as he could be taunting Till, he is, in a way, also reassuring himself. To forget everything: perhaps Hyuna. Hyunwoo's death. And not only these, but the experiments, surgeries, punishments he's been through. On this specific stage, he feels like he's truly alive.

As I've mentioned before: "The dark crimson air embraces us" -> "In your place, there's only blood and cold air left" (Black Sorrow) + "Lost in forever's embrace" (CURE).

IX. DISPELLING SOME THEORIES.

1. Till's microphone was closed.

Personally, when I first saw this... I was a bit.. yeah... I know this sounds rude, but I was a little bit startled when I saw how many people agreed�� The light on Till's microphone is a heartbeat tracker, proven to be right by the fact it turned green when he saw Mizi. Even if it was closed, a microphone doesn't make you sound better. He wouldn't have been heard, which he was, so obviously, it wasn't closed.

2. The competition was rigged in Luka's favor.

I dont personally agree with this, especially considering the aliens' nature. They don't care about humans. I don't imagine them wanting the same winner twice. Personally, I find it more like them to rig it in Till's favor. Imagine: he won his first two round by external factors, a rookie, yet a musical genius, defeating a past winner. Doesn't that sound more like something they could market? This is my opinion, but I can't think about them rigging it in Luka's favor. (yes I made a whole rubric just for 2 theories that kind of..somewhat. annoy me)

X. MY THEORIES (This is MOSTLY incoherent)

First of all, I am sure that something BIG will happen next. They said Round 6 is only the half of ALIEN STAGE, so, without counting Sweet Dream, there should be 6 more videos. Minus round 7, five. Hyuna vs Mizi and then whoever wins versus Luka are only two, so there's no way that's everything thats going to happen. I find it really interesting that were going to have 5 videos with only 3 (SUPPOSEDLY) alive characters. I'm not sure about the theory of "they are still alive", since Vivimeng aren't really.. known for that. I'm quite 50/50 on it. I can't believe we went from "only Sua will die" to "Everyone will die"😭 Thats what I call development. Anyways, I'm just as excited as ever for what's next!

XI. CONCLUSION + MY OPINION

Honestly, I ADORED Round 7. It was so beautiful and gorgeous and deep and I simply love it. Im going to sound like a gatekeeper, or rude, but I'm quite dissapointed in the people that genuinely are starting to harass Luka fans, to say they hated Round 7, to hate on Vivimeng for the decision they made, saying that they destroyed it and that there's no satisfactory ending to it now.. MAYBE I'm just lucky and my favourite character is Luka, so I haven't felt the grief of losing my favourite yet, but even if I did, I wouldn't start blaming the AMAZING creators that work so hard. If you're curious, yes, as a Luka fan, I've been told off, I've been told I'm a horrible person, and it's only been 2 days, which is insane to me. There is just so much more about him than "ooh he's a manipulator!" again, I'm gonna sound extremely rude... I love that there are a lot of fans that came during Round 6, but I feel like the people 'leaving' the fandom right now are those same fans. maybe that's just me and I'm just angry at what's happening right now😭

I don't want to offend anyone, these are just my opinions, please take everything I said with a grain of salt!

( @cherry-blossom-sword80 here it is!! tagging some other people I'd like to see this :3 @verdantlights @sotogalmo @rockwgooglyeyes )

[bisonaari]

I don't know if it has been done here before because I don't look around, but I have thoughts about the album and I need to share them with someone or I'm gonna go INSANE

Put your tinfoil hats on for my analysis of everything around People's Champion under the cut (probably people have talked about it and I'm just gonna repeat stuff, be warned)

So I've been a bit insane about People's Champion and I've started to think super hard about the order of the songs. I think, in my opinion, that the songs are arranged to tell the story of his life and career from right after UMK 2023 until now.

Ready To Go: This is where we start. Just post UMK, people didn't fully believe in him yet. I remember people saying "oh yeah sweden is sending someone who already won esc, but we're sending… Jere from Vantaa????". Hence the chorus, where people want to see him fail. But he's ready, he knows that he can do it. He's gonna go through and give his EVERYTHING. The mood of the song is really hopeful, with big intense guitar.

Cha Cha Cha: Do I need to explain this one here? I'm still not over this hahaha, I don't think I'll ever be. But this is where events take a turn for him, hence why it's so early in the album, even though it's his biggest song. Because he has so much to say after Cha Cha Cha happened.

Takavoltti: This is where things start to fuck up. He doesn't want to stay on his butt now that he has achieved celebrity and starts to take on so many, many gigs. A lot of us were worried for his health when we saw how much he was performing during summer 2023. But in the song, he says that he only saw opportunities and he just had to continue to take them. It takes a toll on his body. It starts to hurt, but he goes through it. That mad man. Also a couple of times in the song, people ask him to do stuff. Like a little circus monkey. And he just ends up hurting himself.

Ruoska: The bad comments start to really get to him. In the video, Erika and Käärijä are both dressed and perform as aliens. They've completely been striped of their humanity. They're just gimmicks that you can insult anonymously on the internet. Who cares anyway, they chose this life for themselves. It's their own fault. While the previous song was still a bit on the funny side, this one digs straight into the hardships that they feel. There is no more humour, only pain.

Kot Kot: He's still doing too much. While everyone has gone home, he's still drunk on the dancefloor, trying to reach out for friends who were wiser and left. He's being dragged out of there against his will, because he's so stubborn. Pushing through isn't working anymore, and people around him aren't letting him hurt himself anymore.

Skit: An appointment with a therapist. Käärijä is being cut off CONSTANTLY by the therapist, who can't see Jere as a patient. He sees Käärijä, the star. Even when he's trying to seek help, he isn't listened to. Because he's not human anymore for people at that point.

Autiomaa: Käärijä is breaking down. In the video, the therapist from the skit is taking a picture of him during the appointment. The feeling of loneliness and emptiness is around him all the time, omnipresent, eating him alive. He just wants someone to see him as a person, to listen to him, to help him with the void.

Sex=Money: At that point, you know, might as well. You're not human anymore, who cares. Why not try to get some money selling your ass. Who's gonna care anyway, sex sells and that's what people want to see, right? He made so much money on onlyfans, the press is acting shocked that he would even do that. The song is back to a bit light-hearted. My interpretation would be that he just finds the situation ridiculous, and that's why we're getting humour back in the lyrics!

Bananas: I'm not sure how this one fits in my theory, but we're SO back for humour. Kääriä is getting better. I think that in this one he found resolve to just continue going on. He's annoyed because people still only see him as an object, but he has to go through and live his life. Show must go on.

Huhhuhhei: Quite interesting to put a love song in this timeline in the story. But I think it's because he wants to live in the present, and not in anxieties from the past and the fear of the future. He doesn't know if the person sharing his bed is still gonna be there in the morning, but whatever, it's not important. Tonight, they're his and that's what matters. Thinking of tomorrow isn't gonna bring anything good.

It's Crazy It's Party: He's still stuck in the parties, they're around him all the time. He's still doing a million gigs in Finland and in europe. And just as the song is quite close to Cha Cha Cha, he's back at the beginning, the situation hasn't changed much. But this time, by the end, he goes to the party again, by his own will. And this time, he has people around to party with him.

People's Champion: We're back babes. This song is a love letter to people who love him. This is a great wrap around for this album. He's just remembering how everything went, from the start, until this point. Going through every point and emotion we've been through with him during the album. But in the end, he IS people's champion. He did it. He made it. And even with all the hardships, he's with us, when our hearts all sing together. The last line of this album that isn't a chorus is "Thank you everybody, I love you".

What a journey

So something that you have noticed that I've talked a lot is how people don't recognize Käärijä's humanity. He has been made into a kind of creature of gimmicks. You can ask him everything, you can say everything to his face. Whatever, he's a celebrity, not a person.

And this is where that cover is a GENIUS move.

On the cover, there are NO gimmicks. No bolero, no bowl cut, no bare chest with a tattoo. Just his face. You HAVE to watch his face, there is nothing else to see. You have to watch his emotion being raw, he's crying. This is not a pleasant cover to see. And I know, I've had spotify open on his face all day friday while I was working, it felt awful. But it makes you do something.

You have to acknowledge his humanity. And there's no way around it.

I love Käärijä

[currymanganese]

Fak is too involved in Carmy and Claire's relationship. From giving Claire Carmy's number to showing up at her job with his equally annoying brother. He needs to mind his business and stop assuming what Carmy wants. In s3 ep9 Fak tells Claire he thinks (then later says knows) Carmy loves her. If you don't know Carmy's true feelings about her, why tf are you speaking for him?

Also sometimes it seems like Carmy doesn't even like Fak like that. They rarely have one-on-one scenes together and their conversations are mostly surface leveI. I always thought Fak and Richie were closer. In s2 ep3, when Claire and Carmy are talking on the phone, Carmy says Fak isn't his best friend (but then backtracks 5 seconds later saying he's probably my best friend). Then in s3 ep5 when they are preparing for the photoshoot, Fak said Carmy was #1 on his best friends list. The friendship is obviously unbalanced. Fak is one of those childhood friends you have outgrown but keep in your life due to history and familiarity. This is just another example of Carmy being stuck in the past and not being able to let go. He either needs to set some boundaries with Fak or end the friendship.

I love your blog btw. Your analysis on The Bear are very thorough.

*EXTREMELY HOT TAKE INCOMING*

Thanks for the kind compliments / thanks for the ask, but I'm starting to think that, if my suspicions are correct, that depending on how season 4 goes, that she and The Faks may shape up to be fantastic characters, at least from a trollish comedic parody perspective - and that this may be a huge 'star making role' for Molly Gordon and the rest of actors cast as the Faks if what is being set up is executed well post-reveal, and they demonstrate that, contrary to what we have seen thus far on the show, they definitely have acting range.....

Because I'm like 88% sure now that Claire x Carmy x Sydney's love triangle is an allegory/deconstructed (in part) version of Lilith x Adam x Eve from apocryphal / Jewish tradition. And that 'Sammy' Fak may be an archangel Samael figure

Lilith is Adam's first wife apocryphally and in Jewish mysticism that left him and became a she-demon / mother of demons / the "queen of the night" after being impregnated by / becoming a consort of the archangel Samael (whose name means Venom of God and is a seducing/destroying angel).

My thoughts are too incoherent right now to make a post about this theory in its own right, but all of the above could explain why the scenes where Claire is physically intimate with Carmy are shot in darkness and low light, compared to warm /well lit scenes when Syd and Carmy are emotionally intimate; it could explain why the songs that play during Carmy and Claire's scenes are frequently morbid or are outright about death, or lyric less ambient scores that invoke the feel of psychological horror,

and why mostly love songs are played for Carmy and Syd's.

I've made some posts /edits pointing out the parallels between Claire / Carmy / Syd and these biblical / mythological figures, and a post on why I think John Cena as Sammy Fak is a case of good casting (from a comedy perspective) if the Faks are really meant to serve the function that I think they are meant to below;

but some additional similarities between Claire and Lilith are that they were 'created' in the same way, 'formed from the same dust', as their 'Adam' (whose name can also mean red clay/earth and Claire's last name means mud or muddy fortress) - since Carmy and Claire both come from the same neighborhood/highschool and, depending on how much we see of Claire in the future, they may have both come from dysfunctional homes / be the adult children of alcoholic parents.

The posts I linked below are:

1. A webweaving on Sydcarmy + Adam x Eve parallels;

2. A fan edit that I did that was inspired by the webweaving; side note: if Carmy's words to Sydney at the end of their first convo was foreshadowing for them starting a literal nuclear family of their own, and how many kids they're gonna have, I'll scream;

"We're gonna make family, it's meat, (👀) plus three, and we'll eat around two."

3. A reblog add-on to @espumado et. al's @thoughtfulchaos773 @vacationship @kdbleu 's etc. thread on the theme of haunting / religious / mythological imagery and parallels in the show in season 3.

4. Another thread on religious symbolism in Season 3 and Claire and Syd / Carmy's relationship kicked off by @vacationship.

5. Another reblog add on I made in response to @glitterslag about the episode Review in Season one possibly representing/parodying the biblical "Fall of man".

6. A fan edit that I made for clairecarmy with the intent of being humourous at first, but unexpectedly turned out pretty nightmarish / psychological horror-esque without much work because the material/ dark imagery is there; including an eye opening parallel between Claire and Donna.

7. A post on the Bear being a super deconstructed Shakespearean pastoral comedy e.g. like As You Like It.

8. The religious symbolism of Carmy's red string of fate dish for Syd possibly being a visual allusion to the sacred heart of jesus, which is an emblem of God's long suffering and passionate love, an add-on to @twokisses post

Tagging @ambeauty @angelica4equity @imliterallyjustablackgirl @devisrina @ripley-stark @bootlegramdomneess @gingerylangylang1979 @outmakingmoonshine @pureseasalt @augustmonsooning @brokenwinebox @whenmemorydies @mod-doodles @bioloyg @caiusmarciuscoriolanus @post-woke @myloveismineallmine @turbulenthandholding @anxietycroissant

@moodyeucalyptus @ago0112 @unbeweavvveable @blackjack-15 in case anyone wants to chime in.😭

[psychhound]

ttrpgs in the classroom (part 8)

oh boy have i not made one of these posts in ,,, like a year. grad school is crazy yall. lmao. but. i wanted to share what we do for our analysis unit now that we've hit it this semester!!

other games used in the unit:

we are but worms & graves for funerals

the assignment:

write an essay of approximately 1000 words doing a literary analysis of some aspect of a game, first forming an inquiry question, then looking in the text for evidence, then coming up with an argument about a deeper meaning of the text. the second draft of the assignment can either be an expanded essay, or a multimodal piece of the student's choosing. (the other option for this essay is to do a rhetorical analysis of an argumentative text about gaming)

the games:

[ID: a powerpoint slide titled choose your fighter game (the word fighter is crossed out, so it reads choose your game). it shows five ttrpg titles, with a short description of each, and an icon to represent them. the background is a light orange sky and green grass in a video game like art style. there is a fake game menu bar on the bottom. the games in the slide are functionally described below. end ID]

when we made war upon the slumbering woods by richard kelly @sprintingowl

a collaborate journey into the magical woods ... to destroy it

the treasure at the end of this dungeon is an escape from this dungeon and we will never escape from this dungeon by riverhouse games @riverhousegames

a lyric game about a never-ending dungeon and those stuck there

kenzie's project by sasha winter @stargazersasha

a Weird Academia horror game for three players

i love you, alive girl by anna anthropy

a 1-page game about writing love letters under surveillance

drifters by gila rpgs

a Weird West game of gunslingers and their guns

past semesters game options:

a dragon game by chris bissette cozy town by rae nedjadi @temporalhiccup

the process:

in the powerpoint introducing the games, i have a more thorough description of each one, and then three examples of inquiry questions that they could use as jumping off points to do their analysis on. the inquiry questions ask things like, what moral stance might this game align itself with, what other stories is this game in dialogue with and to what effect, what does this game have to say about the current state of our society? the students can use these inquiry questions or not, theyre only meant to be examples

the results:

this is definitely the most challenging project for my students, but i think that challenge is good for them! i've had really mixed results, with the most common issue i run into just being surface level analysis. they are, however, 18 and have never done anything like this before (for the vast majority of my students) so a lot of my feedback is just pushing them further and trying to get them to say something interesting. i really love a dragon game and cozy town, but i found they didnt have enough context of ttrpgs and dnd/pf to really Get why a dragon game was interesting, so i replaced it with escape from this dungeon since thats got some more meat for them like voicey rules and characters. and im a big fan of nedjadi's games and wanted to give my students something more cute and fun, but they struggled to find much to read into or say about it that wasnt very surface level. escape from this dungeon and ilu, alive girl are new games this semester so we will see how those go over!!

[project-sekai-facts]

what do you think the "Please forgive me and Purple" mean? considering the Miku (and Teto!) version it could be stand as a prayer like "Amen" yk? I always thought it said "please forgive me Empurple" as if "Empurple" was an entity

please forgive me and "purple", the wavering me dyed purple

So empurple means "to become purple", hence why in the official english lyrics "empurple" is replaced by "dyed purple". I think the 'and "purple" ' in the lyrics is representative of Mafuyu's emotional state, as in, her true and genuine self waiting to be found/freed. The real Mafuyu - her image color is purple after all. I think to understand what it means to Mafuyu at least, we need to look at the SEKAI ver instead of Harumaki Gohan's version. It was written for Mafuyu, so most likely Mafuyu is the origin of this lyric, which was then put into a different context with Harumaki Gohan's MV.

In the first verse where Mafuyu sings "the real me feeling stuck in my throat is empurpling", which gives us an image of Mafuyu struggling to open up about her feelings. The longer she feels stuck and keeps everything in the more purple it becomes. This is confirmation enough that the "purple" that she's asking for forgiveness for is just the things she kept hidden from her parents. It makes a lot more sense if you consider that this is the event where she starts to reconnect with her dad, and truly starts to trust him and open up to him. You don't have to read past this part, I have answered the question.

I think it's worth mentioning as well that we see these red and blue strings throughout the entire MV, obviously red and blue being the colors that make purple. We'll get more on what red and blue mean in the context of this song later, but just briefly I want to talk about this specific frame here. Strings have been a recurring motif for Mafuyu from as early as her first ever event, Captive Marionette. In that event, Mafuyu likens herself to a marionette doll, with the way she feels completely under the control of her mother and like she's being used for her mother's own performance (that will get its own analysis in due time). Her card for that event shows her dressed as a marionette doll bound by strings.

The strings come back for her aptly titled My True Feelings card in her fourth event, Saying Goodbye to my Masked Self. She's seen cutting the threads here, symbolising how she ran away from home and effectively cut off her mother. And now back to Empurple. In the opening shot of the MV, we see red and blue strings wrapped around Mafuyu's ankles, binding her to something offscreen. Behind her, towards the area she's being bound to, we see a bunny plushie and some apple slices cut into the shape of rabbits.

These are taken from her Memories of Warm Affection card, which shows kid Mafuyu being taken care of by her mother. The event Empurple was commissioned for, Reeling in the Lights, heavily calls back to Mirage of Lights, Mafuyu's second event and the event this card originates from. It's pretty clear here that Mafuyu is being bound to her mother, and her memories of her mother's care for her when she was younger. Continuing on with the actual song:

The next part of interest is the first pre-chorus. The first shot here is one of a child's hand holding an adult's, obviously meant to be Mafuyu and her father based on the card for this event (below). The next shot is of kid Mafuyu's eye, much brighter and with a far lighter blue color. These two shots are accompanied by the lyrics "Try to open my left hand and have a look? It's still embedded with blue eyes." (It is in fact her left hand that she uses to hold her dad's hand in her card). Now here's where we get to the meaning of blue in the song and MV.

The blue here is meant to represent Mafuyu's younger self. Her more genuine and innocent self before her parents started setting more pressure and expectations on her. The first line of the chorus is "If I saw that, would I be surprised", which I think perfectly encapsulates how Mafuyu feels when looking back at her childhood. In both of the "Lights" events focusing on her relationship with her parents, she looks back on these childhood memories that are so distant from her reality that she'd almost forgotten them, and yeah, it's surprising how different her life was and how she was when she was younger. The second line of the chorus "I just want to live once with genuine feelings only" plays into this too. And then we come back to the "purple".

If we hold hands, it would be great if you could understand, Please, Forgive me and "Purple", The wavering me is Empurpled

It's very clear here that this is all directed towards her father. In the event, we flash back to Mafuyu's dad comforting her during a thunderstorm, and although its one of her only memories of him because he was very absent from her childhood, she realises that she associates him with being a source of support, and decides to tell him more about how she really feels. She affirms her trust and comfort by holding his hand. In the context of the song, she's asking him to forgive her and all the things she's been hiding over the years.

The next point of interest is the second prechorus, which is very similar to the first, only this time, it's about the "red". Once again we get a shot of Mafuyu holding her dad's hand, only this time it shows the present day, and Mafuyu is using her right hand this time. Like how the first prechorus mentioned her left hand, this one mentions her right, with the precise lyric being "Try to open my right hand and have a look? You'll find a crimson sky.". An aside, her eyes aren't crimson here, I won't deny that, but they can't exactly just give Mafuyu red eyes, so for the sake of this analysis, pretend she has red eyes or something or that crimson and indigo are the same thing. We see the shot of teenage Mafuyu's dull indigo right eye over the lyric about the crimson sky, a direct contrast to her bright blue eyes from the first prechorus.

The "red" in this song references Mafuyu's current state of being. A girl struggling with expectations and appearances to the point she lost her sense of self, her emotions, and her will to live. All of this has been kept well hidden until the mask finally came off in her previous event, and now her father is seeing this completely new side to his daughter too. It's far more impactful though with the knowledge that he was an absent father, and never really got to spend any time with Mafuyu due to his work schedule. Like he never really knew Mafuyu to begin with in some ways. All he knew of her would've mainly come from how other people saw her, which is what caused this in the first place.

The first line of the second chorus is "If you see it, will you be shocked?", obviously referring to how she has her worries about telling her dad these things about herself. He is, in fact. shocked by the situation. He's completely stunned when he finds out Mafuyu can't even taste the food he's been buying her back in The Tone Played on that Day, because this is nothing like the Mafuyu he thought he knew. At that point he knew Mafuyu had been struggling, but he had no idea of the severity of it because Mafuyu had been holding these things in her throat.

The second line interests me quite a lot though. "The crimson sky is so beautiful, yet you'll never know." I've been trying to think about what quite we're looking at here for a few minutes, but here's what I've interpreted it as. Where we are right now in the story, the crimson is the closest we can get to the real Mafuyu. It's her true self as much as her current emotional state will allow, and obviously there's some beauty in that. It's far more authentic that the manufactured facade of blue that she'd been putting up for the previous few years. "yet you'll never know" could refer to three things in my opinion. Number one: Mafuyu's unwillingness to open up before the end of this event. No one gets to know her real self, because she won't let people see it. Number two: Mafuyu's father missed out on a huge amount of her childhood, and missed many of the signs that Mafuyu was going through mental anguish. Obviously, this ends up being remedied at the end of the event. And number three: This is aimed at Mafuyu's mother, who doesn't understand how this has happened and refuses to accept that this is who Mafuyu is.

And the last part of this chorus is "If we hold hands, it would be so warm... Please, Forgive me and 'Purple' ". Warmth is something that comes up a lot in Mafuyu's story. It's a sign of comfort for her. Her mother, or even just her presence, physical or not, is consistently described as cold and icy. It's unnerving and chilling. However, being around Niigo, holding their hands, brings her an unfamiliar warmth. Mafuyu associates this warmth with how she felt around her mother when she was younger. She can't quite place it, but it's a feeling of safety, comfort, and happiness. As I mentioned earlier, although Mafuyu has very few memories of her father from when she was a kid, what she does remember of him brings her that same feeling of warmth. And it's different to how her memories of her mother give her warmth, because he's still here, now, trying to help her.

I particularly like the bridge and final chorus too. There isn't much to say about the MV here aside from the fact it gets darker during the bridge, connecting with the "crimson sky that was hidden at all costs" lyric. Mafuyu is the last person to sing, and as expected it's darkest then, though it does get brighter as she finishes her line, probably because she's going to be more open from now on. I like the "still tinged with blue, these eyes" part too, because obviously, her happier and genuine "blue" side is still a part of her, she's just lost sight of the genuine manifestation of it over time. Blue and red make purple after all, and you can't get the true purple form of Mafuyu without combining her blue and red sides.

The final chorus refers to the event story again. "The important things, I'll keep them with me" obviously references the memories of her dad comforting her that she never let go of, "Inside my body, something is still broken" because Mafuyu isn't fully healed yet, and "If we hold hands, please fix me" because she is going to let her dad help her from now. Them holding hands was a sign of trust between the two of them, and a sign that Mafuyu is going to be genuine with her father because it is what's best for her, for real this time. He says in the event that he's been looking into getting her seen by a hospital (therapy), so he truly does want to help her.

The MV ends with the same shot as we started with, only this time, the camera has moved over to the left a bit, fitting with the fact that her "blue" childhood happiness was said to be on the left. The strings binding her also fade away, and allow her to step towards a new person whose feet have appeared in the frame, who is obviously meant to be her dad (Mr Asahina canonically wears sliders). We're finally seeing Mafuyu make some significant progress following her running away. Even after she ran away, she was still bound to her mother, and the warm memories she had of her, but now she's found someone who can give her that support and love for her genuine self in the present. She's freeing herself little by little.

[rosenotactuallyquartz]

both of you

this song is incredibly special.

it’s almost like it’s over isn’t it is the questions. as i said in my post about it’s over isn’t it, johnston said that pearl feels lost and out of place by the end of the song. both of you has the answers!

steven

i love that steven is the one who sings it. it helps greg & pearl connect, because they’re raising steven. steven reassures them that he feels loved. more loved than greg felt as a kid, along with rose and pearl, who never even got to be kids. pearl also saw how pink was treated in her early years.

rose would be proud of both of them.

rose symbolism

of course, steven is singing the song, but they can still sense rose’s love and lingering presence.

pearl tends to notice the personality and speaking pattern similarities between steven and his mother. in rose’s scabbard, she said, “sometimes, you even sound like her.” so, steven singing the song helps with certain epiphanies and needed closure.

he also has her gem, and when he sings the first, “you both love me and i love both of you,” a tear falls from his eye. to me, it represents rose’s healing tears. interesting, because:

“steven, your mother had healing tears that flowed from her gem. she felt real love for those around her. she felt real sorrow when they were hurt.” — garnet, an indirect kiss.

it definitely symbolizes what rose would say to them if she was alive.

after that line, greg & pearl tear up, too. pearl tears up exactly like she does in the scene where she says steven sometimes sounds like rose (after: well, i think you’re pretty great).

she’s also symbolized by the rose petals in the air and the light around steven being pink. which brings me to my next point.

colour symbolism

the light around steven is pink, symbolizing his mother. rose’s colour was pink, and she also happens to be pink diamond—something that is only known by pearl at the time.

the light on greg is yellow and the light on pearl is blue... which symbolizes a lot of different things.

foreshadowing, for one thing. somewhere on homeworld, blue and yellow are at odds as they’re dealing with the loss of pink. pink, who became rose. this scene gives us a hint about rose’s secret, because eventually we meet blue & yellow and we hear what’s the use of feeling blue. obviously these are two completely different situations involving two completely different people, but it’s a pink diamond hint.

their colours also represent things about greg & pearl in particular.

yellow symbolizes optimism and light, the way greg tries to keep life light for the people he cares about. this is both good and flawed. while he likes living in the moment, he never wanted to have deep conversations & talk about the past. sometimes it can be a form of avoidance, especially when things are unhealed, important, or impacting the present and future.

as i said in my last analysis, greg and pearl are two different extremes & opposites.

blue symbolizes order, loyalty, honesty… but blue also symbolizes sadness. she keeps secrets, always tries to take care of everyone, and it makes her forget about herself. blue also symbolizes timidity, just as the confusing situation, personal insecurity (i.e., always focused on what she can do for her/how she can help her, yet rose could find comfort in simply who pearl is), and pain has made her believe that rose didn’t love her as much as she loved her.

as they bond, he finally provides a sense of warmth that helps with the coldness she feels, and she allows him to really feel everything that he often tries to avoid.

“why don’t you talk to each other, just give it a try. why don’t you talk about what happened, i know you’re trying to avoid it but i don’t know why.” — steven, both of you

it’s funny, the way that these lyrics point out some of their major flaws and how it’s worsened their grief. greg avoids talking about emotional topics, and pearl hasn’t tried to talk to greg about rose and the reasons behind her death, because she has distanced herself from him. which is a very realistic and understandable thing to do, especially in early grief. however, talking to each other makes her realize what really happened. lastly, i don’t know why is related to rose. she didn’t know that they were at odds, she didn’t know how the norms of human relationships worked. despite we need to talk, there were still many things that were left unsaid between… everyone. she was often stuck in her own mind, which was not the best place to be, so she was quite oblivious to the things that were going on around her. heck, she was stuck wondering why two great people cared for her.

the conversation

greg: look, if i were you, i’d hate me, too.

pearl: i don’t hate you.

greg: but i knew how you felt about rose and i stayed anyway.

pearl: that wasn’t the problem.

greg: then, what was?

pearl: she fell in love with you.

pearl’s “blue” allows greg to finally look back at painful memories from the past. as he speaks, his voice sounds similar to how he sounded when he was just 22. he acknowledges the fact that he should have asked more questions about pearl’s love with rose, along with understanding the differences between gem and human relationships. he knows he avoids heavy topics and gem topics, but he recognizes that despite his efforts in we need to talk, he regrets not attempting more communication between all of them. he’s able to have regrets instead of focusing solely on the positives and the present.

doing so helps pearl get some closure. she also has her own epiphany which helps her want to be greg’s friend: he was the first human who cared for rose enough to actually build a meaningful connection with her. she realizes why she said, “i was fine, with the men…” earlier. greg was different. but in a good way, really.

of course she worried about greg being rose’s favourite: not only does she struggle to understand human relationships, but his bond with rose was the first bond she had with a human that wasn’t meaningless like her past bonds. pearl felt confused and everyone was avoiding conversations for different reasons.

and yet, in the background, steven sings, you both love me and i love both of you.

she always did what she wanted!

this line represents the positive and the negative reasons behind rose’s decision to give up her physical form.

while greg and pearl are around each other and they’re allowed to see the situation in a new light, keep in mind that they never switch colours. pearl’s light remains blue and greg’s light remains yellow.

pearl always wondered: “why did she choose to create life with him and die, over living with me forever? she not love me enough?” she questioned this earlier, during it’s over isn’t it, but as i said earlier, both of you gives her the answers.

you both love me, and i love both of you. she seems to get this epiphany that rose loved everyone who loved her. she loved them as much as they loved her. she loved them the exact same way they loved her. no more, no less.

there is no single reason behind behind rose’s death, but the reasons are unrelated to rose choosing someone. the reasons are related to her and steven.

—> pearl’s symbolism

“that wasn’t the problem… then, what was?”

as pearl realizes that rose did fall in love with her, too, she realizes that falling in love with anyone wasn’t really the problem.

the problem was, she’d fall in love… and she’d love whoever she loved far more than she could ever love herself.

as the show continues to progress, pearl is realizing just how much rose was in love with her, but she’s also simultaneously realizing just how much rose didn’t love herself.

she will no longer look back at the memories and say, “i wish she loved me as much as i loved her,” she’ll say, “i wish she loved herself as much as i loved her.”

pearl represents the rose-related reasons behind this decision: how she thought everyone was better than her & would be better off without her.

“people would be drawn to her, gems would be drawn to her, and i don’t know if they would necessarily realize that she was worshipping them, which was compounding her own sadness.” — rebecca sugar

pearl says, “she always did what she wanted!” close to tears. it symbolizes the pain behind rose’s decision.

—> greg’s symbolism

as steven’s father, greg and steven share similarities. they look alike, and he also has this memory:

“but you, you're supposed to change. you’re never the same, even moment to moment, you're allowed and expected to invent who you are. what an incredible power… the ability to grow up.” — greg the babysitter

greg represents the steven-related reasons behind rose’s death: her love for humanity, growth, creating life on her own, creating someone who she knew would be a gift to those she loved, and her love for steven.

rose’s death was a tragedy, and nothing can change that. there were heartbreaking reasons behind her death.

at the same time, this doesn’t mean she loved steven any less! she loved him so much, and she was so excited for him to exist.

in a way, this song gives answers to everyone, honest answers.

all three of them are loved by rose in different ways, genuinely and deeply. the only person she didn’t love enough was herself.

greg says, “she always did what she wanted!” with a laugh at the end. it symbolizes the warmth and love behind rose’s decision, and the wonderful person that they have in their lives. steven is a gift from rose.

final thoughts

steven, pearl, and greg all grow together in this song. it’s special, because this was something rose loved the most: growth. it will always be tragic, because she loved them all and she loved growth, but she never believed she could grow and she couldn’t love herself.

still, this song gives them a sense of closure and reassurance. they learn from each other and see the situation for how it truly is. they experience rose’s presence and they are able to bond once they realize they have a lot in common: they’re grieving, they’re raising a kid they both love. they’re able to do this with the realization that there really was no love triangle here, no choosing someone over the other. no one said, “yeah, i’ll just accept that she loved you more,” or “well, i mean, she loved you like a friend!” because that’s not the case.

i love this song so much, and it’s so underrated yet so deep and complicated.

[2500ji]

alright, that’s it.

i’m sick of seeing hate against people who don’t read the project sekai stories. this fandom has a lot of problems and this collective hatred of anyone who doesn’t dedicate hours upon hours to read the stories is one of them.

first of all, the event stories are fucking long.

each episode can be anywhere from 15-30 minutes if read as the game intends (with auto on). multiply this by 8, and you’re talking possibly 2-4 hours PER EVENT. this doesn’t even account for mixed events, which have 2 extra episodes.

not to mention, there are 137 events on the japanese server (and 101 on the english server) at the time i am writing this. 3 hours average times 137 events equals a total of 411 hours. that is 2 and a half weeks of solid content. to say that’s daunting for people who started playing the game any sizable amount of time since its release is a massive understatement.

not to mention, the events, if viewed in-game, take a massive amount of storage space. not everyone’s device can handle the insane amount of space needed for this game’s events (even moreso if you plan to listen to the voices)

not everyone plays the game for the events, and they’re NOT needed to enjoy the characters.

i get it. if someone who hasn’t read the events is trying to have in-depth analyses of the characters or the groups, they’re bound to mischaracterize. the thing is, nobody’s really doing that.

not everyone downloaded the game because they wanted to read 400 hours of stories. yes, they are a fundamental part of the game. i’m not trying to deny that. however, so is the rhythm game. i don’t see any hate towards people who hardly touch the shows. because they’re not for everyone.

you should be able to talk about, write fics for, and roleplay as the characters without needing to read the stories. yes, people may mischaracterize. but reading the stories doesn’t make you exempt to that either. i’ve read fics from people who read every story for the group the fics were about that still managed to get so much wrong.

the events can be serious triggers.

i’m a HUGE niigo fan. i buy nightcord merchandise, i’ve played almost all their songs, and i love the characters. i have not read a single solely-niigo event. you know why? because they are extremely triggering for me — the most blatant example being the most recent event on ensekai; “farewell, my mask.”

project sekai’s stories are beautiful. but if one’s writing is always light-hearted, it will not touch people as dearly. (i mean, for christ’s sake, No Seek No Find revolves around this exact statement.)

and project sekai is no exception — their stories unapologetically dive into extremely heavy topics, including but not limited to emotional abuse, grief/loss, and being hospitalized. reading the nightcord stories as people have tried to genuinely harass me into doing would result in some extremely bad feelings.

and i’m not the only one — many people i know, some who have even reblogged and expressed agreement with posts hating on those who don’t read the stories, have shared my sentiment. you cannot insist people read the stories like i’ve seen many people do, because you have no clue what might trigger someone.

what should we do, then?

first of all, build up some tolerance. not everyone is going to read the stories, and some people may mischaracterize the characters. did someone make a character analysis that ignored a big aspect of a character? scroll past the post. did someone write a fic making a character say and do things they usually wouldn’t? hit the backspace button.

second of all, try to be open-minded to the opinions of people who haven’t read the stories. maybe they get their content through the commission song lyrics, or maybe they diligently read the area conversations. or maybe they don’t! maybe they just want to talk about their fave.

if someone’s misinterpretation is genuinely harmful or bigoted, call out the harm and bigotry. that person who called ena an abusive sister despite akito acting similarly? call out the misogyny. this goes for any harmful interpretation of a character or group.

and finally, try to have some fun. this is a game. we’re all fans. if you do nothing but perpetuate hatred, nobody’s gonna wanna play toys with you.

[incorrecttowerofgodquotes]

Tower of God S2 OP Analysis (Spoilers)

The opening starts with Bam sinking after being pushed down by Rachel, before eventually being overtaken by a red light, one in which we can see the Thorn hidden in.

In this Wangnan shot, there’s a number of items littered around, with the most important being the ring and crown, signifying his status as the self proclaimed “future king of the tower.” Nia shows up after Lurker bursts in, signifying his true allegiance. There’s also a banner to a ramen place behind him

Bam is wildly reaching for his old Test floor friends as they continue without him. As Bam rips the page, we see a singular star which breaks the rest of the image, showing how Bam’s happiness with his friends was sacrificed just for Rachel’s obsession with the stars. (The lyrics here are “Even if I reach out, I can’t touch it”)

Here we see Horyang, Cassano, and Sophia, as well as the tubes Horyang and Cassano were trapped in when becoming living Ignition weapons. The wings sit upon each’s respective shoulders. (The lyrics here are “getting hurt”)

This is the money shot, so many details. There’s a rip between Khun and Rachel while curtains act as a border, showcasing that everything between the two is an act. Ran, Nobic, Dann, and Gyetang sit on Khun’s side while Apple and Micheal sit on Rachel’s side, hinting at their betrayal. Khun’s side also has an eye watching Rachel, a crown to signify his desire to become the head of his family, and a masquerade mask to show that he’s putting on a mask in front of Rachel, but one she’s able to see through. Rachel’s side has mouths showing how she lies, and a bloody knife to represent her stabbing Khun in the back and Dan in the legs. (The lyrics here are “betrayal”)

Jinsung and Hwaryun stand before a bunch of faceless FUG followers, though we can see Karaka lurking in the background to the left.

Here we see all five princesses we’ve come to know. Yuri, Maschenny, and Repellista are within the boundaries created by Jahad while Anaak and Endorsi are passing the boundary. There’s also a lizard sticker on Anaak’s side and a butterfly on Endorsi’s. (The lyrics here are “it’s painful”)

We cycle through all the important test admins before eventually settling on Hansung and Augusgus as the colors shift and chains in the background disappear. This shows their allegiance to FUG.

This shot (Ehwa) isn’t important I just like it. But we do get to see some important settings such as Repellista’s palace, the 21st Floor Whie Cichlid, and a house (though I can’t quite tell whether it’s Khun’s or S&S’s). (The lyrics here are “Burning red fire, blazing emotions”)

Prince and Miseng pass by, each in monochrome up until they finally notice each other, both giving a small smile towards the other

These shots with Viole are pretty quick but there's a good amount of meaning, so I’ll number them off.

1. The two rings Wangnan and Karaka bear (The lyrics here are “Bonds and a wishing heart, they become the key”)

2. This is Rachel’s wheelchair (thank you @ylge-alt on Twitter). Yellow daisies represent friendship and positivity

3. The scratched off name sheet

4. Nia’s dead body

5. The treasure chest and key containing the sweets from the Floor 28 test

6. This shinsu test machine showing Viole’s number in first place

7. A plate of sweet and sour pork

8. Arkraptor’s earring

9. A bloody knife and an apple with a bite taken out of it, once again referencing Dann getting his feet stabbed

As we reach the chorus, we climb up a pair of stairs as Headon welcomes us and here we go through each arc Viole bears witness to before ending on Khun standing in the entrance to Arlene’s hand.

Finally, we end on Team Sweet and Sour standing together on the stairs that rise even higher, with Wangnan especially excited at continuing his climb.

[queercanon13]

The Karma music video is packed with queer and sapphic themes. But what’s with that yellow beret?

We all watched the Karma music video on Friday (or Saturday), right? And then we all watched it ten more times because there IS JUST SO MUCH THERE. Right?!

I can’t even begin to unpack the whole thing yet, but let’s talk about the yellow brick road scene.

Taylor is obviously wearing ruby slippers (“the rubies that I gave up”) alluding to Dorothy/the Wizard of Oz. But she’s not wearing the rest of Dorothy’s getup. That’s because she’s not Dorothy, but in fact a friend of Dorothy.

She’s holding a broom (lots of witchy themes from her lately) and blows a kiss of blue (iykyk) glitter to three grim reapers (the two SBs and…?).

She’s keeping her side of the street clean, which harkens to the YNTCD MV where she clearly shows which side of the street she’s on:

Other things of note: it appears there are daisies embroidered on her collar, as well as growing along the yellow brick road. Her braids are also looped (“your braids make a pattern”).

The yellow brick road itself may be a nod to Elton John and his album/song Goodbye Yellow Brick Road. Here are some of the lyrics from that song, as well as a generally accepted analysis of the lyrics:

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Seems like it would be super relatable to Taylor, right? Add in Elton John’s queerness/coming out journey, and the parallels continue.

There are probably a hundred other things I’m missing just from that scene alone, but what I really wanna talk about is the yellow beret, especially in light of current news surrounding Taylor.

When I saw the yellow beret, I furiously googled “yellow beret” + the names of Taylor’s muses, but I came up empty-handed. Because Taylor is specifically not wearing a Dorothy costume, I knew that fucking hat had to mean something. Then I remembered — isn’t yellow beret a military term? And we know she loves a good war story. To Google I went, and the results did not disappoint.

During the Vietnam war, all physicians in the US had a mandatory draft order. One of the ways to avoid the draft was to apply for a position with a Public Health Service program called the NIH Associates Training Program. Because the elite program was highly competitive, only a small percentage of doctors were able to serve their required military time without going to war.

Yellow beret was a self-deprecating and derogatory term used by and for doctors who avoided getting a green beret/going to war (yellow can be associated with cowardice, i.e. “yellow-bellied”) via the NIH program.

Sounding familiar? But wait there’s more.

Bob Seger wrote a song in 1966 called The Ballad of the Yellow Beret. It was written as a parody of the song The Ballad of the Green Berets. Here are some of the lyrics (I encourage you to read all of them!):

Verse 1: Fearless cowards of the USA // Bravely here at home they stay // They watch their friends get shipped away // The draft dodgers of the Yellow Beret

Okay, I’m seated.

Verse 3: Men who faint at the sight of blood // Their high-heeled boots weren't meant for mud // The draft board will hear their sob stories today // Only the best win the yellow beret

Oooookay.

Verse 4: Back at home a young wife waits // Her yellow beret has met his fate // He's been drafted for marching in a protest //Leaving her his last request

Are you screaming yet? Just wait.

Verse 5: Put a yellow streak down my son's back // Make sure that he never ever fights back // At his physical have him say he's gay // Have him win the yellow beret

And if that wasn’t enough, two of the last lyrics are “I've got a pimple on my trigger finger” (ew) and “well, we were planning on having children sometime soon” (devastating). These themes also align with The Great War, epiphany, etc.

But despite attempts to diminish their efforts through claims of cowardice, these “yellow beret” physician-scientists contributed to some of the most important and innovative medical research we have today. Dr. Fauci attended the training program, as well as nine others who went on to win Nobel Prizes.

Could it be that Taylor is trying to tell us that, while it looks like she dodged the draft (didn’t come out), she’s doing some important mastermind shit behind the scenes? Only time will tell, but since we are now at “dawn,” I believe daylight is soon to follow. ☀️

[keepingsecretstokeepyoutk]

So Long London - Full Lyric Analysis

My Gaylor/Kaylor interpretation at a glance: Taylor uses the bearding narrative of her breakup with Joe as an allegory to talk about her reluctant decision to “break up” with her fans/kill off her public persona in the process of coming out. 

The Joe bearding narrative was likely created for this very purpose - an "ex" who didn't allow her to "bejeweled" (be her whole self), who she tried to make it work with, tried to change herself for, before realizing she couldn't keep sacrificing her wellbeing, mental and otherwise. Read through this lens, this song is devastating, so prepare yourselves emotionally, maybe have tissues on hand.

I interpret a number of the "break up" songs on this album (almost all of them) as being about her reaching the end of her rope with being in the closet and trying to slowly change her fan's attitude towards her queerness. So many of these songs imply that she has hit her breaking point, and the metaphor of a failing romantic relationship is the perfect vehicle to express this shift.

I believe this precedent exists in her work, and for this particular chapter, was established with "You're losing me".

This is also one of a few songs on the album that conceptualize her fame (as obtained with her public, hetero persona) as a place. In this song, that place is represented by London (hence, "so long, London"). In Florida!!! she may be running away to Florida from this place, (after she comes out and needs to escape the backlash). In "I hate it here", she dreams of escaping this place, and imagines two other locales within the lore of her songs - "secret gardens", a probable parallel to Betty's garden and the "garden gates" in Cruel Summer, as well as the "lunar valleys" referencing the galactic landscape established in Down Bad.

Lets get into it!

Verse 1

“Saw in my mind fairy lights in the mist/kept calm and carried the weight of the rift/pulled him in tighter each time he was drifting away/my spine split from carrying us up the hill/wet through my clothes, wary bones caught the chill/stopped trying to make him laugh/stopped trying to drill the safe”

In this first verse, Taylor introduces the idea of her fans being like a partner who isn’t present in the relationship, and more importantly, a partner that is ultimately rejecting her true self. 

“Fairy lights in the mist” - Taylor has used daylight/light images to represent the end of her closeting/her coming out for at least 5 years. Here she sees small pinpricks of light amongst darkness and the classic metaphor for hiding/confusion, etc - mist. She is saying that in the past she had hope, she saw a possible path forward to coming out while also keeping all of her fans.

“Kept calm and carried the weight of rift/pulled him in tighter each time he was drifting away” - Taylor reflects on her years of hoping that she could slowly introduce her fans the idea that she is not straight, then come out with minimal rupture in her relationship with her fans. She tried to keep the faith and looked past a lot of bad behavior on the part of some of her fans, convinced that she could make them see her and that their love for her would extend past their need for her being the persona they have grown attached to.

“Stopped trying to make him laugh/stopped trying to drill the safe” - ultimately, she gave up, having been rejected too many times - ignored when she clearly signaled her gayness and the masses of her fans just refused to acknowledge it. Beyond refusing to acknowledge it, they bullied those that did see it, demonstrating to her how reviling they found the idea that she might be queer. “Drill the safe” is a metaphor for trying to force something that will never happen, she is realizing she needs to let go of something that isn’t for her.

Chorus

“How much sad did you think I had/did you think I had in me/oh the tragedy/so long London/ you’ll find someone” 

Taylor now must ask her fans, how long did you expect me to sacrifice my own happiness while you continue to ignore my pleas for you to see me? 

“You’ll find someone” = you’ll find another idol/para social relationship to obsess over, identify with, etc. This is a reference to Dear Reader, when she sang “you should find another guiding light.” In that song, Taylor warned fans that she is not who they think she is ("you wouldn't take my word for it if you knew who was talking"), that the idea they have of her life is constructed, and strongly lamented her life choices, essentially telling fans they shouldn't look to her for life advice, because she is lonely and miserable. Here, the reference not only underscores the idea that they don't know her, but also that she is making the choice for them to "find someone" else, because she is choosing to come out of hiding, and in so doing, is also choosing to leave behind the misery that made her write Dear Reader in the first place.

Verse 2

“Didn’t opt in to be your odd man out/I founded the club she’s heard great things about/ I left all I knew/you left me in the house by the heath/I stopped cpr after all it’s no use/the spirit was gone, we would never come to/ and I’m pissed off you let me give you all that youth for free.”

I made a post about the "Heath" reference that you can read here. Please note the reblog of it that I added an addendum to about the Heath being a park in London. Heath was a doctor that practiced conversion therapy, meaning that her fans "left her at home" with someone trying to change her. By ignoring her signaling, they told her they didn't want the real her, which kept her in the closet, and I fear kept her more vulnerable to those who may have tried to manipulate her into trying to change herself, or deny her true self even behind closed doors.

"I stopped cpr after all its no use/the spirit was gone we would never come to" - again Taylor is using the of a failed romantic relationship to express her lost hope in salvaging the corners of her kingdom that ultimately won't accept her when she comes out. This is also an example of the frequent gothic/death related imagery Taylor uses on this album, a theme consistent with the idea that something is ending, that she is killing off her public persona.

"and I'm pissed off that you let me give you all that youth for free" Taylor has spent so many years choosing her fans and her current carrer path over the full expression of her life and happiness. Again, she had hope that the people who have given her endless validation and effusive praise for years would accept her for who she is. She is realizing that the love between her and at least some of her fans was conditional, and given what we know of how much her fans have meant to her over the course of her career, this was likely a devastating wake up call that took years for her to accept - undoubtedly a huge factor in her seemingly delaying her coming out so many times.

"So long London/Stitches undone/two graves, one gun/I’ll find someone”

Taylor has said her fans are her longest relationship; the imagery in this song reflects the idea that this is a break up with someone she has tried with over and over again. So she undoes the “stitches” that link her to them. This line references her song Glitch on Midnights, “fasten myself to you with a stitch” symbolizing being bonded with a romantic partner (which represent a portion of her fans in this song).

"Two graves one gun" is likely a reference to burying her public persona self, and the second grave could represent her fans (a parallel to the "cheating husband" in "Florida!!!"?) or it could be a shrouded suicidal thought - the second grave being her private persona - both selves being killed off. This lyric is one of my favorites in this song but I don't have a strong conviction on who the second grave is, I'm very open to others' thoughts...

Bridge

“And you say I abandoned the ship/but I was going down with it/my white knuckle dying grip/holding tight to your quiet resentment/and my friends said it isn't right to be scared/every day of a love affair/every breath feels like rarest air/ when you're not sure if he wants to be there/So how much sad did you think I had, did you think I had in me/How much tragedy/Just how low did you think I'd go/Before I'd self implode/before I had to go be free"

"And you say I abandoned the ship...white knuckle dying grip" Taylor emphasizes her wish for things to be different with this lyric, clinging to her ship as it sinks. We all saw her try to right the ship, she's finally choosing to let go and swim to safety (a nautical parrallel to the manuscript's "my trip to your shores"?).

“My friends said it isn’t right to be scared everyday of a love affair…if you’re not sure he wants to be there”

Similar to when someone is in a bad romantic relationship, i imagine her friends expressed their concern that her relationship with her fans is unhealthy. Although many of her friends are high achievers themselves, Taylor’s success is in another league (monster on the hill) and they would likely have expressed their hope that she can slow down and accept a slightly less monumental career in the interest of her mental health. 

“How much sad did you think I had/did you think I had in me/Just how low did you think I’d go?” “before I self implode/before I have yo go be free”

Taylor imagines arguing with her fans in the throes of the break up, and in this passage it becomes clear that she is convinced they know the truth but are refusing to acknowledge it. That they allowed her to keep faking her straight persona for their sake. That she was a woman pushed to her limits by a partner (fans) who knew they were running her ragged, a partner that didn’t in fact love her, but loved what she could do for them.

 So she asks them, how long did you think I could keep doing this before it broke me? How long did you think I would go along with this, be willing to sacrifice for you? how much would she fake/take the money to keep up the straight persona?

“You swore that you loved me but where were the clues?/I died on the altar waiting for the proof/ you sacrificed us to the gods of your bluest days”

The para social relationship is again a perfect match for the metaphor of a partner that uses you but doesn’t meet you in relationship as a full person. The praise puts you on an altar, but their actions don’t reflect the effusive words. “Bluest days” is a red herring to match the bearding narrative/fan rumor that Joe’s mental health affected their relationship, but also could be interpreted as the fans overlooking her truth in the interest of relying on the idea that their favorite pop star has the same boy problems that they do, their "bluest days" were the days they were torn up over a relationship or an unrequited love and needed her break up anthems, and they wouldn't have the same effect if they knew (and weren't in denial) that the songs are about women (or now about them, ironically).

Last Verse/Outro

“I’m just getting color back into my face/im just mad as hell cause I loved this place/for so long London/had a good run/moment of war son/but I’m not the one”

The first line here parallels the language in “you’re losing me”, which uses the metaphor of a relationship literally dying (“i can’t find a pulse”, etc). In this song she is leaving the relationship to save herself, and in leaving she is recovering her health, hence getting the color back in her face after being pale when sick and near death.

“This place” or London, is a stand in for the world, the Swiftverse that she created for and with her fans. It had been her life’s work, her source of pride, self worth, her legacy, but now she must leave, because it was built in large part around a self she created to make herself palatable to the fans she amassed. She can’t be that person anymore, and maybe in some ways “this place” doesn’t even really feel like hers. This parallels Florida!!!, "your home's really a town you're just a guest in/so you work your life away/just to pay for a timeshare down in Destin". She is just a guest in the musical world of the brand of Taylor Swift that she spent her whole life building ("the story isn't mine anymore")

To close, she repeats the main lines of the chorus,

“So long London/Stitches undone/two graves, one gun/you’ll find someone” 

This repetition drives home the finality of this decision - her exit, her killing her public persona, her detaching herself from those that don't see and support her, and her reassuring herself that those people will find someone else to worship, and someone else to see themselves in, and her realization and relief that they aren't her responsibility anymore.

[letters-adressed-to-the-fire]

so this is why i think peter is the one looking in people's windows

A few days ago, I saw a swiftie on TikTok talking about how I look in people’s windows could be taken as the other perspective of the same story narrated in Peter, and I just couldn’t stop thinking about it. So, I decided to go in-depth and start a self-assigned quest to look for any clue that could interweave these two stories in a way that made sense.

I know this could sound a little absurd or could be taken as a stretch of some sort, but I believe, and I’m sure most of her fans would agree, that most of the beauty in Taylor’s writing comes from the countless different interpretations people bestow on her lyrics. I’m not asking you to take this analysis as absolute truth because I’m genuinely just having fun with it, and I hope you do too.

I’ll analyze “I look in people's windows” from Peter’s point of view and “peter” from the other character’s pov, whom we’ll call Wendy given the obvious parallelism to Peter Pan.

Well, the main and obvious connection is given by the “window” element. While Wendy is waiting for Peter by the window, Peter is looking for her from outside that window. If you look at this through very literal and rational eyes, I believe you’d think it doesn’t make sense that they were both looking for each other through the same window but never met again. So HERE is where I want to insert my interpretation.

There are two options I can think of that would explain the failed meeting. 

Peter intentionally avoided Wendy while still looking for her every day.

Every time they were looking for each other, it happened at different moments.

The first case presents a lot of questions, like, is the pledge to grow up what is stopping Peter because he knows he can’t do it? Or was he cruel enough to wait for Wendy to move on and then come back? Either way, the conclusion remains the same. In this scenario, Peter was a coward. If it was because he didn’t want to grow up, if it was because he just wanted Wendy to never move on, or if it was because he never gave her a real answer.

On the other hand, the second case talks about something that’s closer to a tragedy. They were always doomed by the narrative. While Wendy was waiting for him, Peter was looking for her, but Wendy never saw him—not when she waited or when Peter was looking for her. We would need to assume some things here tho. Either it all comes back to the first option and Peter had been avoiding her the entire time, or he thought she had already forgotten about him. The first option shows us, once again, that Peter is a coward, but the second one also tells us something important: he may be too scared to grow up, but he’s not selfish enough to stop her from moving on.

“Northbound I got carried away As you boarded your train South, south, south, south, south, south A feather taken by the wind blowing I'm afflicted by the not knowing so”

Based on this verse, we can design a new theory. He watched her leave and he was aching for her to come back to him. So he started looking for her in other people’s windows, wondering if one of them was gonna be her. Even when he had already said goodbye to her.

And here’s where another verse of peter will acquire significance:

“I thought it was just goodbye for now”

With both songs in mind, it sounds like he said goodbye to her, hoping they were gonna see each other again, but he also knew he had to let her go at the time and that he was condemned to miss her. But what Peter didn’t know was that Wendy was gonna go through the same thing, but she wouldn’t have the comfort of knowing what he did (wait for her).

“promises oceans deep, but never to keep”

This is why we get two completely different endings for both songs. While Peter is still addicted to the what-ifs, Wendy has turned off the light; the fantasies have expired for her. Wendy grew up; Peter didn’t. While I look in people's windows gives you the feeling of being running from house to house in a neighborhood you don’t recognize anymore, trying to fit into a routine you were used to in the past; peter reads like the last chapter of a book you’ll never touch again.