#or outside analysis

[ace-apple]

i really need to make an effort to actually understand whats going on in vast error.

[comfied-chriterature]

IT IS SO IMPORTANT TO ME THAT HYUNA, who was presumably forced to be an Idol for the alien stage and definitely suffered in her past for it, stills wants to sing for other humans even after escaping. She wants to spread music purely for music's sake, to get people hyped up and cheerful, because she loves singing and wants her audience to love singing and see it as smth fun and not just a talent the aliens abuse for sadistic entertainment. She's redefining singing despite how it's treated her and it's kinda beautiful and wholesome.

[poorly-drawn-mdzs]

My Lawyer is going to Get Your Ass.

[First] Prev <–-> Next

[alittlebitofloveliness]

"I stretched out and used Johnny's legs for a pillow. Curling up, I was thankful for Dally's jacket. It was too big, but it was warm. Not even the rattling of the train could keep me awake, and I went to sleep in a hoodlum's jacket, with a gun lying next to my hand." -The Outsiders

Something about this little scene gets me every time because it's such a perfect symbolic representation of a) Pony as a character and b) Pony's place in the gang and it's written as this tiny little 'inconsequential' scene that almost looks out of place on the page but in reality this perfectly shows Ponyboy's youth and innocence (the childlike action of curling up, this visual of lying on someone and also the oversized clothes) while alos hammering home the danger and gravity of the situation (the gun next to his hand, symbolically there for him to take whenever but he never does) while ALSO showcasing the multiple layers of protection from the gang in that Johnny is not only offering him physical comfort he is also staying awake to literally watch over him and Pony is swathed in Dally's oversize jacket which is a shield to him, and later saves him in the fire in the church, further driving home the symbolism of the jacket as a physical representation of Dally's protectiveness over Ponyboy- which of course makes it worse when the destruction of the jacket in the fire is also indicative of the change of Dallas' mental state and the inability for him to protect Ponyboy once Johnny is in peril and eventually dies.

[aroaceleovaldez]

completely disregarding retcons/errors from HoO, aka the series full of both internal and external inconsistency, I wanna talk about Luke cause it is literally a constantly battle in the fandom of what the hell is up with Luke. And as somebody who likes to rattle Luke around like a six year old with a headless barbie I would like people to stop yelling about misinterpreting a very simple scene after like 15 years.

So here's my breakdown. it's quite simple: Yes, when Luke was dying, he was asking if Annabeth was in love with him romantically. This has absolutely nothing to do with Luke's own feelings. Luke very explicitly did NOT love Annabeth romantically. This is established many times over. Seriously go read Demigod Diaries or something.

Luke was asking if Annabeth was in love with him because he had already caused her so much pain, he couldn't die peacefully if he knew he was about to break her heart on top of it all. He wasn't implying he had any thoughts of reciprocating it. He was just asking permission from Annabeth to die, through the lens of "Will it absolutely ruin your life right now if I kick the bucket?" because if it was going to, then he wouldn't want to. Annabeth reassured him she'd be fine if he died and he went "alright cool peace out ✌️." It was not at all related to Luke's own feelings towards Annabeth. Her opinion of him mattered, mostly in "I care if you will be hurt by this," but he did not feel romantically towards her.

Now HoO has one (1) line that implies Luke did like Annabeth, but HoO also gets Literally Everything Wrong, including making simple errors within like 3 chapters of itself, and given it is retroactive, regardless we can pretty definitively disregard it.

Also like, the meta reason for that scene, and also the Rachel scenes like two minutes later is entirely to clear the air for Percabeth to happen. Like, it's literally just to have an excuse for Annabeth go to "No I conveniently don't have any hang-ups about previous romantic feelings I didn't have that may impede me dating the protagonist" followed immediately by Rachel going "Percy btw as your secondary love interest: I am explicitly unavailable now. Go date Annabeth." Like that's the other purpose there and why those scenes follow each other at the end of TLO. It's just wrapping up loose ends for the romance subplot and confirming that the tension between Luke and Percy in Annabeth's life that Percy had built up was not real and didn't need to be further addressed.

[specific-dreamer]

darry didn’t run after pony when he hit him bc his first instinct was to gasp and say “hit me back, if you don’t tell mama i’ll let you hit me back harder” the words were on the tip of his tongue but when he remembered he was frozen

to pony darry his guardian, darry who might just hate him, hit him with ill intent and pure malice

to darry it was a regular sibling argument that got out of hand and heated bc (in the musical at least) both sides were fueling the flame and ofc they won’t stop doing so until someone intervenes

idk i think it’s in that moment that darry realizes that he can’t be a brother and a guardian he has to pick one (he doesn’t but darry tends to think of things in black and white- he’s their brother, but now he has to be their guardian. not to mention he’s probably heard many parents/guardians say “i’m not one of your lil friends, im your XYZ” NOT TO MENTION hes “not a part” of the gang and he’s always working so he not friends with them like he use to be (and as far he knows they don’t even think of him as a friends anymore)

[vaultedoverthehorse]

Ponyboy Curtis is a writer. But he doesn’t write for fun. No, he reads for fun. He writes to express his grief. He would never write a theme like The Outsiders had he not been brought to it by grief. Were something to happen to another member of the gang, I bet there would be another story written. I bet he’s written stories about his mother and father as well. But he doesn’t write just because. Ponyboy Curtis is a writer whose pen is motivated by mourning.

[madbard]

I love shipping characters who hate each other in canon.

I love shipping characters who have had exactly one (1) conversation in canon.

I love shipping characters who have never met in canon.

I love shipping characters from different pieces of media.

It starts off silly. The notion of the pairing is so weird, so unexpected and seemingly dumb that it makes me laugh a little, perk up, look into it and see if this is really a thing.

And then it becomes a joke. Haha, look at this ship I’m shipping ironically, isn’t it silly, it would obviously never work out in canon but I’m looking at it and producing content for it anyway because it’s fun.

But as time goes on, it starts filling my feed. I start thinking about it - really thinking about it. Why did someone put these characters together in the first place? How would they really interact? How did they end up together, and why would they stay together?

What started out as a joke becomes a diving-off point, an opportunity to really think about both characters. The dynamic isn’t canon, so it’s yours to shape. The dynamic isn’t canon, so now you must delve into each character on your own, figure out how you perceive and understand both of them, learn to see them in a different light. What started out as a joke encourages you to dig deeper, think harder, fall even more in love with those characters as you consider the potentials which lie outside of canon, but which ultimately trace their roots through the core of the characters themselves.

Because by their very nature, crackships and rarepairs are not based on plot, and they are not based on canon. They are so seemingly random and odd that they disrupt your typical view of these characters, making you think more deeply about them. The non-canon ships you embrace or reject can inform your perception of these characters on a deep level. They can make you cry just as easily as they make you laugh. They add so much flavor.

And they can also be really, really funny.

[dallasgallant]

Pony’s got a huge case of “I just turned 14” brain but something about how their parents die and he just assumes Darry woke up one day and chose to be mean.

They ‘used to get along just fine’ before their parents died, I imagine they used to be able to see the similarities between them more clearly too. He sees the change in behavior and how Darry has to become a parent instead of a brother but it doesn’t quite click as to ‘why’ yet.

That has to hurt so much. That your brother suddenly becomes strict and prone to get onto you out of the blue when you’re hurting.

It has to hurt too that you have to change the way you act, focus on staying together and alive — take on all this worry and have your brother not see that just that you changed? Thinks you chose to be wound up all the time?

How they both get along better with the middle brother but don’t see how it hurts him because he gets both sides?

The dynamic change must’ve been so jarring to all of them, Darry’s a more ‘logic’ and ‘serious’ guy but I imagine he was a lot more light hearted and goofy when he still had the opportunity to be. Now being a brother is something he can’t afford to be. He’s stricter than their parents ever was but who wouldn’t be with so much fear?

[purecommemasolitude]

Something I’ve always found kind of funny is how Ponyboy will praise Johnny or otherwise set him out from the other greasers for something, but because they’re still beefing will conveniently skirt around that all the things he’s saying could apply to Darry

“I can only go to church with Johnny, the others are too much of hooligans to behave” okay I bet you could go with Darry though

“I’m glad I ran away with Johnny because no one else would’ve thought to bring soap” Darrel Curtis Jr literally runs a household I’m pretty sure he would’ve remembered

[alaska-yippie]

Darry is really one of the most misunderstood characters in the whole book. He had so many pressures put on him when he was barely 20, and I feel like a lot of people forget how young that is. A lot of 20yr olds I just getting into collage, still living with their parents and Darry had to become a parent the day his parents died. he took on the responsibility of not just helping raise two teenagers, but being their full time guardian and that’s a lot of stress. Yes of course they all have flaws, no one is without, but he’s labeled to quickly as mean boring or uncaring. He cares so much and the way he shows it is why he gets to be considered mean. He wants ponyboy to be able to get somewhere In life, to get the opportunity him and soda never really had. But he wants it so bad that he pushes to hard, in return stressing pony out. He doesn’t show the affection required for a relationship because he’s so focused on having him get raised up right. I think it’s so unfair that he gets the label uncaring especially because he cares so much, it says he got no sleep over the week ponyboy was gone, constantly looking for him and worrying. Justice for Darrel Curtis.

This is just something I was thinking about and decided to write down, sorry if it’s bad it’s midnight and I was just pondering fr

[sodapopboy]

we talk about darry feeling guilty about setting off the chain of events in the book by slapping ponyboy but consider dally. (i’m pretty sure you guys have)

when he asks “so this is what you get for helping people” after johnny dies, he isn’t just referring to how johnny dies after helping the kids in the church, but also how he helped them by giving them money, a gun, and a place that was falling apart to stay in

i’m pretty sure this is. common knowledge. but sometimes i feel like darry resents dally in the way that they both had their contributions to johnny’s death and dally’s own, he can’t blame dally and if he does he blames himself the same amount tenfold (it took darry months to even stand in front of the poor excuse of a headstone they gave dally)

but darry also relates to dally in a sick way. two men on the same, greaser side of town but opposite walks of life find common ground on one thing (even if they don’t know it), and it’s the way they take fault for the death of the most unfortunate member of their group.

[sparklingcid3r]

CW: discussions of suicide/suicidal ideation

Scorching hot take about to come in, but I think that Darry’s line about Dally killing himself because he “gave up” actually does fit the character that the musical made Darry into. I’m not saying it’s a good way to view the situation or even a message that should be imparted at the end of the show, but I think that specific perspective of what suicide is aligns with the Darry we got to know.

You don’t have to agree, but let me explain🙏

There are a few ways that a viewer can interpret Darry’s character. In my opinion, suicidal is one of them. Darry equates suicide with giving up because it’s what he would do if he ever gave up, if he ever lost Pony and Soda the way Dally lost Johnny.

But I also want to say that just because he equates the two in his head doesn’t mean they actually are synonymous. I mean, Darry’s not exactly someone whose word you take at face-value for a lot of the show when he’s talking about his feelings, save for a few vulnerable moments.

When he is being vulnerable and you know that these are his core feelings, undisguised by the need to be strong, it’s during “Runs in the Family” (very sparsely, but there are small clues), and “Throwing in the Towel.” Especially in TITT, he expresses what can be perceived as suicidal ideation, which we’ll get to very quickly.

Because it’s one line in RITF, I can’t really harp on it as much as I’d like to, but Darry says “I don’t know what them boys would ever do without me, and what would I do on my own?” Obviously we never find out what Darry thinks he’d be doing on his own, so you can really only make loose, debatable inferences. Because of that, you can take the fact that Darry is a very goal-oriented person, then take the fact that he knows he would not have anything to work for if his brothers were gone, and combine them to say that Darry might very well just give up.

Darry’s suicidal ideation comes out the most in TITT. He literally says “Maybe you’d be best without me.” He never specifies what “without him” looks like, he leaves that up for Soda (and the audience) to interpret, but three ideas stick out to me:

1. Him giving Soda and Pony up to a boys home

2. Him having never been born at all

3. Him removing himself from their lives permanently (suicide)

Whether he feels one, two, or all three, two out of the three express either ideation or blatant suicidal thoughts.

It also explains why Darry is so insistent on Pony just snapping out of his depression following Dally and Johnny’s deaths. He’s seeing his brother go through the same tired, despondent motions that he did in the beginning of TITT, on the road to giving up.

What Darry doesn’t understand is that Pony truly giving up looks different than Darry truly giving up (I have a feeling that Pony would turn towards drugs and addiction if he hit rock bottom, but that’s another convo for another time), and because Darry is projecting his own version of giving up onto Pony, he’s terrified of his youngest brother doing something so drastic and permanent. Even if that’s not the reality of the situation, it’s what he believes, so it’s what he talks about.

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[yourmusicmuse]

Okay so I found this picture of Pinterest and highkey. It has me CRYING. And let me tell you why!!!

Both Soda and Darry are compared to their dad in the book, and while I can't really recall at the moment if any of them were compared to their mother, I'm gonna go at the personal headcanon that Ponyboy was compared to her quite a lol in a similar way to Soda and Darry being compared to their dad. But see here- their mom is blonde. Soda in the book is blond, but I feel like it's an entirely different ballgame when Ponyboy bleaches his hair. When Darry and Soda reunite with him and after the pure joy and relief that he was alive...I just imagine a sense of unease. Seeing him with the blond hair- the comparisons to their mother hadn't completely clicked until then. It makes them feel...a lot of things. But above all, there is a harsh mixture of grief and love. For both their mother and Ponyboy.

[brokenlovesong]

The JPC Darrel analysis I promised

Alright guys same deal as the last with just as much chaos. Sorry this took three years

Anyways. JPC DARREL LETS GET INTO IT

So he plays the youngest Darrel, no doubt. He’s tall but much smaller both physically and the way he portrays himself on stage. Using this he really plays into it. He’s a much less angry Darrel, more tied than anything else.

I think runs in the family reprise is where his version of Darrel really shines. He plays it very differently from Brent, Victor, or even Dan. He’s just so tired of it all. He doesn’t even start yelling until the end once pony has pushed him to his brink. When he sits down during the “you don’t tell me when you’re coming home lately” line it’s much less confrontational. He’s trying to stay calm and reason with his brother. It’s not until the “tired of lifting you up” part that he’s finally losing control and breaking. That’s the first time I think I genuinely saw him angry and even then he’s consciously trying to reign himself in but pony keeps pushing. And dude he YELLS “You have no idea what I give up for you” and because he didnt spend the song nearly as angry as like Brent does, that scared me so much because he just snapped.

I wanna talk about the scene between Darrel and dally because that scene was done in a way I’ve never seen it before by both Jpc and Josh Boone. Jpc is a much less physically intimidating Darrel. Especially compared to Josh Boone. That was taken into account by both of them which I have to give so much praise for because they did such a wonderful job. Darrel went in thinking he could push dally into revealing. He clearly had no intent to fight him. He was taunting him. But let me tell you dally knew how to play Darrel like a fiddle. He knew exactly what buttons to push in a way Darrel couldn’t. While he normally yells half that scene, dally didn’t raise his voice ONCE. He was even SMILING at the end because he wanted Darrel to swing at him. Dally loves fights and he knows he could easily win against jpc Darrel. So he played him. Decided to see how far he could push because if Darrel swung he could easily take him. Absolutely fantastic scene and lemme tell you Josh Boone calmly speaking the last bit of the scene with a smile? ABSOLUTELY TERRIFYING

Now throwing in the towel. So jpc flubbed the first part and bro I’ve never been more stressed (probably not as stressed as him tho LMAO) but he managed to keep it together which I give him so much credit for. He took his anxiety and stress and used that as a focus for his acting the rest of the scene. Other actors usually play this scene as very defeated. But he was much more anxious about pony and what’s to come next. And tbh this is the most in it I’ve ever seen Jason. Now I love Jason but I have found his acting style to be more passive then I’d like in some scenes (JUST MY OPINION PLEASE DONT ATTACK ME) I think because of what happened to jpc not only was he soda trying to comfort Darrel, I saw Jason trying to comfort jpc and it made the scene so much more beautiful and strong.

Overall, jpc Darrel is wonderful. My only main issue is that I felt like he read too similar in age to Brody as ponyboy and frankly Jason read older than him. Nothing to do with his acting. Jpc is an incredible actor. But I just feel like with the cast the way they are, while he reads as Darrel’s actual age, much of the cast reads older than their characters and so this does affect how he’s seen.

I did see him as soda too, with Dan darry, and I thought he was literally like who I envisioned soda to be when I read the book. Like he gave such soda energy it was incredible