#lights up lyric analysis

[rachthepoet]

Lights Up Analysis

The Lights Up Labyrinth. A song of self-identity, self-reflection, and self-acceptance — coincidentally, all themes explored throughout the album cohesively... by the way. It's a piece that simultaneously chronicles and illustrates the journey to self-actualization and self-acceptance, the beautiful labyrinth of the human experience. And, within this labyrinth, there's a lot of twists and turns, for it never comes easy, it comes with our own unique hurdles, accompanied by experiences one must lie in before moving forward toward the light.

The lyrics really lend themselves to his visual, the Lights Up labyrinth, with a compilation of questions and statements side-by-side — and the music backing aids to create this teasing of resolution, but we never quite get there. Harry, as the writer, and us, as the listeners, are suspended in this limbo, because the journey to all self-resolutions is never truly complete. Rather, it's something we're always seeking our way through — through the labyrinth.

Here's a deep dive into Harry Styles' Lights Up, from a poet.

Symbolism of Light

A quick bit this is, I promise. But it's important to talk about the symbolism of light before jumping into the details, for it plays a big part in unraveling the true poetic weight of the song, even as it veers on the shorter side. In Lights Up, Harry utilizes the most common juxtaposition of light and dark but refuses to present either as the ultimate answer. Once more, we are in limbo in a labyrinth. Usually, light is perceived as the ultimate good while dark is perceived as the ultimate evil. Stark black and white contrast. But I don't believe what's going on in this song is that simple.

To me, in Lights Up, as well as in the song "Fine Line" but I digress, he doesn't go to these commonplace extremes you'd expect, sending a reminder that things aren't always so black and white, and aren't always as easily separated into light and dark. The light heralded in the song isn't some all-healing force like so often depicted in literature and art. Rather, even stepping into the light as he describes, not all is healed or solved — yet, he continues to embrace that in-between (fine line).

All in all, it's the strive to live in the light, really, even though one knows that it might not magically fix everything, and it might not magically wash away the pain one's been carrying. But, it invites reflection, and in reflection comes acceptance and evolution, and ain't that just a beautiful thing?

Lyric Pull Apart

[VERSE 1] What do you mean I'm sorry by the way Never coming back down Can't you see? I could, but wouldn't stay Wouldn't put it like that What do you mean I'm sorry by the way Never coming around It'd be so sweet if things just stayed the same

What do you mean / I'm sorry by the way: I see this interpreted two different ways and it depends on this: Do you see these two lyrics as one statement or two separate entities? First, I'll speak about them linked together, which can be interpreted as the speaker asking the question, and I quote, "What do you mean 'I'm sorry by the way'?" — like someone's making a flimsy apology too late after the fact. This gives insight into what instigated the song, and as the first line we hear, could be as if the writer was writing his way to the realizations he'll make. Did that make sense?

Second, let's split them apart now, and let them stand as their own separate stand-alones. Now, it's the speaker delivering the flimsy apology. No matter the configuration, the half-ass apology holds its place in the narrative. Saying sorry without really saying sorry. A matter-of-factly type of statement, without any real apologetics behind it. "What do you mean?", he says, as if someone is talking and he's not listening. (Maybe now, maybe not anymore?)

Never coming back down / Can't you see? / I could, but wouldn't stay: There's an admittance of knowledge that he could've remained in this comfortable position, but he chose not to. He could, but wouldn't, in a bigger pursuit within the labyrinth of self. Throughout the song, I believe the speaker communicates directly to us — his bystanders, his observers, his audience — who've been watching him work his way up to this point. The prologue is to be found in 2017's eponymous debut album.

Wouldn't put it like that / What do you mean?: In companionship with the other lines preceding, this feels like a bit of clarification, maybe even an underlying worry his words are coming out wrong or getting misconstrued — which highlights that the speaker is dealing with a sensitive thing regarding himself. The labyrinth of the self, for your specifics. There's no other subject, really. Then, the What do you mean? takes on a meaning more akin to miscommunication, which, as we have seen throughout his work, is a recurring theme.

It'd be so sweet if things just stayed the same: When one treks on the trail of self-identity, moments of struggle and comfort will follow. This falls in love with I could, but wouldn't stay, its sister line, acknowledging the comfort of remaining in the status quo, but he's accepted that he needs to move forward. But, wouldn't it be sweet if he didn't have to trek through this labyrinth of seeking himself? Seeking identity he might've thought he had established, but it was only an illusion. This option to return to comfort is still there in the back of his mind as he navigates, but we take steps forward toward the metaphorical "light".

[CHORUS] All the lights couldn't put out the dark Runnin' through my heart Lights Up and they know who you are Know who you are Do you know who you are?

All the lights couldn't put out the dark / Runnin' through my heart: Remember how we talked about the song moving away from the typical black and white symbolism of light and dark? Here's where we see it painted out. There's more of a focus on the dark here, and the darkness being secrecy — more detailed, one's own personal secrecy. The parts of oneself that are hidden due to your own apprehensions, or apprehensions that have been taught. There's an inner turmoil that's a constant battle to work with, and sometimes, even the opposite of dark can't magically remove that.

Again, within this common juxtaposition of light and dark, it's clear that there's not one definitive right answer and no definitive solution to everything. Acknowledging this, it moves him even more forward into a journey of self-actualization.

Lights Up and they know who you are: This line brings an outside presence into this labyrinth of self-discovery. The judgment from others. Light lends an association to visibility, and visibility leads to vulnerability. In a moment, we as listeners wonder: could we be the quote-en-quote "they" he's referring to?

With the FINE LINE album, and I think with every album he releases, it's like he's constantly reintroducing himself to us by letting his art do the speaking maybe he hasn't found yet. And, with this being the comeback single chosen to kick off a new era, this is him saying the following: "You think you know everything about me, but I still have more to show you" — because he still has more to discover, in this labyrinth.

Do you know who you are?: This is question that he is asking himself, but also, in turn, asking the bystanders (us) — the outside presence mentioned before. THIS IS THE CENTRAL QUESTION and the one that was teased the most! So we have to give it our proper attention, don't we? If you look at it in companionship with line before it, it reminds me of that question of who you are when nobody else is around. He has acknowledged the people perceiving him, and maybe even who he is when he is in their sight, but who is he to himself? Who's the person he has to live with? And, he's turning around and inviting the listeners to take this journey with him, making us question things as well. Tackling the Lights Up labyrinth together, hand-in-hand.

[BRIDGE] Shine, step into the light Shine, so bright sometimes Shine, I'm not ever going back Shine, step into the light Shine, so bright sometimes Shine, I'm not ever going back Shine, step into the light Shine, so bright sometimes Shine, I'm not ever (Oh)

You've gotta love a good bridge in a song. This creates a visual of him stepping into the light, and it's a beautiful metaphor and scene. I see this movement into the light as both an outside force and an inner one. There's the light that's been chased in this labyrinth of a song, the light of self-actualization. But, there's also the light of self-acceptance, shining out from inside his chest. A light that outshines the darkness (the secrecy, the hardships) held in his heart for so long, often longer than we could ever know. In this self-acceptance and self-discovery, there will be tough moments sometimes, one can lose sight sometimes — So bright sometimes. But, it will be worth it in the grand scheme of it all. He won't be going backward. He'll keep moving forward with all this knowledge he's pocketed through all this experience.

[VERSE 2] What do you mean I'm sorry by the way Never going back down It'd be sweet if things just stayed the same

This is a repetition of the first verse, but much more condensed. Another round of the "apology", but it does feel like it has more weight to it now. As if he has reached a moment without second-guessing regarding where he's going after the bridge's journey. Then, Never going back now comes out confident and strong. Leaning back in the visual of him navigating a maze, here's where he's standing at the last few twists and turns. He's closer, he can see himself on the other side. But, with another reiteration of It'd be sweet if things just stayed the same, it's a reminder that with these journeys of change, there will always be a bit of what if in the back of the band. Wondering what if one had stayed stagnant, even when growing more sure of where one needs to be heading.

[CHORUS] All the lights couldn't put out the dark Runnin' through my heart Lights Up and they know who you are Know who you are Do you know who you are?

The chorus repeats, and the song ends poignantly on that central question: Do you know who you are? A central question to not only this song, but also functions as an introductory question regarding the FINE LINE album as a complete piece of art. A theme of discovery carries throughout the whole sophomore album in all the different stages that are laced with grieving, too. The lights are now his own, and we are stepping into the light. Lead by Harry himself.

Thank you for reading, you’re absolutely incredible! If there are any songs you’d like me to make an analysis of, please send your request to my inbox! along with any questions or insights you might have yourself!

[fawnforevergone]

the way hozier titles a song "i, carrion (icarian)" where he sings about the self-destructive idea of sacrificing himself by flying into sun to save his relationship, and compares himself to 'carrion', the decaying flesh of animals, often a word used for roadkill. to then go and write a song called "abstract (psychopomp)" about how holding an animal whilst it dies mirrors the mercy of ending a failing relationship, similar to a 'psychopomp' - a deliverer of death. and we watch as hozier turns from 'icarian' to 'psychopomp' when he realises that prolonging suffering is crueler than just letting love die. i'm both in awe and crying on my bedroom floor.

and the way a carrion crow is also a symbol of death ?? and how 'carrion' sounds like 'carry on' the way icarus kept going ?? and how he sounds envious of his lover's courage in "abstract" ?? how when the sun is gone - "streetlights in the dark blue" - he can no longer blind himself and is forced to look at the corpse of his relationship ?? how to love is to let go ?? how can he keep getting away with this i'm sobbing ??

[wibble-wobbegong]

one more day. One more day of testing and having to do thing and then i can sit down and think and write for 12 days straight. One more day. Only one more day.

[lemon-mint-writes]

Goddammit I'm trying to write my snf week fic and now I'm getting overly emotional from realizing Lover by Taylor Swift is dream team coded fuuuuuuuuuuck

[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.”

[cherryys]

SOMEONE BROUGHT UP ITAFUSHI AND CRANE WIVES AND DIDNT TELL ME???

oh my gosh the lyric of "i am selfish, i am broken, i am cruel. I am all the things they mightve said to you." Has soo many layers of interpretation in terms of itfs like:

Megumi telling Yuuji that he is a selfish person, that he is in fact all those things people might've warned him about Megumi and he's warning Yuuji too so that Megumi's precieved "selfishness" doesn't hurt Yuuji too

Megumi telling Yuuji that MEGUMI is all the things people might've said about YUUJI as Sukuna's Vessel which is an Inherently Selfish existence. Like. "I am selfish, i am broken, i am cruel. I am all the things they might've said [about] to YOU." like. Megumi saying that HE is all the bad things people (higher-ups) say about Yuuji because he sees Yuuji as a Good Person that doesn't deserve to have those labels thrown at him while they should've been thrown at Megumi because he is the Bad Person. Am i making sense this is so convuluted lmao

Crane Wives my beloved,,,, you should listen to Curses, The Moon Will Sing, and Never Love An Anchor they're so itfs coded!!!!

Tongues & Teeth by the crane wives is sooooo itafushi to me, have you listened to it before?

tongues and teeth: I hadn't heard it before, no!! it's not what i normally gravitate towards but i do love a song w somber lyrics behind bouncy instrumentals. the LYRICS THO U R SO RIGHT ANON IM SCREAMING HOLY SHIT,,,, oh my god the whole mood of 'i'm broken and irredeemable and bad for you but i'll be devoted to u until i die if youll have me,...' KILL ME KILL ME DEAD

rough hands: im so sorry anon th song is not my thing but looking @ the lyrics they r certainly angsty enough fr an itfs Mood i agree! i read it as an unrequited itfs mood tho hgfhjdsg :'>>>

[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

[cerebralisis]

I decided to make my analysis of So High School into a separate post, because I can’t help but think of this song every time I see photos of Taylor at the games. And sure, it sounds like a love song on the surface until you remember that Taylor was bullied in high school and start to dig a little deeper. Feeling "so high school" is not something a 34 year old woman wants to feel.

Let’s look at the lyrics.

"I'm sinking, our fingers entwined, cheeks pink in the twinkling lights" = To me this sounds like drowning, embarrassment, and diving in with the sharks

"Tell me 'bout the first time you saw me" = You mean her first Chiefs appearance when they 'slid off in the getaway car' at the end? Nothing good starts in a getaway car, babes.

"I'll drink what you think and I'm high from smoking your jokes all damn night" = I mean...

“I'm watching American Pie with you on a Saturday night" = What do we know about this movie? We know that it is renowned for its high school immaturity and misogyny. It’s about a bunch of horny boneheaded men who treat women like sex objects instead of people. Sounds a lot like football culture to me.

"Your friends are around so be quiet. I'm trying to stifle my sighs." = I'm in the box with your friends and family. I need to hold it together so I don't offend them, but I legit hate this.

"Cause I feel so high school" = SHE HATES THIS.

"Bittersweet 16 suddenly" = I don't think she was a fan of high school, you guys.

"Are you gonna marry, kiss, or kill me? It's just a game but really, I'm betting on all 3." = A clear reference to that kiss/marry/kill interview with Travis, while also saying "we're gonna get together, put on a show for everyone, and I'm going to slowly die inside until we're done."

"Get my car door, isn't that sweet. Now pull me to the backseat" = All I hear with this is Movie Director Taylor giving instructions to her leading man so they can get a good reaction from the audience.

"You know how to ball, I know Aristotle." = You're a jock. I'm a nerd. We are not compatible.

"Touch me while your bros play grand theft auto." = The official song lyrics on Spotify put grand theft auto in lowercase the first time and capitalized the second time. The capitalized GTA could refer to Travis's friends playing the video game, sure. But also - you know who was arrested in August 2023 for grand theft auto? Bashaud Breeland, a cornerback for the Kansas City Chiefs who played with Travis in the 2020 Super Bowl.

"It's true, swear, Scout's Honor" = Look it up, I dare you.

And my absolute favorite:

"On the brink of a wrinkle in time" = This is TTPD, folks. Of course there's going to be a literary reference. A Wrinkle in Time by Madeleine L'Engle. The main character is a girl named Meg who is incredibly bright but struggles in school because she doesn't fit in with the other kids. After meeting a trio of badass witchy women, Meg travels to far-off worlds (a sort of deep portal time travel, you might say) where she joins the battle of light vs. darkness. What do we know about Taylor’s usage of light and darkness throughout her discography? It's giving… Reputation vs. Daylight? Shrouded in secrecy vs. out in the open? Based on everything else that Taylor has been hinting at through TTPD (not to mention Evermore and Midnights), it sounds like she is on the verge of diving into a much larger battle. And if I had to guess, I would bet that this battle will start during the Reputation re-release. Around Halloween. 🎃 When exile ends. Almost exactly 2 years after the Bejeweled music video was released. Maybe the old Taylor can't come to the phone right now cause she's dead?

I'm just speculating, but I will add that the 3rd book in the Time series is called A Swiftly Tilting Planet. There is a poem referenced through the book that goes like this:

With Ananda in this fateful hour, I place all Heaven with its power, And the sun with its brightness, And the snow with its whiteness, And the fire with all the strength it hath, And the lightning with its rapid wrath, And the winds with their swiftness along its path, And the sea with its deepness, And the rocks with their steepness, And the Earth with its starkness, All these I place with God's almighty help and grace between myself and the powers of darkness.

The word ‘Ananda’ mentioned above is the name of a character in the book, which is significant to the story because it’s a Sanskrit word that describes the eternal bliss that accompanies the ending of the rebirth cycle. If this series is what Taylor is referencing then it’s sounding more and more like she’s going to kill off Taylor TM and be done with the games, done with the reinvention. The plot summary of A Swiftly Tilting Planet says that it’s a book about "going back in time and changing might-have-beens." What decisions would she have made differently if she could do it all over again?

I don't know, friends. Take from this what you will. All I know is, this woman and all her brilliant duality is going to send me to a padded room. ✌🏻

[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

[bisnes-socks]

i added my thoughts to the takavoltti lyrical analysis here but today i want to talk about why i think takavoltti is one of käärijä's most finnish songs ever.

this got a bit long, so just so you know what to expect going in: what i mean by most finnish is that there are references and tone of voice that are very specific to finland, there is complex use of the finnish language AND there are melodic/musical choices in the song that sound very finnish to me.

okay, here goes.

the dialogue that opens the song is already a sort of key moment to this finnishness of it all. when he says "emmä tiedä, kolisee jos kolisee, mut mun on pakko sit koittaa vetää tosi matalalla" he is doing a bit of a voice but more than that, he is talking in a way that is not quite his. his inflection, the rhythm, those are not natural to him or his dialect. you can hear it particularly when he says "koittaa vetää tosi matalalla". i don't know if it's at all easy to hear if you're not finnish, but it's not.. a serious voice or tone. the other two voices, one of them is modified to be high and the other talks like a sports announcer. the whole scene is quite comedic and it's a very specific genre of comedy that is very finnish indeed. it's also the type of thing he has been doing since always. (EDIT: OKEI MORE CONTEXT IN A REBLOG HERE)

funnily enough, you guys know köpi kallio now, the therapist in skit and autiomaa video? yeah köpi and his long time partner in crime viki are good examples of this type of humour i would say. they have their own podcast/show called viki ja köpi show but before that they were radio hosts and have been working together for ten years. the character voices and the whole vibe of the scene in the beginning of the song is very viki ja köpi to me, very ylex type comedy (yes ylex the radio station who did the ruisrock interview who still isn't back from the war).

and the small comedy bits stay in there through out the song, and they continue to have the same delivery instantly recognisable as comedic.

and that isn't to say the subject matter can't be serious. i think, again, this is something that feels inherently finnish to me. other finnish people feel free to chime in because this is hard to explain, but our culture is one where coping through making light of things is quite normal. and our sense of humour tends to be on the darker side, at least if you compare it to the american style of comedy that has taken over globally. so to make a song about there being too many demands on you and how you have a problem with setting boundaries and agreeing to insane shit, but to do it by interjecting the song with jokes just idk.. it sits in our culture lmao.

i honestly don't know how to explain this better, but quite dark comedic elements like this (after all he gets properly fucked up in the stunts it seems) in a song with a serious subject matter is something we've been doing for decades in this country (juice leskinen, for example) and it is something so loved by finnish people. we love a song that is just fucked up on multiple levels. käärijä is just adding his own style to this cultural history.

okay, onto the language.

the verse opens with "tekevälle sattuu" which is a finnish proverb.

quick finnish lesson: the word sattua in finnish means both to hurt and to happen. the word tehdä means to do but tehdä kipeää means hurting. like.. now that i think about it tämä tekee kipeää = this is doing (me a) hurt is valid and correct finnish lmao.

tekevälle sattuu, the proverb, actually means "things happen to those who do" but he is playing with the different meanings here, because he goes on to say "ain sattuu ku tekee" which can both mean "things always happen when you do" or it can mean "it always hurts when you do". then he goes on to say "ku tekee, ku kipee, ni kipeetä tekee" which is once again playing with words, because kipee here means both pain but also being sick. "ku tekee, ku kipee" would translate as "when you do as if you're sick" and "kipeetä tekee" means that it hurts.

so to recap (i'm not trying to provide a smooth translation, but highlight his wordplay:

tekevälle sattuu = things/pain happen to those who do [things]

ain sattuu ku tekee = shit happens/you get hurt when you do [things]

ku tekee, ku kipee, ni kipeetä tekee = when you do [things] like you're sick [in the head], you get hurt

so this is all to say two things: he's using the finnish language in a very clever way that really only becomes clear if you know the language and all of these idioms and proverbs. and also that he is very good at what he does. it has taken me four paragraphs to explain 13 words.

and he doesn't even end there. "oon yllytyshullu, ain hulluksi yllyn" is more play on words. jesus, jere. okay guys, stay with me.

yllytyshullu i explained in my previous analysis, but recap: yllytys means incitement and hullu means crazy. yllytyshullu is someone who does crazy shit when prompted.

"ain hulluksi yllyn" here he is using the word yltyä which is the same root as yllytys, but yltyä means usually more like.. to intensify. (for example: sade yltyy = the rain is getting heavier, or tuuli yltyy = the wind is picking up)

so to say hulluksi yllyn, he's saying like.. i let myself be incited and/or i always take it to the max, to the point of crazy.

and then he uses very clever rhyming words: "ja tää hullunmylly on kylmempi kylpy". hullu means crazy, mylly means mill, hullunmylly is basically a hullabaloo.

as you can tell, all of this is like bordering on impossible to translate accurately into a smooth translation. and that's just the first verse, but i'd be here all night if i explained the whole entire song 😭

and this to me is a very clear sign that no matter what sort of an audience he has internationally, he's not compromising on his language. and i find that admirable and, as a finnish person, very comforting too. this song is sort of reassuring, like he is reinserting himself very firmly into finnish culture, with the language and the comedy that do not translate very well. 

and if you look at the pre-chorus and chorus, the specific references keep coming: calling him kärtsä (finnish people have a lot of nicknames for him), "hyppää kybäst pommi" the slang use of kybä to mean ten meters, he mentions duudsonit (the dudesons) and he mentions jorvi hospital. all of these feel like he is signalling to a very finnish audience. (also "oon syypää sun hymyyn" could count as a cheek reference, cheek used to be like the biggest rapper in finland).

okay, time for melody and music speak. i only have one simple point here: melodically and musically speaking that has to be the most suomi iskelmä chorus i've heard from him. ever.

you could take that melody and insert it as the chorus to like any song on iskelmä radio. iskelmä is a finnish schlager music genre. kind of impossible to describe but something that finnish people will instantly recognise. the opening, with the piano synth could also open an iskelmä song.

very suomi, very iskelmä.

so.

all of this is why i think takavoltti is about as finnish as it gets. a suomi iskelmä about having serious issues with boundaries that uses clever finnish and paints a comedic picture of a banged up black-eyed käärijä who has dislocated his shoulder but is still showing thumbs up is like.. so much finnish condensed into three and a half minutes.

i know not everyone thinks the song is hilarious but i do. it's both hilarious and very serious and that's how we like it here.

and of course the fact that there is an "ai vittu" in there. we like that too.

[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.😭

[fawnforevergone]

"your eyes open, at first a thousand miles away, but, turning, shoot a silver bullet point-blank range."

hozier saying that his lover's eyes are distant as they wake but immediately turn to a weapon when they see him.

using the metaphor "silver bullet" - ammunition used to kill werewolves - after saying multiple times throughout the album that he has been transformed/reborn by darkness, the same way werewolves are.

saying that his lover holds so much resentment and anger for him that their gaze feels like it was manufactured to harm specifically him.

... am i meant to be normal after this ??

[ashipiko]

DANCE WITH ME YOU LI-IA-IAR ♡

OVERBLOT ASHI??? ANYBODY??? the ANGST that this baby can store!!! SHEESH!!!!!!! <3 I only have one post dedicated to her and liar dance lyric analysis (the post is kinda outdated in gen) BUT…… I also have an overblot monologue as a treat 🫶 I wanted to better explain her angst and so!!! BABAM!!! enjoy

ASHI’S MONOLOGUE:

Sometimes I wonder why I ended up here.

A place named “Twisted Wonderland”, and at a school named “Night Raven College”.

At first, I figured that I was the odd one out— Y’know, the Ramshackle prefect and everything. The magicless girl at the magical all boys school? Nuts, ain’t it?

I’m known for a lot of things. Things that are different from the others. The fact that I stand out is part of the Ashi charm, something I’m known for.

But… Over time I found myself sorta feeling in place here.

Because as much as I try to believe it, I can’t safely say that I’m better than anyone else here.

I’m a fake. I make conversation and lots of friends, but for what? A backup in case something goes wrong? A sense of protection for my reputation? In what case are any of those friendships something I truly want? In what case are any of these strings more than just a tool instead of a thread made of my real feelings?

Behind this, I’m no different from any other student here. Even through my individuality, my cheerfulness, my endearing oddness… I’m still a horrible person. Using people to get what I want, toying with people and their feelings in order to gain power and gain a spot the top. All to become untouchable. It’s screwed. It’s not right.

My insides are ugly. The truth of me is something I want to keep tucked away deeply, because I don’t want people to see this part of me. A brash, annoying, selfish version of me, everything people hate to see. I don’t want this side of me to be seen because people will run away— people I don’t care much about, sures, but people I love, too. I don’t want to drive them away. So I keep quiet and give them a shallow show.

I give them a source of entertainment that’s controlled by the real me, every calculated movement translating into a marionette-like response. The only show I allow you to see is one that’s so carefully crafted by the chaotic clown backstage. The one that is shunned away from the light, the strings being the only hint of the puppet’s phony existence to the foolish audience.

But suddenly, I feel as if being here has started to let this side of me come crawling back into the spotlight.

It scares me.

It scares me to be vulnerable, let all of my faults lay out on the table like playing cards. To take the risk without the protection, to gamble everything I’ve built up away just like that. But you…

You.

You make me feel safe. You make me feel as if I don’t need to hide anything. I can give you the key to my heart and you would have no malicious intent. You wouldn’t cut out the parts people don’t like. You would enjoy the performance in full, every bit of it.

You make me believe that I’m nothing special, and yet something so valuable at the same time.

It’s silly. You’re silly. And yet that’s something that’s helped me.

It’s helped me realize that that truly is just how people are.

We aren’t villains. We aren’t antagonists. We aren’t monsters.

We are nothing but people, with faults and feelings that should be valued.

I am more than just a jester, a sake of entertainment.

I’m a person who is entirely worthy of love. All of me.

It reminds me that I must’ve came here for a reason.

Because this is where I belong.

[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!!

[cloverjelly]

life series duos as songs!

2 - mean gills (scott and martyn) - me and the devil by soap & skin

again, song analysis under the cut :)

-(not song related/for clarification) - somewhat hc but i say scott has the widow curse (not grian ik, scott's curse is in the sense that he outlives his allies) which is the black widow spider fucking up the strings and martyns is the swan curse bc he devotes himself to one person and will defend it like hes fucking feral. which explains the feathers bc i really didnt wanna draw a swan!

-and i said hello satan, ah / i believe it's time to go - i like to think that since both of these buddies r super smart and (mostly canonically) aware of the watchers and what goes on beyond the games, they both kinda knew about each others curses when they met and knew one of them would die to the other and only one curse would be broken in the end

-me and the devil walkin' side by side - super similar to the first note- the entire mean gills alliance was doomed and formed more from strategy than actual friendliness (debatable but yk) and both were aware of the other's ability to murder them

-you may bury my body / down by the highway side - i would say this is mostly scotts pov, since i still believe that he knew what was coming for him and knew about martyn's betrayal, this is also shown by him smiling in the art

-see, don't see why / people dog me around / it must be that old evil spirit / so deep down in your ground - kinda tying back to how both parties were somewhat aware of the watchers (the "evil spirit" in the lyrics) and were lamenting about their curses, especially when it came to them both being in the final fight

-(not song related, 2) - i used white hibiscus flowers as a base for scott's crown (its usually js yellow) bc 1. they lived on a fucking beach 2. it symbolizes purity and sympathy which i think makes a lot of sense considering the above circumstances, AND i used the same reddish tone for scott's flowers and martyn's coral crown. i ALSO added a nice beam of light as the lighting this time bc drama and also idk smth smart about being aware/"enlightened" to the watcher's antics