#since ep. 1 - through each other's influence and through their own will :)

[visualtaehyun]

As usual with final episodes, I'm too emotional and happy to form coherent thoughts so this is just the notes I took down while watching ep. 12 of Last Twilight. No explanations or romanizations, just vibes and feels ✌️

1/4

ไนท์->พอใจ: โทษที่นะเธอ

พอใจ->ไนท์: เป็นไง เค้าสวยไหม (not sure if I heard it right or not but this is the only time the entire episode where I heard her use any pronoun for herself while talking to Night)

WHY ARE YOU LIKE THIS MORK!!!

The bag of the bookshop reads 'hope' in Braille (tried Thai Braille but it's not, it's Latin-based) and underneath it- 'READ EVERY DAY'

whatever happened in 2/4- I didn't take anything down about it

3/4

so emotional at Khun Mhon's blessing for NightPorjai, and then the waterworks opened as soon as I heard Khun Mhon call herself แม่ while addressing Porjai and Porjai said ขอบคุณนะคะ แม่ -> Mork turns away to wipe a tear and I pause the video to get a tissue 😭

Namtan and Mark are so good 🥹🥺

I love how dedicated Porjai and Night are to Day and Mork's happiness that they not only keep trying to give them opportunities but even leave their own wedding! to rush Day to the airport!!

I fucking love Porjai 😂

the fam's so happy for MorkDay 🥹

honestly surprised to see Day regaining sight!

4/4

ไนท์->ภูมิใจ: เดี๋ยวปะป๊ากินให้นะคะ 🥹

and softly asking her if she wants some pasta too: อยากกินไหมคะ

IMMEDIATE WATERWORKS AT KHUN MHON TELLING MORK TO CALL HER แม่ 😭 I've been anticipating this and it's everything to me (he does call her คุณแม่ though, slightly different to Porjai calling her แม่)

Porjai is preggers again omg 🥹❤️

[heliza24]

Let’s talk about parallels between Wilhelm and Sara in Season 3 of Young Royals

Because there are so many! This is a continuation of sorts of this meta that I wrote about them being A and B plot protagonists in season 1 and 2. I don’t know that I would describe them exactly that way in season 3, but I do think their plots, character arcs, and themes are meant to mirror each other very closely this season.

One of my favorite things about the parallels between Wilhelm and Sara this season is that comparing them really makes you hold Sara’s friendship with Felice on the same level as Wilhelm’s romantic relationship with Simon (and Sara’s with August) which I think is so important. Both Wilhelm and Sara go through breakups over the course of the season (I think Felice’s reaction especially frames her friendship breakup with Sara similarly to a romantic breakup, which I love). And both of their arcs are about mending those relationships.

Sara and Wilhelm both need to experience the world outside of Hillerska before they can mend those relationships. Sara is able to glimpse some independence, even just through getting her license. The whole world is open to her now, as Felice says in ep 6. I don’t know that she would have been able to make her decision not to go back to August without experiencing that freedom. And Wilhelm also needs to experience the full force of what life in the monarchy would be like before he is able to decide to leave it. Because of this they also act as our window into the two different worlds outside of Hillerska, the palace and Bjarstad. They create the larger context in which we understand Hillerska this season.

I love that both of their journeys of personal growth are symbolized through cars. Wilhelm is always getting trapped with his mom or a member of the court in a fancy car; it’s where almost all of the monarchy’s most onerous instructions on how to live are delivered to him. So it’s huge when he leaves his parents in the chauffeured car at the end of episode 6 and goes to find Simon, Felice and Sara in Sara’s beat up used car. Meanwhile, Sara has traded in horses for the car. This is stated pretty explicitly when her dad asks her if she would like to work with horses and she declines, saying that she has come to realize that horses are simply traded by rich people as status symbols, and her dad suggests she get her drivers license since it will help with any job she wants. In seasons 1 and 2 Rousseau is pretty heavily associated with August, along with the pressures put on August and the other elite kids at Hillerska to conform to expectations (@bluedalahorse has written the Bible on that here), so the fact that Sara swaps out the horse for a car that can take her anywhere feels like a step away from both August and the prescriptive norms of Hillerska.

Sara and Wilhelm both reject what they saw as their destined future. This is obviously really clear for Wilhelm; he assumed he would be prince and then king after Erik died, and his greatest moment of character growth is when he decides he doesn’t have to fulfill that assigned role if it will keep him from being happy and living authentically. I love the scene where Sara talks with her dad about her fears that she will fail in the same ways that he did because she also has autism and adhd. This is a less clear-cut assigned destiny, but that fear of becoming a self fulfilling prophecy is equally overwhelming, especially because Sara has already let down someone she cares about in a way that’s not dissimilar to how her father breaks promises. The fact that she’s able to come to terms with her dad’s influence in her life, but realize she really is in charge of her own future, is really powerful. (I also think it’s such smart writing about the way disability and internalized ableism can really affect your self image).

In order to break free of those predetermined destinies, both Sara and Wilhelm need to see a father/mentor figure as more than black and white. Wilhelm needs to acknowledge that Erik wasn’t perfect, and did help contribute to some of the abusive traditions of Hillerska. Sara needs to recognize that even though her dad isn’t a perfect parent, she still loves him for the care he is able to show to her and wants to have him in her life. I love that both Wilhelm and Sara learn to hold multiple conflicting emotions about their loved ones. They can be disappointed by some of Micke and Erik’s actions, but they can still value their relationships with those family members and recognize them as complex, complete people.

They also both go on a similar journey with how they see August. Wilhelm comes to recognize that August is both a perpetrator and victim of the class system and Hillerska’s systemized abuse. Sara similarly realizes that August is an adult who needs to be responsible for his own emotions. She’s no longer interested in saving him from his complex feelings of guilt, and recognizes his potential to find self healing. Both of those new assessments of August grant him more maturity and complexity than earlier in the show. (They also reflect the way that August grows, in fits and starts, over the course of season 3. If there was a season 4 of the show, I think we would really see August respond to Sara and Wilhelm’s new attitudes towards him in a way that would fuel future character growth).

Viewing Erik, Micke, and August more complexly also allows Sara and Wilhelm to forgive themselves for the ways they are similar to those people. They are able to acknowledge the shame they feel around their actions, but also forgive themselves in the same way that they forgive others.

Both Sara and Wilhelm have specifically let down Simon in pretty big ways (Sara by secretly dating August, Wilhelm by perpetuating the royal family restrictions onto Simon). But they are able to recognize those mistakes and reconcile with Simon.

Wilhelm and Sara both leave the monarchy (Wilhelm literally, Sara by refusing a relationship with August), but they also leave a kind of prescriptive romance behind. Wilhelm says no to having to monitor Simon, to having to roll out his relationship in a certain way to please the court, and to having their future together mapped out and their decision around children made for them. Sara says no to a smaller set of requirements, but the traditional ways that August sees romance are so influenced by the monarchy (which is in turn so influenced patriarchy) that they are similar in some ways. Sara says no to having to do August’s emotional labor, to managing him so that he will fit the image of a good heir. She says no to waiting for him to visit on weekends while he does military service. She says no to this grand plan that he has. (This was @bluedalahorse’s point originally that she shared with me, and honestly I think it's so smart). Wilhelm chooses a romantic relationship that he and Simon are free to create together without rules; Sara chooses a friendship based on honesty and support. Both are valid options that give the characters a sense of peace and freedom. And they would not have been able to make those choices without all of the growth they went through over the course of the season.

I think Sara and Wilhelm's arcs compliment each other so well, and it was one of my favorite things about season 3. I loved watching both of them get to grow so much and end up in such a happy place.

[imgeekgirlfan]

The Curse of Cassandra [EP : XIV] - END

Read in Ao3 : here

Pairings :  Qimir x f!reader(SEA Reader)  [The Acolyte]

Content Rating : Mature 18+ Creator Chose Not To Use Archive Warning (AT YOUR OWN RISK)

tags/themes : Alternate Universe - Dune & Star wars, Partners in Crime, Strangers to Lovers

Summary : ‘Pick a flower on Earth and you move the farthest star.’ This describes chaos theory and the workings of fate as well, which illustrates how your final change of destiny moves the fate of the entire galaxy.

Status: Completed (Finally! 😭)

A/N : I can’t believe I actually finished writing this fic! It’s my first long English fic, and I’m pretty proud of it. I know my writing still has a lot of flaws (since English isn’t my strong suit), but I’m so happy people enjoyed it.

I loveeeee yapping about my own writing, so I plan to share more about this fic in another post—things like plot points I didn’t include and alternative endings I considered. Hope that sounds interesting to you, LOL

Lastly, a huge thank you to everyone who stuck with this fic till the end. Your comments and encouragement really kept me going, and I couldn’t have done it without you <3

Ps.Please go back and read the Intro again before starting the final chapter, as it’s part of the ending. (I used a storytelling style where the story opens with the ending) Reading the Intro first will help you understand the story more clearly.

And don’t forget to play this song while reading >> Skugge

I listened to it while writing the ending, and it really sets the mood

➡  Intro // EP : 1 // EP : 2 // EP : 3 // EP : 4 // EP : 5 // EP : 6 // EP : 7 // EP : 8 // EP : 9 // EP : 10 // EP : 11 // EP : 12 // EP : 13

Special OS : Phantom Thread

[Episodes 14] The Power of Two. (Completed)

When contemplating deeply, every entity in the universe is intricately connected in various ways.

On the quantum level, all particles are entangled and influence each other regardless of distance. Even the smallest, minor actions can trigger unforeseen consequences that ripple through the universe. This is far more complex than ordinary humans can immediately comprehend. 

And that’s exactly how fate works.

You know that the chain reaction has already begun the moment you decided to shoot Yord yourself. 

The stun blaster is designed to be non-lethal—at most, it would knock Yord unconscious and possibly immobile for several hours. But this is all you need to save his life from the fate you've foreseen on the path ahead.

You've always known—Yord and Qimir are polar opposites, destined to kill each other. Yord stands for the light, while Qimir embodies the darkness. They cannot coexist in the same world. Whenever they fight, one must die, or both shall perish. There are only those three possible outcomes.

So you chose a fourth path: to prevent them from confronting each other so that neither would have to die.

Only now do you realize how much selfishness lies beneath love. You should have ended the calamity destined to occur a hundred years from now, but instead, you chose to walk the opposite path, all because of one word: love.

The essence of Paul that flows within you still remembers the agony of the day Chani and Alia Atreides departed. Even though thousands of years have gone by, the torment remains too vivid to forget—like your heart being torn apart while still beating and your soul shattered beyond repair. You can't bear the risk of losing anyone to fate’s cruel hand again.

That's why you did it. You gambled on a path that has never appeared in any of your visions, not knowing what the consequences would be.

And you never expected that the consequences of your choice would ripple out so quickly.

You didn’t realize it...until you had to face the truth before your eyes half an hour later.

How could this be?

You stood frozen, as though the entire world had stopped spinning. Your gaze was fixed on Jackie's body, now lying motionless on the ground among the other corpses. The deep, searing wound from a lightsaber had cut through her flesh, blood pooling beneath her, staining the Jedi robes that were once yellow but were now soaked in a dark, gruesome hue.

The acrid stench of burnt flesh mingled with the metallic scent of blood, hanging thick in the air.

Jackie is still breathing, but her breaths grow weaker with every passing second. Her face contorts in excruciating pain, a pain that lasts only for a brief moment before her final breath escapes. Her eyes remain wide open—a sign that life has already slipped away.

At that moment, you hear a scream echoing in your ears, but the haze of shock leaves everything muffled.

You don't even know whose scream it is—Sol's or your own?

Never once did you think Jackie would die. In every vision you’d seen, she always survived, though gravely injured—losing an arm in the fight against Qimir. That was why you decided to come back instead of escaping alone. You knew that as long as Qimir lived, there was no escaping him—not for you. But Jackie still had a chance. If only you could get her and Yord aboard the ship in time before everything spiraled out of control, that would be enough.

But when you arrived, it was already too late. You saw it clearly with your own eyes: Qimir’s red lightsaber pierced through Jackie’s body three times, each strike aimed at a vital spot. There was no way she could survive such an attack.

You realized too late that the death of someone you loved was inevitable and unchangeable. If Yord and Qimir lived, it meant that Jackie would be the one to die. This was the consequence of your selfish attempt to alter fate. Jackie didn't die by Qimir's hand—it was your decision that sealed her fate.

You want to cry. The corners of your eyes burn with the sting of unshed tears, but none come. The grief is suppressed by the flood of information about the future that surges through your mind. You know you’ll mourn when the time comes, but not now. Not when death is crawling toward you.

“Run!”

A sharp voice jolts you from your thoughts. Finally, you hear it clearly—it’s Sol’s voice. He stands across the way, disheveled and wounded, with a minor gash at his side. His face shows shock, his voice shaking with fear. “Run! You shouldn’t be here!”

But his warning comes too late. You don’t even have a chance to respond, let alone follow his command. Suddenly, an invisible force wraps around you, tightening with each second, squeezing the breath from your lungs as if trying to crush you completely. You gasp, struggling for air, unable to move, like a drowning person on the verge of losing consciousness.

In that instant, memories from the depths of your mind flood back, dragging you into the nightmare you once foresaw. Each scene is like pieces of a puzzle coming together to form the terrible reality before you. 

Your eyes fix on a tall figure in a black cloak, his deformed metal helmet etched with a grotesque grin. He stands amidst the scattered corpses of fallen Jedi, radiating an aura of ruthless malevolence. His gaze, hidden beneath the helmet, stares intensely at you. Though you cannot see his face, you clearly sense the fury seething within him.

And in the blink of an eye, a tremendous force pulls you toward him with ease, leaving you powerless to resist.

You are completely at his mercy, your body suspended in mid-air as his large hand grips your throat. He could crush your windpipe or snap your neck in an instant; however, he holds back. You sense his intent through the shared consciousness that binds the two of you. This is how The Stranger plays with his prey. When he wears that helmet, he becomes a merciless hunter, driven only by the instinct to kill.

Sol doesn't hesitate. The moment he sees you in danger, he charges forward, his blue lightsaber flashing brilliantly as he swings it toward the Sith Lord. But the enemy moves with surprising speed. He yanks you closer, locking you in a chokehold with his arm, then tilts his body slightly, using his helmet as a shield to deflect the attack. When Sol’s lightsaber strikes the cortosis metal, it sparks and fizzles, rendering Sol’s weapon temporarily useless.

You draw a deep breath, your body tense as the Sith Lord's lightsaber hilt presses against your neck. He hasn’t activated it yet, but you know the moment he does, your face and brain will be reduced to charred flesh in an instant.

“Don’t even think about trying any tricks if you don’t want to lose your tongue,” comes the cold whisper in your ear. You understand the threat well: Qimir is the only one who knows your true capabilities. The Voice is a powerful secret weapon for the Bene Gesserit, and he won't give you the chance to wield it.

Even if you dared to try, it wouldn’t change anything. It would only hasten the end for both you and Sol. You’ve already seen the future that awaits if you choose that path. So, you stay silent for now, your mind racing to find another way—any way to turn the tables on Qimir.

“Let her go. She has nothing to do with this. Let it be between you and me!” Sol shouts, reigniting his lightsaber, but you can see that his hope hasn’t reignited.

Apart from Yord, who lies unconscious somewhere in the forest, Sol is now the only Jedi left breathing, while his comrades, including his padawan, are all dead. He should have been dead too, if you hadn’t intervened.

“But you brought her here, didn’t you?” the Sith taunts. “And I’m certain you wouldn’t have made it this far without this Bene Gesserit witch guiding you.”

As he finishes speaking, you feel his arm tighten around your neck, making it almost impossible to breathe. The suffocating pain forces you to struggle, your hands weakly hitting his arm to no avail. All you get in return is a mocking laugh.

“Bene Gesserit... the origin of both the Sith and the Jedi. Isn’t it fascinating that such remarkable beings still exist in the galaxy?” He reaches out, gripping your chin and studying your face closely before turning his attention back to Sol. "But what a pity that she chose the wrong side."

Sol shifts, readying himself to strike again, but the man in black is one step ahead. He lifts the hilt of his lightsaber to your temple without a word, yet his intent is clear—if Sol dares to take another step forward, you will die.

The Jedi grits his teeth, reluctantly deactivating his lightsaber. His eyes remain fixed on you as he addresses the Sith, "Tell me, what do you want?"

He’s stalling for time, you think. But how long can it last? You know you can’t rely on Sol alone. You need to find a way out too.

A harsh breath hisses out from beneath his helmet; it’s hard to tell whether it comes from exhaustion or amusement.

"At first, I thought I only wanted freedom: freedom from the Jedi's absurd rules, freedom to feel regret and anger, and freedom to follow my own desires," he answered flatly, as if what he desired were something ordinary, not the taking of lives. "But now I know what I truly want. I want to change; I want to liberate this universe from self-proclaimed guardians like you..."

His words stop abruptly. The silence that follows makes your heart tremble. You can feel his cold, burning rage—rage directed at the Jedi and rage directed at you.

"...And I would have achieved it sooner if I hadn’t been betrayed by someone.”

A scream rips from your throat, unprepared for the sudden, crushing weight of his boot as it slams hard into your shin. The sound of breaking bones is crystal clear. The pain is so intense that tears spring to your eyes, and your legs give way, no longer able to hold you up. But you don’t collapse completely, as Qimir still holds you upright, his grip on your arm unrelenting. His lightsaber is still pressed to your temple, while he turns to shake his head to warn Sol, who is ready to lunge forward again.

“Think about it, Sol. Why are you still trying to save her? She’s the reason you’re in this mess. Without her, you all might still be alive.”

The Sith Lord speaks with chilling indifference, completely unfazed by your whimpers as he presses his boot lightly against your broken leg, deliberately toying with your suffering. "But this one... she exposed me. So, now I have to kill every single last one of you."

You flinch, a cold shiver running down your spine. His voice—there’s something disturbingly strange about it, twisted and eerie, nothing like the Qimir you once knew.

Time is running out. Your heightened awareness warns you: he will kill Sol first, then possibly you.

You bite down hard on your lip, tasting blood. If there were any other way, you wouldn’t resort to this, but it’s the only option you know will work. And right now, there’s no other choice.

Taking a deep breath, you force yourself to speak, your voice as loud as you can manage.

"Please... don’t kill me. I’m pregnant!”

Silence falls instantly. Even the soft whisper of the wind seems unnaturally loud in the sudden stillness.

No one can see the expression behind his helmet, but you know without a doubt—he is shocked, utterly stunned by what he’s just heard.

And Sol notices it too—the brief moment when the Sith Lord’s guard drops, his grip on the lightsaber loosening without him realizing. It’s a tiny flaw, difficult to spot unless one is well-trained.

As if time stands still, Sol suddenly meets your glance, recognizing the purposeful look in your eyes. 

In that heartbeat, he knows exactly what to do.

Everything takes place within seconds: the Jedi ignites his lightsaber, lunging forward with all his strength and slashing into Qimir’s arm—the arm holding the lightsaber—sending both blood and the weapon crashing to the ground. The Sith Lord’s yell echoes through the forest.

Seizing the moment, you slip from Qimir’s grasp effortlessly. Sol pulls you toward safety, shoving you in another direction and shouting, “Get to the ship, quickly! I’ll catch up!”

He will never catch up to me, you think, glancing back at Sol one last time before turning away. Both of you know it—fate is already sealed. Sol will not leave this place tonight, and neither will you.

You force your battered body to keep moving, relying on the one leg that still functions, though each step is agonizing, nearly unbearable. Finally, you give up, sighing in resignation. With your current condition, reaching the ship is impossible. Fate has blocked every path—unchangeable and irreversible.

The only option left is to face the consequences of the choices you have made.

Weary, you sit down on a large stone not far from where you were. Jedi corpses still litter the area. A deep sorrow weighs on your chest as your gaze falls upon the faces of the fallen, remembering that just hours ago, they were all still alive.

Human life is so fragile, you think. No matter how many times you witness death, you can never grow used to it.

The sky visibly darkens as clouds turn a dull gray. The scent of moisture in the air gradually mutes the smell of blood. Rain will come soon, but you make no move to seek shelter. You place a hand on your slightly swollen belly, feeling the tiny life forming inside—the fruit of an instinctual mistake—now becoming another life reaching for the future amidst an approaching catastrophe.

At four months, it’s hard for most to see, but your Bene Gesserit training allows you to know everything about the growing flesh within you. Events unfold exactly as you’ve foreseen, and when this child is born, the future is certain—the beginning of the Skywalker and the path of a new Kwisatz Haderach.

You don’t want this child to be born, but it’s beyond your control now. The intricate weave of fate and bloodlines over the millennia has led everything to this point. Regardless of how much you try to avoid or change it, the Kwisatz Haderach will come into existence. It happened with Jessica thousands of years ago, and now it’s happening to you.

“The Bene Gesserit believe they can control everything, but the one thing they can never control is fate.”

Paul Atreides’ words resonate in your consciousness. You recall him saying this when you first discovered the truth about what will transpire in the next century through the realm of Alam al-Mithal.

“Every action in the present is a gamble for a precarious future. You cannot dictate the outcome to be what you want, and you’ll never know what will happen next until you’ve already made your choice,” Paul had said.

You tremble, feeling both isolated and terrified. It’s a profound fear—so deep that you don’t know how to express it. You know the path ahead has already changed. The universe has deviated from its course because of your actions, yet you have no idea whether things will get better or worse.

You close your eyes, forcing your mind into rapid meditation, trying to regain control over your thoughts. You push yourself into an awareness of the countless probabilities of the future, alongside everything that has occurred in the past. Those paths stretch out in every direction, twisting and overlapping in a bewildering tangle like gazing at the rippling surface of water that constantly morphs.

In that haze of uncertainty, you witness Paul Atreides wielding a crysknife, locked in a life-or-death duel with Feyd-Rautha Harkonnen, as per the ancient tradition. He uses that knife to kill Feyd, claiming the title of Emperor on that very day.

This marks the first turning point of the universe.

Next, you find yourself pulling the trigger of a stun blaster, firing at Yord from behind to shield him from confronting Qimir, thus altering the fate that could have led him to his death today.

This is the second turning point.

The change doesn’t only affect Yord’s fate. The ripple effect expands, enveloping everything within the universe. Multiple branching paths start to converge, merging into a singular path.

Finally... you glimpse the true outcome of the path you've chosen, which will reveal itself in over a century.

This is the gamble you've already placed your bet on, for this purpose and for this moment.

"Qimir"

His name sounds strange when you utter it, as if it's not a name you're familiar with, and the man before you is not the man you know.

You understand why you feel this way: he is no longer your Qimir but The Stranger—the Sith Lord responsible for the slaughter of the Jedi.

He stands before you, unmasked, his dark eyes cold as ice, staring at you impassively. There’s no longer a need for him to hide. Every aspect of him, every dark secret, has been laid bare—just as everything about you has.

The man chuckles softly and moves even closer, cutting off any chance for you to escape. You swallow hard, trying to turn your face away from his intense gaze. But he doesn't let you. His fingers, wet with others' blood, dig into both of your cheeks, pressing hard enough to hurt, forcing you to look only at him.

"Surprised?" He leans in closer, his hot breath on your face, and whispers softly in your ear, "I told you, you can't run away from me."

His words are not merely a threat to you; they are the truth. 

Because you both are bound by fate—an unbreakable karmic bond. No matter how much you try to run away from him, you will always be drawn back together. The only way to truly be free of him is death.

"I know, but a little effort wouldn't hurt, right?"

You respond, your tone almost playful, a smile still lingering on your pale face. It's as if everything is normal and under control, displaying no fear despite being at a complete disadvantage.

Your demeanor causes Qimir to furrow his brow, sensing something suspicious beneath your seemingly ordinary smile.

He doesn't quite understand, not until you slip your hand under your clothes.

Your body instinctively moves; muscle memory from years of training kicks in. In a flash, the knife hidden in your clothes flips into your palm, its sharp tip poised just inches from Qimir’s face.

You still remember every technique Qimir taught you—especially how to fight with a knife. You know you have numerous opportunities to thrust the knife into his vital points—his throat, neck, heart, or lungs.

But instead, you turn the knife on yourself. Without hesitation, without a second thought, you plunge it toward your own heart.

Before the knife pierces your flesh, Qimir's hand shoots out, gripping your wrist just in time. His dark eyes widen in shock, almost seeming terrified. Then, quickly, his expression twists into anger.

"What the fuck are you doing?!" he snaps.

"I thought you wanted me dead," you reply calmly, indifferent to his anger.

Qimir falls silent, appearing speechless for a moment. "I don't want you dead," he finally says, though he doesn’t seem certain of his own words.

It's changed again,  you think, but this time, you feel an unusual sense of relief.

You're well aware that he could kill you at any moment. You’ve seen all the possibilities of how Qimir might end your life, and what just happened was one of those scenarios.

Even though you’re skilled at fighting, you know you could never match Qimir. Had you chosen to stab him moments ago, you would have failed, and he would have killed you without hesitation. You’d have met a miserable end right here, just like in the visions you’ve seen so many times before.

However, by choosing to turn the knife on yourself, you altered the course of events. Qimir was caught off guard, never expecting you would actually dare to do it.

You’ve made him angry, of course, but you’ve also ignited the fear he tries so hard to conceal. It reminds him of the time you drank the Water of Life and slipped into a near-death coma for weeks. During that time, Qimir had been frantic and panicked, not knowing how to save you and fearing that you might die.

Qimir may not realize it yet—or perhaps he’s unwilling to admit it. However, witnessing this moment again will eventually compel him to confront the truth: he doesn’t truly want you dead.

This is all part of your plan. Your reckless actions sow a seed of fear in Qimir’s heart, and from now on, the thought of killing you will never cross his mind again.

Since escaping from Qimir is impossible, you must ensure your safety while trapped by his side.

“But you broke my leg!” You pretend to remain defiant, pointing to your leg and matching his anger with your own. “And you held your lightsaber to my head. Now you’re telling me you don’t want me dead? How am I supposed to believe that?”

Qimir clenches his jaw, appearing as if he wants to grab and shake you until the frustration fades.

Instead of doing that, he lets go of you, stepping back slightly before letting out a long sigh, as if unsure how to deal with you.

“That’s because you betrayed me. The rest? I was just threatening that Jedi.” He speaks through gritted teeth, glancing at your leg before shrugging. “And I’m pretty sure a broken leg won’t kill anyone, will it?”

For a split second, you feel the urge to laugh at his sarcasm, even though there’s nothing remotely funny about this situation.

Both of you look worse for wear—blood-soaked and gravely injured. He’s just killed someone, almost killing you as well.

Who would’ve thought that the two of you would end up sitting across from each other, arguing back and forth like a foolish couple trying to figure out who’s right or wrong?

It feels strange how the tension between you both suddenly eases; for a brief moment, Qimir resembles the man you once knew.

You notice this subtle shift and realize this is the opportunity you’ve been waiting for. You quickly organize your thoughts and steady your emotions. Because there’s something important you need to discuss with Qimir—and this is the perfect moment to do so. There won’t be another chance.

“Qimir, I’ll help you,” you say firmly this time. “I don’t care how many Jedi you kill, but I have one condition.”

Qimir narrows his eyes, his sharp gaze scrutinizing your face as if searching for deception. He doesn’t trust you, especially after you betrayed him once and fled with the Jedi.

Yet, you don’t need to prove anything to him because Qimir needs you. Your power is what he desires, and across the galaxy, you’re the only one who possesses this unique ability.

Your assumption is correct. He finally nods. "What’s your condition?"

"The one person you cannot kill is Yord Fandar."

“Why?”

"Because I’ve seen a vision. He’s the only one who can kill you. You must avoid him," you say, though this isn’t the whole truth. Qimir has an equal chance of killing Yord himself, but it’s better to let him believe otherwise, to keep him away from Yord in the future. "But don’t worry. He won’t be a Jedi anymore after this."

You’re certain of this, as it’s what you’ve seen in your vision—a part of the altered path extending ahead.

The tragedy today will leave a permanent mark on Yord’s soul. Losing all his companions while he alone survives will haunt him like an unforgiveable sin. The guilt will gnaw at him, wearing him down until he can no longer bear the burden of being a Jedi.

Eventually, Yord will choose to leave the Order, turning his back on the Jedi way forever.

In many ways, Yord’s fate mirrors Qimir’s past. But there is one crucial difference: Yord never succumbs to the dark side. He has too much light within him to be overtaken by darkness. He becomes neither Sith nor Jedi, but a Wayseeker,[1] traveling the galaxy in search of the true meaning of life and the Force.

Yord’s life will take another turn when he reaches the planet Naboo, where he is destined to rescue the daughter of a noble family held for ransom by space pirates. This event leads to their falling in love, and Yord will eventually marry her, settling down to build a family and live out his days in peace.

His bloodline will continue, becoming a crucial variable in the future—a girl named Padmé Amidala.

In the future, she will be the love of Anakin Skywalker’s life and the primary reason for his fall to the Dark Side as a Sith Lord, plunging the galaxy into darkness. Yet, at the same time, Padmé’s existence will spark a new hope.

Luke and Leia Skywalker, the twins of Anakin and Padmé, will grow up to stop their father's devastation and restore balance to the Force.

Among the many paths branching through the stream of time, this is the only path where the Kwisatz Haderach faces total defeat.

"Promise me." You insist, eyes locked onto Qimir's with unwavering determination, barely blinking. "Promise me you will believe and do everything as I say."

"You ask for my trust after betraying me, my love?" He retorts sharply.

"You must trust me; you have no other choice." Your voice is calm, cold, and confident, as if you hold all the cards. "And neither do I, my love." The last line deliberately echoes his words.

You watch Qimir carefully, using the Bene Gesserit’s observation techniques. You notice the slight twitch at the corner of his lips—amusement mixed with satisfaction.

“You should have thought like this before betraying me," he murmurs, raising his hand. You have to force yourself not to flinch as his bloodstained fingers touch your cheek. "I have my own conditions, too."

You freeze, suddenly aware of the shifting dynamics. The familiar pressure returns, creeping in slowly and making the atmosphere heavy and uncomfortable. You immediately realize how serious Qimir is about his conditions.

This is a delicate moment for your fate, and you know you cannot afford to make a mistake.

You lower your gaze slightly, your voice dry and uncertain as you ask, "What do you want?"

"You," Qimir says with a teasing smile, though his tone betrays a far darker intent. "You belong to me. That means your life—whether you live or die—depends entirely on me. And don’t ever think about running away from me again."

His fingers trail up to your neck, brushing slowly over your shoulder. Each touch is tender, leaving you frozen as tension seeps through every muscle in your body.

"And I need to ensure this never happens again, even if it means breaking your other leg. But you won't force me to do that, will you?"

He means it, you realize. This is his way of letting you know he’ll forgive you this time, but there won't be a second act of mercy.

As you blink, fragments of the future flash before your eyes, disjointed glimpses of what’s to come—a warning, urging you to brace yourself. 

You see countless more deaths on the horizon—deaths you'll help Qimir plan through your visions. You'll have to endure this torment, bitter and broken, haunted by the overwhelming guilt of what you’ve done for the rest of your life.

And you see yourself forever trapped, with Qimir watching your every move. You won't go anywhere without him or his permission. You will never be free again, like a bird with clipped wings.

This is the worst fate possible for you, yet you understand that this is the only path that holds a chance, the last hope to save the universe. You have no choice but to do whatever it takes to protect it, even if it means living as Qimir’s prisoner and forced to commit terrible atrocities for him, without question.

But it will be worth it. It has to be worth it. You reassure yourself silently as you nod slowly in response to Qimir.

He smiles faintly before leaning in to claim your lips in an intense kiss—a kiss that serves as both promise and a vow. His kiss is cold, reminiscent of a winter stripped of warmth, tinged with a metallic hint of blood. You don’t like it, but you don't push him away. You're too exhausted to resist, surrendering to fate and to Qimir.

There's nothing left for you to do but hope—hope that the path you've chosen is the right one.

Even though you will not live to witness the final outcome.

Footnotes:

[1] A Wayseeker is actually a position within the Jedi Order, referring to Jedi who want to carry out their duties independently of the Jedi Council's directives. However, in this fanfic, I don't consider Wayseekers to be Jedi like in canon; instead, I’m writing Wayseekers as independent Force users, completely separate from both Jedi and Sith.

[pinazee]

Season 3 time!

Ghosts!

And oh baby are they coming out swinging with all that juicy drama. Prepare yourselves ya’ll, im about to read way too much into things.

How come we’ve never seen Ray?? He’s henrys partner; given cop lore i would think he’d be a pretty significant person in his and probably shawns life, especially since he seems to be a voice of reason trying to get henry not to go through with arresting his son. Does he show up later? I don’t remember.

“Oo i have rights, thatll be new and fun” -i know that this line is probably just shawn being a bit dramatic but like, it cut me deep.

“This officially ends your chances of being a cop” -its just really sad that henry thinks thats whats going to make him rethink his actions. But also, i think this means Shawn was thinking of going down that path up until his mom left, because maddy even says when she left she thought he was going to be okay. Given Shawns character its kind of surprising he didn’t rebel against his dad long before that. Personally, i think shawn knew his arguments with his dad made things worse between his parents so he did what his dad wanted to keep the peace. Then when maddy left, well, there was no reason to keep the peace anymore.

Now, the henry of it all. This just makes me so sad. And i know they kind of say it’s the reason he retired later, that he regretted it, but i cant believe he ever thought this would “scare him straight,” and the way its shot certainly doesn’t seem like henry ever tried to connect with him. Like, if they wanted us to sympathize with henry later, they could have given us a shot of henry having second thoughts or even explained how Shawn was using the fact that henry was a cop to get away with breaking the law because he never thought his own dad would arrest him. They could have explained how shawns actions were becoming more and more reckless and henry didn’t know what else to do. But i think the reason they didn’t was because shawn is our protagonist and they didn’t want to muck up his character that much. I think it could’ve added some depth, personally. The way its shot though, it just makes henry look like an ass, sticking to the law unwaveringly without any remorse. (Sidenote-i can see how gus’s parents would think shawn was a bad influence)

Hes so rough with him :( (also baby lassie! Aww look at his little mustache)

I had to look up pinochet. Thats a heck of a reference.

Completely overlooked that haversham warmed his hot coco in a teapot. What an idiot (thats brilliant)

I love that each person in the show is like a dork for something. Juliet has weird football facts, carlton has westerns and guns, shawn has a few but i think favors movies, and gus has literally everything

I love the mystery of this ep! They make you think shawns solving one case (the ghost), and then you find out he is the ghost and they make you think Shawn had that one plan but then psych!turns out hes really looking for dirt the whole time. Also, shawn has to know quite a bit about business to pull that summary out of his hat. I might add it to his list of random skills.

Why would she have to clear henry for twisting his ankle? Also, now that i think about it, henry doesn’t seem the type to 1. Actually talk to a shrink or 2. Think highly enough of them to want to date one. So i have to imagine young maddy was a smoke show and he lost all sensibility.

I love that she calls him goose. Thats such a cute little nickname- that i need to know the origin of. Was this a goose and maverick thing? Was she maverick? Also, we get some more insight into shawns gifts because it implies he can remember everything hes heard thanks to his mother. So thats neat, and a cool way to show his “powers” didn’t necessarily all come from henry. Its nice to see maddy gave him something other than abandonment issues.

Ohmygod its so sad that shawn thinks his dad would sabotage him with his own mother jesus christ this family.

I wanted to end this with my thoughts on Maddy. I love that we see bits of shawns personality that came from her. He got her charisma, certain aspects of her humor, certain ways of speaking (like when carlton says, “then you wouldnt be opposed to me patting you down,” and maddy deadpan replied, “actually im very opposed to that.” It just sounded like something shawn would say). i love how the episode frames the narrative from shawns perspective too by putting maddy on a pedestal. Shes a very likable person. She takes his side when he tells her henry never told him she was coming, tells henry to buy him a phone, goes toe to toe with lassie and keenly gets him to open up.

But come on. This lady sucks.

First of all, SHAWN HASNT SEEN HIS MOM IN 3 YEARS, mind you the show says they’ve been doing Psych for about a year, so thats two years where he’s bouncing from job to job and not once did he visit her. And she was out of the country apparently and never told him she was back- why wouldn’t you let your kid know you were coming back to the country? She couldn’t shoot him an email or texted?

I would argue she is almost a worse parent by the sheer neglect alone. She gives off the impression of someone having never wanted to be a mom. she never seems to be around when shawn was little, we never see or hear of shawns mom sticking up for him against henrys teachings, and she straight up abandoned him the first chance she saw. And then on top of that, fails to communicate with him.

Lastly, I cant believe maddy (a psychologist mind you!) never talked to shawn about any of this years ago. She assumed henry would explain it all, but what part of his personality ever gave her the impression that henry could have an open and honest conversation with Shawn? And shawn says they used to talk all the time, but, like, how long ago because it seems like they haven’t had any real conversations in a long time. So its not just that she left him physically, but she also left him on his own to handle the emotional burden, because his dad certainly couldn’t talk about it. Shes the one who left shawn to pick up the pieces, not henry.

I mean its no wonder shawn struggles to form long lasting relationships.

P.S

Boneless shawn! Boneless shawn! My heart is filled with so much warm nostalgia it might burst! I remember when this first aired i laughed so goddamn much!

[greenconvor]

Okay, my brain has been on overdrive since last Tuesday, SO I offer you 3 insane theories and a fanfic style ending to connect them based on what we know as of ep 5 of The Acolyte!

Theory 1: Osha and Mae’s true origin

Mother Aniseya describes the coven’s interpretation of the force as a thread that when pulled can change things. Later, Koril makes a point to remind Aniseya that the Jedi would not approve of how the twins were created. This could be world building to show the differences/conflicts between the witches and the Jedi, but what if it’s more?

A witch would not go about creating a being like the Sith did; they would attempt some kind of ritual. One that matches their own beliefs and uses of the force: a cause and effect based on how one shifts the thread. They would not forge life essence out of nothing, they would transfer life essence from one sentient to another. Using, say, a sacrifice. THAT is how Mae and Osha came to be—and how they differ from Anakin.

Theory 2: Qimir is a front for Mother Koril

What do we know about Mother Koril? She is strong in the force, she can go into people’s minds, she loves her children but has a strong hand with discipline, she despises the Jedi, she is willing to fight for her family, and her death is not seen.

SO, consider— what if Qimir was either someone that Koril puppets or someone who made a bargain with Koril for power?

Hear me out, this would explain why Qimir sticks with Mae so closely, seemingly upset when she pretends to be hurt. That’s why he doesn’t kill her (or Osha) when he has the chance. Koril through Qimir was trying to scare Mae, maybe even hurt her a bit, to keep Mae under her thumb. That’s why Sol says he sensed something familiar and why Yord feels the same effects that Osha says her mother had.

And it makes sense for Koril to keep hidden from Mae since she knows Jedi can infiltrate minds (she thought Osha was manipulated on Brendok and Qimir’s first comment in the shop was to not mess with his mind). This proves smart as Sol did look into Mae’s head for her master and finds exactly what Koril wanted: nothing.

With the tragedy of her people and no one left to balance her, Koril’s anger and brutality would spiral. Without her coven, she is weakened, so she amasses power through the dark side, dwelling in her desire for revenge. A venture which she has Mae take on as the Acolyte.

Then, after Mae quits, Qimir still kills Kelnacca because Koril wants the four Jedi to pay more than Mae ever did. Mae was just the cover, the explanation for why these Jedi were being targeted when someone came looking. What they weren’t supposed to know is that the one driving the mission was always the Master, Koril. Hence why Mae is so willing to drop everything when she discovers Osha is alive. But while Mae is happy, Koril is angry because the Jedi turned Osha against them then kidnapped her. That’s why Qimir emerges to see Osha when he really could have stayed hidden, then shooes her away to kill all the Jedi in sight, singling out Sol later and taunting him about being two faced, knowing he must have lied to keep Osha’s trust.

Now to set the scene:

While Mae’s off being the wolf in sheep’s clothing with Sol, Qimir is alone with Osha. Koril knows that she cannot be influenced like Mae. Not as a child and not now. So Koril sends him away and reveals herself, reveals what actually happened on Brendok (I imagine there was some kind of confrontation where the witches wanted the Jedi to leave and the Jedi refused to leaved without Osha and things got out of hand in addition to the fire/explosion), and finally the ritual. She says that from the moment Aniseya reshaped the stolen life essences into one, infusing it with the coven’s power, then into two, their destinies were set, forever intertwined with the coven and each other. The Jedi tried to destroy that—to their own detriment. She tells Osha to take their deaths as a testament that no one can alter destiny.

Theory 3: Osha and Sol are connected (my final and most far-reaching theory)

For good measure, Koril shows Osha a vision of the ritual, but in doing so also shows the two sacrifices. Two Jedi. (Maybe they’d been sent to investigate the coven before they’d sought refuge in Brendok and the Mothers decided to hit two birds with one stone). But the real shock, the real clincher, is that Osha recognizes them. She knows them by heart because Sol kept pictures of them. Because they had been close once.

And this is where Osha realizes Koril is wrong. The ritual must have messed up someway, somehow. Mae must have received the imprint of the coven’s powers and purpose while Osha received the Jedi’s—alongside their bonds with Sol. Suddenly, everything makes sense: Why Osha had been so instinctually adamant about becoming a Jedi, drawing their symbol before she knew what it meant, and forming such an instant connection with Sol. More than that, why Sol had ben drawn to Brendok in the first place, how he knew about the twins, and why he fought for Osha beyond what protocol dictated. The ritual, their destinies, had been altered, and consequently, so had everyone else’s around them.

The final confrontation:

By this time Mae would likely have outed herself to Sol and, subduing her, Sol would rush back, coming across this scene with Koril and a horrified Osha. Koril and Sol fight, meanwhile, Osha reels from the knowledge that it was never Mae’s obsession/attachment that doomed their coven, it was both of them. It was the very act that brought them into the galaxy that sealed their family’s fate. So she makes a choice. She and Mae have been the cause of it all, so they need to be the solution. The ritual, the mistake, the curse, has to be undone.

Osha has an idea what to do, but can’t do it alone. She reaches out her hand for Mae and Mae, overjoyed at finally being accepted by her sister again, takes it. Together, using either what Osha saw in the vision or what they learned as kids, they recite their poem and begin the reversal.

Koril, seeing this, runs over, but it’s too late, the process has begun. While she fights her way closer, Sol is stuck on the outside. The twins get to the final point, but they can’t return their lives to the Jedi who were killed because there’s nothing left of them. So, Osha redirects their life forces to two different Jedi whose lives were taken because of events surrounding the twins, who weren’t given a pyre funeral, who were within reach. The two sisters embrace a final time as their undoing is complete. Koril gets to them right as the backlash hits and Sol is knocked back, unconscious.

He wakes in a haze, searching for Osha, but the only thing that remains is Koril’s lifeless body. Sol is still processing when Yord and Jecki run out of the forest, confused yet completely healed. He stares at them, shocked, as they ask what’s going on, where’s Osha, and why there’s so many dead Jedi with lightsaber wounds around Kelnacca’s home.

Sol realizes he is now the sole (haha, get it?) survivor to know the truth about the events of both Brendok and Khofar. He should tell the truth, but ultimately decides not to. He won’t risk Jecki and Yord remembering the blood bath or their own horrific deaths. He won’t let Osha’s name be marred by her origins or start a witch hunt over covens and Sith that no longer exist. So, the three simply gather the bodies and leave.

The official story is that Koril, revealed to have survived as Mae’s master, killed Kelnacca, stole his saber, and used it to kill the other Jedi. During this, Osha got through to Mae and together the twins teamed up to stop their mother, sacrificing themselves in the process.

In the end, everyone gets what they want:

Mae gets to be one with her sister again, Osha gets to save her friends and find closure/peace, Koril is with her coven in the beyond, Jecki and Yord live to find their own story. And Sol, well, Sol is left to finish the narrative. He would leave what’s left of Koril in her village alongside Mae’s daggers and something of Osha’s so that the family may rest together at last. He’d go on, guiding Yord, training Jecki (eventually taking her to get another crystal because she’s Cleary meant to wield two blades) and making sure that Osha is never forgotten.

(I’m aware this won’t happen; it is NOT a legitimate prediction. It’s just me sitting in a bubble of denial and deliberation while I still can :) )

Edit: I have made changes after some Enlightenment and the realization that I apparently have no eye for subtle chemistry between Star Wars characters. Thank you.

[nomadismrecords]

We’re thrilled to be back at Soul Kitchen with an epic lineup! Join us for an unmissable evening as we bring you the sounds of Plab-On, Marc Troy, and Hoani Teano. Expect incredible vibes, unmatched energy, and the best crowd around. Get ready to dance, connect, and experience the magic all over again!

Support the label ❤️

https://tikkie.me/pay/93girsb7j33gr9klsvdf

Plab-On:

Plab On, originally from the north-east region of India, has crafted a unique musical journey that spans continents and genres. Immersed in the rich sounds of 80s and 90s rock and metal, his roots trace back to his teenage years as a self-taught guitarist. During this time, he honed his skills by playing in various bands, cultivating a deep sense of rhythm and melody. In 2012, a pivotal move to Amsterdam opened DJ Plab On to the vibrant world of house and electronic music. Here, he discovered the innovative sounds of labels such as Innervisions, Kompakt, and Life and Death, which inspired a transformative phase in his musical identity. His exploration didn't stop there; in recent years, he developed a profound appreciation for afro-house and tribal house, enriching his musical palette and performance style. Plab On's sets has a narrative quality, seamlessly blending diverse musical influences to tell compelling stories to his audience. By integrating the various styles that have inspired him throughout his life, he creates engaging and dynamic performances that captivate and entertain. His ability to weave together different genres into a cohesive flow makes each of his sets a unique experience, leaving a lasting impression on the dance floor.

Marc Troy:

Club resident at 18, first release on a label at 19, night bar owner at 23, Marc Troy showed his passion for music since his early age. Making friends in the scene gave him the opportunity to share the stage as a DJ with well known artists such as Etienne De CRECY, Kiko, Citizen Kain, Da Fresh, Maxime Dangles, Matt Sassari, Benjamin Diamond, and many more. As a producer, he works hard to make tracks that touches directly his soul, even if they’re not related to techno. His latest remix released on Nomadism records is a good example of the way he can express himself through an undefined genre that makes his sound special.

Hoani Teano: Originally from Valence in France but now based in Amsterdam. Owner of the label Nomadism Records. Top 1 on Juno with his EP Hwange and Top 24 on beatport with his album Nazca. His strong taste for house music, oriental and African sounds led him to produce his own titles in early 2012 at the age of 20. He signed on Café de Anatolia, Shango records, Soulman Music, Tip Tap records, Nëim records, and many others. With already some nice dates to his credit such as France, Switzerland, Estonia, Romania, Luxembourg, Netherlands, ADE (Amsterdam Dance Event), South Africa and the Cannes festival. He has already made the warm up and the closing of Spencer K, Etienne De Crecy, Kiko, Davide Squillace, Betical and many others ...

[whatsonmedia]

Owned: The Bangladeshi Band Taking Alternative Rock by Storm!

An Interview with Owned Tama Sarker catches up with the band and discusses their musical journey of how the 4 individuals became a band. Owned is an alternative rock band from Dhaka, Bangladesh, formed in 2007. The band currently consists of founding members A.K. Ratul (bass/vocals), A.K. Samee (drums), Fasihuddin Ahmed Itmam (guitars) and Pritam - Guitars. They released their debut album, "1", in 2014. Owned is an alternative rock band known for their catchy melodies, heavy guitars, and powerful vocals. They have been praised by critics for their unique sound and energetic live performances. The band is currently working on their next single and is excited to share their new music with the world. In a recent interview, the band members spoke about their music, their influences, and their plans for the future. They also shared some significant points about their band. A.K. Ratul: "We want to make music that is both challenging and accessible. We want our music to make people think, but we also want it to be something that they can enjoy listening to." A.K. Samee: "Our influences are pretty diverse. We all listen to a lot of different music, so it all kind of comes together in our own sound." Fasihuddin Ahmed Itmam: "We want to be a band that is always evolving. We don't want to be stuck in one genre or sound. We want to keep pushing ourselves and trying new things." Pritam: “Communicate and trust each other to create a strong band dynamic.’ "Music Unites Us to Be One" The common thing that unites them is music. They all love music and are passionate about creating it. They believe that- “music is the glue that binds them together and allows them to express themselves creatively.’ They had some initial coordination issues during their concerts and performances. However, they have since worked through these issues and are now a well-oiled machine. They believe that this is due to their strong work ethic and their commitment to making their music the best it can be. They never feel like whatever music they produce could have been better. They believe that they put their heart and soul into everything they create, and that is all that matters. They are proud of their music and are confident that it will connect with people. They manage to find at least 2 hours a week to practice, even though they all have busy professional lives. They believe that this is essential to maintaining their musical chemistry and keeping their skills sharp. They also believe that it is important to stay creative and to experiment with new ideas. They discuss and decide on the tracks for an album or EP as a band. They believe that this is important to ensure that everyone is happy with the final product. They also believe that it is important to give everyone a say in the creative process. Ratul plays a major role in the band's songwriting process. However, the band members all trust each other and work together to create the best possible songs. They believe that this is the best way to create music that is both unique and accessible. Owned is a band with a bright future ahead of them. They are talented musicians with a unique sound and a strong work ethic. I am excited to see what they do next. Read the full article

[slothydaydreamer]

Helluva Boss Season 2 Ep 1 spoilers

Just some musings about Stella, Octavia and the family dynamics.

So after the glorious start of season 2 and all that amazing/sad backstory on Stolas and his family, I just had to rewatch episode 2 of season 1. Naturally.

And something Octavia said in response to Stolas at the end stood out to me:

Stolas: "I'm sorry sweetie... I thought you loved it here."

Octavia: "When I was a kid and my parents didn't hate each other."

This implied strongly that Octavia was unaware of any pre-existing animosity between her parents prior to Stolas' one night stand with Blitzo.

Also in the very beginning of the episode, when the timeskip happens, we skip from happy little Octavia to unhappy teenage Octavia. Back then, it seemed like her taste in clothes and music might come from the disruption of the household peace.

So now we get back to season 2, episode 1:

We find out that Stolas and Stella were in an arranged marriage that has been unhappy and unwanted from the beginning. They never liked each other. We also, more remarkably, see Stella openly mistreat and verbally abuse Stolas. (Later also implied that physical abuse happened as well, judging from Stolas reaction to her trying to slap him.)

We are shown even more family portraits than before, those of which show Stolas in his marriage with Stella, they both look extremely unhappy in it.

So how does that add up with Octavia remembering a happy family?

Stolas said he tried hard to make this work but it was never enough. For Octavia's sake, he tried. In all pictures with his daughter he is also very clearly genuinely happy.

But what about Stella?

We've seen that she still yelled at and belittled him in public without a care.

...well. My only assumption is that since Octavia wasn't around in those scenes, Stella tried to be at least somewhat civil around her daughter. Otherwise, I don't think any child would have been THAT oblivious to an already broken household. (I mean, yeah, that tends to happen too if you don't know anything else, but I don't think this was the case here.)

My assumption is that after that one night stand affair, Stella just completely stopped bothering to pretend in front of her daughter. (Since she had the "moral high ground", why bother being civil?)

But I think this was also not a sudden turnaround, but something that gradually seeped out from over the years.

As we can see from the portraits, they have always been cold to each other. Even in portraits with Octavia, Stella doesn't look quite happy to be there. She just endured.

It also seems very clear that she was never that involved in raising her child after she "popped out the egg". In the flashback, it's Stolas who goes to comfort Octavia after a nightmare, with Stella not wanting to get up. In Octavia's childhood drawings, we only see herself holding her father's hand. He was very obviously the one who organised the three of them going to LooLooLand when Octavia was a child.

I genuinely think Stella never wanted to be a mother. She was obligated to, and she did the duty she was forced into. Afterwards, she left it to Stolas, who was more invested in it.

So, Octavia's childhood nostalgia might be influenced by her mother never being much around, with Stolas doting extra hard on her. He compensated for Stella's absence with overbearing love, so that she never really felt the lack of it back then.

His unhappiness probably later hits the peak because Octavia is growing up and no longer needs him so much as she used to. The only thing getting him through this marriage is "gone".

The same might be true for Stella. She was not as invested, but still trapped by her duties.

So once Octavia grew up, Stella turned to the things she wanted and is getting bolder in showing her distaste for Stolas who she held her own grudges against.

Stella wants a social life, she wants parties and she wants good sex.

(The latter she ain't getting, so she is (wrongfully) lashing out at Stolas. She is using him as a punching bag for being trapped in this marriage, even though he is in the same position.)

The "no divorce party" is their 25 year anniversary.

(seems like it's either not a thing in hell, or they are so publicly unhappy that no one thinks they seriously would celebrate that)

It's published in a newspaper, and Stolas is spitting out his drink when he sees it.

It's probably a new development of humiliation in their relationship.

My guess is that she never was quite this blatantly obvious about it to people other than her social circle. (While letting Stolas feel her hate in full in private.)

From Stella's own words it seems like she throws parties often, or at least as often as she can get away with.

Again, my guess is that those things have increased over the recent years and that Octavia is not present during those occasions she publicly bashes him.

Even tho she is quite literally loudly gossiping about him on the phone while Octavia sleeps.

This one has me torn because she could wake up at any moment and hear that?? On the other hand she is sleeping and clearly not hearing it. Do owl demons canonly wake up late and is that just a thing for Stella to use mornings to badmouth her husband? xD Who knows. Or maybe this just Stella already no longer giving a fuck. Maybe for Octavia, it was growing up and being able to see more clearly what was happening between them that already caused cracks in that childhood ideation of their marriage, where the affair was only the final blow.

I can only go off theories what Stella behaved like around Octavia before the big bang.

So far their relationship is somewhat between non existent and cold.

I would kinda like to see Octavia blow up at her mom like she did with her dad. I don't think there's even a canonical exchange of words between them. It's always Stolas caring for Octavia and Stolas and Stella being at war.

According to Stolas, she leaves with Octavia on weekends.

Where to? What for? (Well, probably only to hurt Stolas by taking away his daughter. ...does Stolas only have free days on weekends?)

It's probably not even that interesting. Despite taking Octavia, that doesn't mean she actually spends quality time with her daughter. Octavia is probably left to her own devices and ignored..... but I'm so curious!

So far Octavia was only seen blaming Stolas. I want to know how she sees her mother.

[thompsonstessa-moved]

'Teraz Rock' Interview - english translation

A well know polish magazine about rock music 'Teraz Rock' (Now Rock) had an interview with Måneskin, and since one of the polish fans on FB shared pictures of the magazine, I decided to translate the interview, because I loved some of the stuff they said there! :D

As always, the whole thing is under read more. ;)

Maneskin is not only ‘Zitti e buoni’ and their winning performance in Rotterdam during the recent finale of Eurovision Song Contest. Italian band fits perfectly into the trend of rock restorers, and at the same time fights with the mental narrowness, prejudices and homophobia. On August 19th they will play In Park Kolibki In Gdynia.

I: You started by playing on the streets of Rome…

V: Unfortunately, there is not a lot of possibilities to debut in Rome. Rome is lacking the appropriate places, there are almost no rock shows. So we couldn’t find a place where we could show ourselves to the people. So we decided to play on the streets to gain the following, the listeners. We did that for good few months. And we had a lot of fun doing that. We think it really helped us, too. Because when you play on the streets, you don’t play for someone who came to listen to you. You need to attract people’s attention. So it was a great lesson on stage skills, to keep the attention. And we played many hours each day, so we also evolved as musicians, as a band.

I: Is it true that you had issues with police? V, D, T, E: Yes, that’s true!! (laugh)

D: It was all because of this old lady, that lived on the first floor, near the place where we used to play. She snitched on us! And sometimes police came and tried to get us to leave.

I: They didn’t arrest you?

D: No, it wasn’t that bad.

V: We were 16 back then. We just went all ‘We swear we won’t do it again!’ (laugh). We hid somewhere for 10 minutes….

D: Went around the block….

V: And played again (laugh).

I: You admited that at first you were shy. How did it happen that you gained so much self-confidence? Do you think one has to be self-confident if they want to show the world that they have something to say in music, in art?

V: It is important, but its more about feeling good with yourself and having fun doing what you do, rather than confronting the world. I think that if you lack confidence, you can’t fully enjoy creating, because you keep thinking ‘What the other will think about it?’. But everyone has to go through this phase. In my opinion, self-confidence is not something you’re born with. Everyone has the moments of hesitation and doubt. I have them too, still. And I think that’s perfectly normal. But you need to learn to appreciate yourself, accept yourself the way you are, because you can’t run away from yourself. We have whole life with ourselves, until the day we die (laugh).

I: Damiano, in one of the interviews you said ‘What we say, can change someone way of thinking’. Do you want to influence your audience? Artist like Chuck Berry or AC/DC just had fun on stage.

D: We also have fun on stage. But now, when we’re well known, we can get to many people, especially young ones. And there’s a chance, that if we say something positive to them, we could help them with their problems, that they can’t fight on their own. For example – like Vic said – we can help them gain more self-confidence and make them feel safer in the world around them. I’ll say this: if as a musician you have something to share with others, do it. But if you just want to have fun playing, that’s OK too.

T: Exactly.

I: Your behaviour on stage is often the reason for homophobic attacks. What would you say to homophobes here in Poland?

V: Fuck them!!!

T: Fuck them!

E: Fuck them, fuck them! (laughing)

D: Maybe not so vulgar.....

T: Fuck them!

D: For sure they should open up more, get rid of prejudices. Make a step forward. Free themselves from the old way of thinking. Let the others live however they want.

I: You debuted in 2017 with EP ‘Chosen’ with two of your own songs and few covers. Even tho you were so young, you already came off as mature musicians with a set style…

V: Thanks, but I don’t think so (laugh).

D: I don’t think we would agree with that.

E: We wouldn’t agree with that, definitely.

V: My bass playing skills definitely left much to be desired.

D: 'Chosen' definitely has its advantages, but… we were still looking for our sound back then. That EP is so much more different than our other albums. But it is a part of our career, our journey, and we don’t regret anything that has to do with it. We had a lot of fun recording it and… its something we did in the past and we’re happy that people loved it.

V: Still love it!

D: Exactly, still love it. Even tho we changed so much since then.

V: The most important and coolest thing about that EP is that even tho we were really young and our skills weren’t as good, you can still hear that we already had charisma and knew what we wanted. And even tho most of the EP consists of known songs, we changed them, played them in our own way, our own style. And that’s really cool because it shows us as a band with their own personality. Of course, now that we listen to that EP, we have lot to complain about…

D: We would do the songs much better.

V: But we like the attitude we already had back then. Even tho we were so young.

E: Our sound really changed since then, but you need to remember that when we we’re recording it, it was already a huge accomplishment for us.

D: That’s true.

I: On ‘Chosen’ Damiano sung in english. On your first album, ‘Il ballo della vita’ from 2018, you had songs in italian as well. Did your songs get more personal because of that?

D: I wouldn’t say that. We started writing songs in italian out of necessity. If you’re an Italian artist and want to reach Italian audience, you need, you have to sing in italian, because not a lot of people speak english there. Now it’s different, we managed to reach international audience, so we can make more songs in english. But we won’t resign from italian, we like to write in italian as well.

I: While recording ‘Il ballo della vita’ you made documentary ‘This Is Maneskin’…

E: They will never forget it! (laugh)

I: You can see there, that during that time you argued a lot.

D: We were young!

I: Did the conflicts threaten your band’s future?

D: No! We were just starting out...

V: Conflicts were inevitable. We were very young and suddenly tabloids were writing about us. And recording an album required a lot of work. And we never experienced that before, we had issues dealing with work in the studio. Because creating and recording together isn’t easy. You need to make many decisions, everyone has their own opinion. Now we’re more mature, we know how to deal with those situations. We can discuss with each other in a constructive way. We were much more childish back then and yeah, we fought sometimes. But even then nothing happened that could threaten our band.

I: ‘Il ballo della vita’ is a concept album of sorts. You have there Marlena, who, like you said, is personification of the concern a lot of you have – that we’re not able to be yourself…

D: The album was supposed to share a message to our fans. We wanted to tell them how important for us is the freedom to be yourself. The ability to love someone, that was chosen by our heart. Freedom to wear the clothes we like. Et cetera, et cetera… We realized that the album would speak to people more, and will be easier to understand, if we gave that idea a name. Of course it’s an idea that we still share to this day, just maybe a bit differently.

I: Your last album, ‘Teatro D’Ira Vol. 1’, you recorded live in studio. Did the way you worked on it was much different from the way you recorded ‘Il ballo della vita’?

D: Oh yeah! It definitely took us less time!

V: Definitely much faster. It was very exciting. We wanted to keep in studio the energy we have when we play concerts, which meant playing together. Which is of course much more difficult than recording separately. But we told to ourselves: let it be, we should at least try. And we loved the result.

D: You know, at first you work on the material in rehearsal room. And you’re full of energy. But then you come into recording studio, where you divide the song into parts, and you loose that power, that magic. So we realized that we should change the way we work, so we could keep the emotions from rehearsals.

I: ‘Teatro D’Ira Vol. 1’ is another concept album. You said its all about the rage, that plays the role of catharsis sometimes. Can you say something more about it?

V: Anger is mostly seen as something negative. And we think that classifying emotions as positive or negative is stupid. Especially in art. When you’re creating, anger can make you give more from yourself, say more. And that’s what our album is about, talking about the world of theatre. We show that something that’s seen as bad, can – especially in the world of art – become something good. And those songs, that are so full of rage, can bring relief to our listeners, which only confirms what I’m trying to say.

I: In the lyrics to 'In nome del padre’ and ‘Vent’anni’ you’re talking about mistakes you made in the past...

D: They are very different tracks, even if they seem to talk about the same topic. Vent’anni is all about our age, because we think it’s a very special moment in your life: you become an adult, but you’re still too young to be considered as such, and they don’t treat you seriously. We wanted to share that with our fans, because maybe they think the same. And In nome del padre is about the battle we had to fight, the mistakes we had to make, to get where we are today. Of course we’re still young, we still make mistakes. But I’m singing about the mistakes from the past, because they made us the way we are today. And I’m saying: don’t be afraid to make mistakes, because they are a part of your journey, your life. What’s important is how you react to those mistakes.

E: It’s not a mistake to make mistakes.

I: The next album, continuation of ‘Teatro D’Ira Vol. 1’ – is it already recorded?

D: No, no.

V: Indeed, our next album will be continuation of ‘Teatro D’Ira Vol. 1’, but we’re still working on it. We don’t want to record it in a hurry, we want to take our time making it.

D: We have a lot of songs already, but we want to have plenty to choose from. We want the album to have the most representative songs, the best ones.

[iamnightduchess]

Reiner & Mikasa: A Retrospective Pt. 1

Why their combined synergy is poetic in potentially saving Eren by the end of SnK?

(Disclaimer: This is purely an appreciation post for my two favorite characters, [BR]OTP-influenced but in no way disregarding any other characters’ importance in the series) **contains spoilers for recent manga chapters & Ep. 63 of AoT’s Final Season. Image heavy.

Ever since they were trainees, Eren has always looked up towards both Reiner and Mikasa, although he wasn’t willing to admit to the latter in front of her face directly. But, in a feeling of helplessness, he confided in Reiner. He aspired to be just like the two strongest people in his life at that point: Reiner and Mikasa.

They are the top two cadets of the 104th batch and are almost always evenly matched in the multiple times they’ve tried to take each other down if it wasn’t for Reiner’s stroke of luck and Mikasa’s hesitance. (Mikasa managed to force him out of his Titan form using her last Thunder Spear but wasn’t enough to kill him even when she said she wanted to)

(Oh yes, she & Levi gave him enough trauma for his PTSD and he has recurring nightmares of her. But he still respects them. Enemy to enemy. Enemy to ally.)

Yet together, there’s still a fighting chance for them to stop Eren because of their deep bond with him. (Armin is important too that ARM still has a huge role to play in the second wave of the final fight. Especially now that he’s realized OG Ymir’s role in all of this. I hope)

At this current timeline of the manga, we have reached the point where Reiner and Mikasa, the very two people that Eren looked up to, have to be the ones (amongst the few) who collectively work together to defeat him, who’s under the Founder Ymir’s influence & in a way, saving him from whatever hopeless vortex he is in.

I very much like to draw light to this short, quick exchange between Reiner & Mikasa on the plane heading towards Fort Salta’s direction. The above panel, which highlighted Reiner’s perspective and his empathy, says “The weight of that unimaginable power & burden would not be easy to endure and that IF he was the one who has the Founder, he’d want it to be handled by someone else and if he couldn’t handle that immense power, he’d want the power to be stopped.” Some fans claimed that Reiner was ‘projecting’ his own innate desire to die on Eren but Reiner has always been the opposite to Eren’s character. The other side of the same coin as Eren’s.

The below panel follows and it’s very interesting to note that if we look at Reiner’s gaze as he was speaking, indirectly Reiner is admitting that he’d want to be stopped by someone he knows could do exactly that and that person or his kryptonite is Mikasa. Ok, woman, this man’s weakness is you. It couldn’t get any direct than that rofl

Reiner was being very mindful (and respectful) of his implication as he is very aware on how delicate is Mikasa’s feelings when it comes to Eren. (Tbh, I also observe the unspoken understanding & mutual respect between these two) Eren’s her family & to directly call out to Mikasa to be more proactive in her actions would be inconsiderate of him despite the situation they’re in. Just like at the harbor, before the showdown with the Jeagerists, Reiner gave them the option to stay aside & not interfere, knowing full well he & the rest of the Marleyan survivors would be no different than headless chickens without the SC’s support. He didn’t force them, just like he didn’t impose his thoughts on Mikasa.

Then BOOM -- PATHS INTERMISSION. Brought to you by OG!Ymir through Young!Eren. Coincidentally, as if ‘someone’ out there wants to place weight on Reiner’s suggestion.

However, after the Paths intermission, that might just be the first wake up call to Mikasa. It’s also interesting that once again we are reminded that no matter how fast or how hard Mikasa tried to chase after Eren, she’ll never be able to get close to him. She gave him her world yet he kept moving forward & leave her behind, chasing after his shadows as he keeps going down a path that no one else can follow. I think it’s interesting that The Paths looped her back to Reiner

The horrified expression on Reiner’s face in the panel below somewhat tells me that he knew his earlier implications are not just him grasping desperately at straws but it feels like there’s the ‘human’ side of Eren, still untainted by Ymir’s will, like he believes, who secretly wants to be stopped. He understood how horrible it is for Mikasa, especially with the look of absolute shock on her face to finally have the awful truth confirmed. (At this point, Armin is already past the point of holding back & will do whatever necessary to rip Eren out of the Founding’s form)

I would like to take the time to share my appreciation of these rich panels of Mikasa working closely with Reiner’s Armored (together with the rest of course). Mikasa doesn’t tell her feelings verbally but she always shows it on her face.

Oh yes, right after the above panel, she had to get out of the way but her face below explains the anger and the rage she felt when she saw the Colossal took a bite out of the Armored’s nape & toss its body away like it’s just point blank garbage.

She was desperately worried that Armin was taken, but at Levi’s behest, she trusted Armin with his orders and they forced themselves to move forward. But one can see she was about to go apeshit when she saw what happened to Reiner & his Armored.

While Reiner & Jean were having a Titanic bro moment here, which is also pivotal in my opinion as Reiner, once again felt he finally belonged amongst people who genuinely care about him Survey Corps Suicide Squad yo even after what had happened between them. (It was a symbolical scene as well where Reiner has to let go of his old bro, Bertolt to move forward with his new bro, Jean.) Mikasa swooped in & kill the random Titan form that was about to make Reiner its lunch. Can’t blame them, that man is a delicious footlong sub. This woman ain’t gonna share haha crack humor, people! 

“If we fight, we win. If we lose, we die.”

Yes, the breaking point of one Mikasa Ackerman. This is a wholesome callback to Trost arc, the day before their graduation. When she found out that Eren died, she went apeshit & went on a “fuck this shit. i have nothing to lose anymore” mode. Jean, as usual, being the tough guy Jean, is angry that she’s putting her life on the line. Again.

But what’s interesting to me was the helpless look on Reiner’s face. He knows she’s super strong, he respects her so much for that & she’s buying them time and was more than willing to die first before everyone does BUT he can’t do much at that point because he’s at his last limit and Jean’s not letting his hand go either. Seriously, THIS is the woman you should marry, bro. She’s willing to die for you & everyone else. This woman is a damn keeper!

Although I am very sure, everyone’s ready to die for each other at this point.

Back to the original pondering: The Reiner & Mikasa saving Eren with/through Armin going directly against Ymir.

The Final Exhibition played a lot on this Eren vs Reiner with Mikasa being in the middle. Touched on this briefly before.

The Final Stand highlights the confrontation between The Founding/Attack against The Armored, with Mikasa being in the middle of the confrontation, tipping the scales of the outcome. Before, she assisted Eren against Reiner.

We are seeing her working together with Reiner to take Eren down right now. The definitive final question that would be answered soon was printed on the wall featuring Eren & Reiner’s exhibition panel:  “Who’s the one that will disappear from this world?”

I just hope that the right one(s) persevere. Reiner & Mikasa are going to Bonnie & Clyde/ Cloak & Dagger / Cyclops & Phoenix that shit out

Read on their characters compatibility in Part 2

[thefinalcinderella]

Honestly the more I think about it, ep 5 was kind of a letdown (warning: long ass paragraphs, this is all just my personal opinion)

I still enjoy this game a lot but there’s some questionable writing decisions which I’m not entirely sure are intentional or not

A lot of this is due to the fact that there were so many unexplained delays

It has more chapters than any other ep so far, but a lot of it feels very pointless (did the middle part need to be all about touring the the festival?) and even though it's supposed to be the pom chapter, i still don't really feel like we don’t really get all that close to them, particularly rook and vil to a lesser extent. Even Epel’s relevance kinda disappears from the story after the middle part. Compare this to ep 1 which has 28 chapters and 5 main characters yet you get a good sense of who they all are and they have tangible roles to play. Part of this is due to the fact that there are more characters that are getting involved with each ep. I know people always go on about how twst is not an otome game to explain why mc has weak presence/influence but considering they're our only way to directly interact with the characters i think they should be utilized more

It also feels like a lot of points that were brought up before and during the ep that were never addressed. E.g. the dwarf mine monster (actual dwarfs show up in the ep so why was there no mention of it?), the fact that Pomefiore is the oldest dorm, Kalim mentioning that he enrolled in nrc late, Jamil hearing our conversation with Kalim, Epel being a poison apple, and so on. I don't want to think the writers forgot but...

Also this is sort of a personal opinion but I don't really like the fact that we're supposed to be on Vil's side? Like personally I myself don't really care about beauty, I think everyone has their own standards of beauty and that sometimes I just wanna look like a swamp witch lol. There's a lot of talk about social media influencers and body image and how it has a negative effect on self esteem and such, and I thought maybe we'd get a moral where we'd tell Vil that “hey you don't have to be so hard on yourself and base your self worth on what other people say.” Now obviously this isn't going to solve Vil's issues since he's a child actor and it's sort of engrained in him at this point due to the nature of the industry, but solving deep personal issues isn't the point of twst anyways, it's more about making a breakthrough I guess? I think it should be addressed that just because Vil puts a high standard on himself it doesn’t mean others have to follow it? And that the high standards themselves might not be something that should be met especially if they’re created to please other people (”please” might be the wrong word for Vil but I hope you get what I mean)

Like don't get me wrong I think it's cool that the game makes a good point about how striving to be beautiful isn't limited to one gender and that it's also strength and Epel's definitely working through some issues with toxic masculinity and his own self image, but on the other hand why should he go along with an ideal . I don't really like it when someone arbitrarily imposes their own will on others with no one questioning it, even if they do have good points. Guess I just feel there should be at least a small revelation similar to Epel's on Vil's part.

And now for the infamous ending... I personally expected rsa to win and I thought Rook being an idol otaku was pretty funny and it does fit with Rook’s M.O for him to do what he did, but the way it played out was really...it leaves a bad taste in your mouth. I’ve seen some twitter posts speculating that the light element characters like Rook and Neige were meant to be portrayed as insensitive and callous since it’s a story from the villains’ point of view and what not, but I’ve also seen other posts speculating that it might be Yana Toboso’s bias to make the “good” characters look bad to make the “villain” characters more sympathetic. Kalim in ep 4 also inspired similar reaction but I think people sided with him more at that time. Now I don’t want to assume anything and I really hope that isn’t the case, but that kind of thing just invites controversy, which the fandom has a lot of already

Now this is all before we really understand what the game “Twisted Wonderland” is really about. The fact that there’s an unsatisfied feeling after each episode ends seems to be intentional considering the nature of the game. Maybe there will be some big revelation later in game that will make all of this seem silly and everything will make sense. Most games have these kinds of growing pains when starting out (FGO Rome anyone?) and writing for a mobile game is different than writing for a manga or novel, so hopefully the staff can learn something from this and maybe be more transparent about the game’s development. I’m sure this will all be forgotten by the time ep 6 or a new event comes, but until then...I’m going to be just a little disappointed.

[axiang-n-chengling-s-dads]

Pacing Issues in SHL/WoH

Rather I should name this issues that would be fixed with the correct pacing (ie a few extra scenes), but whatever. To preface ik the show had time and budget constraints, and ofc censorship, and love the show a lot. But these were a few areas where I thought a 4-5 min scene could also mostly fix things.

1. Wen Kexing's Fake Death:

That Wkx has to fake his death is obvious. Zhao Jing is hell bent on killing Wkx and the Ghost Valley, the most Wkx can do is set it up on his own terms to fake his death, which is why he returns to the Ghost Valley. There is also the fact that Wkx's death as the Ghost Valley Leader metaphorically marks the end of his kill-everyone revenge. Now when he comes back to take revenge, he does it in a righteous manner as the son of Zhen Ruyu avenging his parents death.

I would be remiss as a Sherlock fan if I did not compare this to Sherlock's Reichenabch Fake Death-- as he does not tell John, so does Wkx not tell Zzs.

That Wkx does not tell Zzs initially is understandable:

Zzs as we know is pretty injured. He has just come back from facing a lot of torture from the Prince, and already he had his Nail Problem ™. As we're told, Zzs needs to rest, and get into better health so that the nails can be removed.

Wkx's plan is at best risky-- how to be assured that only Chengling kills him? And not any of the hundreds present there? What if things go wrong, as they can at any moment? Zzs would at the least want to help Wkx, play a part-- which is dangerous for him as he's still injured.

So ofc in Wkx's mind it's best if he's not told until the plan is completed. Wkx makes sure to only tell those who are necessary to the plan, just like Sherlock does, telling only Molly, Mycroft and the Homeless network.

At this point we also know Gu Xiang did not know of the plan. As was pointed in another person's meta-- Wkx is a lone wolf, accustomed to relying only on himself and the bare minimum ppl required.

Moreover, there's the fact that Zzs was not supposed to be there during Wkx's death, just like John was not supposed to be there at Sherlock's death. In both cases John and Zzs suddenly pop-up and you can see that Wkx is anxious as he tries to keep Zzs away from him ("I lied to you Zhou Zi Shu" just like Sherlock says "I am a con man, it was all a trick").

When Zzs comes to take revenge, everyone other than him seems to know Wkx is alive. Why? The answer is that, as we see, Zzs probably ran away and was in hiding until he came to seek revenge at the Conference. Had he returned to the others, like Gu Xiang he would also be made to know of the truth.

This is the recurring theme of the show: the prey thinks all along that he's the Predator- similarly because of this unfortunate circumstance of Zzs being absent and then removing the nails, Wkx who thought he'd outsmarted everyone, really gets one upped by Fate.

Now, the last part that really ties this in is not explicitly stated at all, hence causing a lot of confusion and feelings about Wkx being OOC.

If only they had one 3-min conversation where WKX is like-- "where were you all this time, I was looking for you to tell you that I'm alive" and Zzs says something about preparing to take revenge, obvs not wanting to tell Wkx what really happened yet.

2. Side Character Deaths:

Episode 35-36 have a lot of deaths.

For Gu Xiang and Cao Weining, though the initial premise of their deaths is wonky (ie that no one was around to check on these new Intruders) the theme is apparent (that good people cannot survive in jianghu bc neither GX nor CWN once think of being cautious of the Gentle Wind Sect Leader). But still as viewers we can be asked to suspend our logic sometimes. Thier actual deaths are done beautifully.

But the others, that is, Tragicomic Ghost, Alluring Ghost, etc- Thier deaths are too quick and aren't given enough time. As for Xie'er and Zhao Jing, their deaths occur entirely offscreen.

For Zhao Jing we can say fuck the villain and let it go, but the rest of the characters the show spent a lot of time making us feel sympathetic towards-- giving no time to Thier deaths doesn't make us feel cathartic or fully give time to process them. A bit longer for each of them would have been wonderful, esp for Xie'er.

3. Wen Kexing's Sacrifice:

I have seen some criticism where it's said that Wkx sacrificing himself took away Zzs's autonomy over his death, which he has always wanted and has been a major character point. And they're right.

See, Wkx's immediate reaction on waking is understandable: given the choice to sacrifice yourself so that a loved ones lives, who wouldn't take it?

Also Wkx has cost Zzs his life, if he'd not done what he did, Zzs could have taken the treatment, gotten the nails out, and lived. Now, he will die. Wkx owes Zzs a life now.

Moreover, as Wkx would most definitely think: who does wkx have to live for if Zzs is gone? Other than Chengling, everyone else he loved would be dead-- the ppl he knew from Ghost Valley, Gu Xiang-- when Gu Xiang died he was ready to die at that point too.

But Zzs? He has so many to live for-- Chengling, all his disciples, Qi Ye, etc. As we know, Wkx thinks very highly of Zzs. He does not however consider, that the person Zzs wants to live most for is Wkx himself-- when Zzs tells him this in that World Armoury Cave, you can see the immediate regret on his face-- but what can Wkx do?

The thing is, at the end of the day Wkx thinks he owes Zzs this life, and that Zzs is more deserving and has more to live for.

Again all of this you'd really need to think about, and since it is one of the final, really important scenes, it's... Best if they'd shown all of this reasoning themselves.

What the show really needed here, was a scene where WKX finds out it is due to his own mistake that Zzs is going to die-- he would go berserk, and then probably also go through what I've described above. That scene would really help a ton.

4. The last scene of 36/ ep 37:

This one is the least to blame because I cannot Imagine the hoops the team had to go through to give us what they did.

The last frame of 36 is interesting, because it's very abrupt. I suppose they did it in the hopes of making audiences feel that it was incomplete and to go and look for another episode and stumble upon the Easter Egg?

That being said, it really is confusing what exactly is happening in the last scene or how Wkx survived-- there are many theories about how both parties need to be completely devoted to each other etc etc. And also the lip reading which makes things clearer. Story-wise it really is an issue, but taking in the outside elements I really do not blame the Show Team for what they did.

Also a side note to everyone despairing that WenZhou won't be able to travel the world like they wanted to-- they had previously said they'd love a reclusive lifestyle, so they are happy here, and they can also leave anytime!

So I assume in a few decades, maybe once Chengling dies, they can descend the mountain, travel the world for a good 10 yrs minimum (or if their aging is just unfreezed then they have like 30-40 years) to travel the world, go back to Wkx's peasant home and pay respect to his parents, and also meet GX and CWN's reincarnations!

So yeah in conclusion ™, a few added scenes really would have helped, and yes this is a critique ™ but i also understand the hurdles they'd have faced in terms of time and money budgets and censorship. This show does not exist in a void but is influenced by real outside phenomenons!

[spongki]

SPONGKIFY: February

1. Fountains of Wayne / Adam Schlesinger (Band)

Discovering the power pop gem that is the band Fountains of Wayne during my semester break was quite a ride. Brace yourself. I have a lot to say about this.

Don't get me wrong—I was already aware of the band's classics during my childhood such as Stacy's Mom, Sink to the Bottom, and Hackensack—I do not live under a rock. But would you believe that drag made me realize I merely scratched the surface of their excellence?! I was watching a Trixie Mattel video about her celebrity doll collection where she showcased her Josie & The Pussycats dolls, and she mentioned how the music in that movie was written by Adam Schlesinger, the co-founder and songwriter of Fountains of Wayne. She also had a live video where she covered their song Hackensack as a tribute to Schlesinger's passing (RIP). All of this prompted me to rewatch Josie & The Pussycats (a movie that possibly radicalized me as a kid) and revisit its stellar soundtrack. I explored more and more of FoW's music and needless to say, I will definitely be seeing a lot of them on my year-end's Spotify Wrapped.

Their self-titled album Fountains of Wayne creates a picture of '90s American suburban life and its mundanities with tongue-in-cheek lyrics that read like anecdotes (courtesy of Schlesinger), even to those who are greatly unfamiliar with it such as me who grew up in a crummy urban apartment, forever intrigued with the enigma of suburbia. With the union of Chris Collingwood's (co-founder, vocalist, and songwriter) vocals and a variation of melodies peppier than most '90s alternative music and with heavier guitars than their pop pop counterparts, this record slid its way into my heart, and tagged along was its dorky but heartfelt appeal that reminded me of simpler times. Each song provides the sensation of watching a film but with the privilege of having both the movie and the soundtrack as one entity.

Oh, but that's not all. I also found out that Adam Schlesinger wrote for the movie Music and Lyrics (2007) starring Drew Barrymore and Hugh Grant and That Thing You Do! (1996) starring Tom Hanks. He also wrote tracks such as Just a Girl by The Click Five and (co-wrote) High School Never Ends by Bowling For Soup. AKA, I was completely unaware he ruled my fucking childhood. I couldn't be sadder for his passing, but he will remain alive through his music.

(With Trixie Mattel's small town affection and style of fashion and music heavily inspired by '60s mod and power pop, I could see why she considers Fountains of Wayne as her favorite band of all-time.)

2. KATYA - Vampire Fitness (EP)

I'm gonna be honest, I'm not a big fan of most drag queens' music. They tend to go for the campy early 2010s electro-pop formula that either end up sounding like they sewed together Ke$ha's tattered scraps or they sloppily imitated iconic queer track "I Want Your Bite" by Cara Cunningham (formerly Chris Crocker). And tbh, I'm not really mad about it (even though I sound like I am so I'm gonna stop before I start sounding more and more like a homophobic bastard) since music is usually just a side gig for most queens. There are exceptions, of course—some do fall under this convention but they're GOOD, although I find that it's generally a hit-or-miss. This record, however, has KATYA written all over it. I have pretty high expectations on everything Katya does since she is so consistent with her character and style which, in my opinion, she greatly expresses on her own YouTube channel. Her "RuFLECTIONS" segment and her "RuUnion" with Detox were peak Lynchian weirdness (did I use that term right?) and pure Katya Zamolodchikova artistry, so I expected her music to be no less.

In this EP, KATYA (as she is mononymously known in her music career) pays tribute to her "motherland" and sings mostly in Russian. There is a clear influence from industrial goth, dark wave, and [shoots dart blindfolded] hyperpop PC music à la SOPHIE (RIP) and other aesthetics Katya basically associates herself with. As a known Russian bisexual transvestite hooker, Katya also does a Eurovision-style track featuring her best friend Trixie Mattel called "Ding Dong!" (an inside joke between the two) where the latter briefly recites a line from Silence of the Lambs (about Jame Gumb btw, aka gay icon).

A record packed with references on top of instrumentals that could possibly kill Prince Philip twice... [Elvira voice] Now this is my kinda ghoul!

3. Santigold - Disparate Youth (Song)

"Indie sleaze", aka a more fragrant term for the derogatory-sounding "hipster", is slowly making a comeback on the Internet and it's only a matter of time before it hits the mainstream (ironically). A lot of people are sensing a resurgence of millennial-isms, particularly hedonistic Project X-type parties, which I'm assuming is a result of how pent-up we've all felt during the pandemic. After all, we were supposed to have our own "Roaring '20s". And I, for one, am not immune to trends so I have this "bloghouse" gold on repeat, reveling in that nostalgia and making up for lost time—this along with M.I.A., Azealia Banks, Kid Cudi, MGMT, The Strokes, The Libertines (if you’re a Brit) and the like. I have a feeling Alexa Demie has something to do with this (iykyk). Maybe it's about time I start seeing pictures of American Apparel models in tighty whities on my dashboard.

[shemakesmusic-uk]

Getting To Know...

Helven.

Norwegian alt-pop artist Helven has just released her debut EP volume 1 via Jansen Records. Over the last few months she has shared the first taste of the EP in the form of singles ‘u my homie’ and ‘if I could be like you’ which have earned her early support across the blogosphere and a steady following.

Helven has a talent for fusing together honest, contemporary lyrics with inspiration from pop music of the past, capturing the experience of life as a 21-year-old woman in the 2020’s. Inspired by the many lessons her brother, who has autism and Landau-Kleffner Syndrome, has taught her, Helven is on a mission to wear her heart on her sleeve.

Each of the five tracks that make up volume 1 focuses on a different emotion that she has struggled to express in the past: envy, care, love, sadness and frustration. Attaching a particular feeling to the autobiographical stories she tells in her music has helped her find a true sense of self. Her message to her generation is simple. “In order to survive in this increasingly chaotic world we need to listen to our feelings more, and express them proudly.”

We had a chat with Helven all about her influences, volume 1, her plans for 2022 and more. Read the Q&A below.

Hi Helven! How are you? What have you been up to?

"Hi! I'm good, thanks! And thank you for having me. I've been busy working on the release of my debut EP and preparing for the release concert in Oslo, it's gonna be great!"

Let’s start at the beginning. What was it that led you to make music? Who were you influenced by growing up?

"I've always loved singing and writing songs since I was a child. Growing up I loved listening to my dad's vinyl collection, with artists and bands such as Frank Zappa, Patti Smith, Portishead, Grateful Dead and more. It inspired me to start writing songs on on my own and dreaming of becoming an artist one day.

"For years I was too scared to take a chance on making music properly as I worried I wasn’t good enough, so instead I decided to turn my attention to studying theatre. When the pandemic came and I was in my first quarantine, I opened my eyes to music once again, this time with real determination and with the goal of making it. I learned all I needed to learn in order to make demos and started mixing and recording some songs. Then I sent them out to different producers in Oslo, where I was moving to. The producer Andrew Murray Baardsen really liked the sound of it and we made the EP together. Then I got a record deal with 9AM Records on indie-label Jansen Records, and now it's finally out in the world!"

Yes! Speaking of volume 1. What's the record about and what does it mean to you?

"For me it's about a journey through all the feelings that have been difficult for me to express. It starts with the song 'if i could be like u', about the feeling of envy and jealousy, and moves on to showing love and care for a friend in a hard time, or as we called each other; 'my homie'. Then it continues with the feeling and expression of your first love in the track 'my love my love'. After that the story develops into the fear of losing yourself and a question of 'when n where'. It all ends with power and love, despite how much they may say 'calm down'."

Please take us through your songwriting/creative process for the EP. What was your favourite part? And what did you find most challenging about it?

"I wrote and recorded the songs on my own in my bedroom, back home on a small farm in the south of Norway. Then we re-recorded it and mixed it in Luft Recordings Studio, Sandvika. The creative process for me was about learning more and more each day, making changes that enabled us to get to the core of the song, or in some cases, simply not changing anything at all. For example, on 'when n where' we recorded the vocals again in one-take, to get a deeper feeling of the melancholy and longingness in the song, but we ended up not changing anything on the original instrumental. That was a real challenge for me, feeling so vulnerable sharing it just as it was. But now it's maybe my favourite track on the whole EP."

Finally, what are your plans for 2022? Will we be getting volume 2?

"First we are going to have the release concert at Blå in Oslo. Then we are going to play some gigs throughout the summer. And volume 2 is in the making, so we will see! Thanks for the interview, and I hope you enjoy the EP and are having a wonderful day!"

Photo credit: Johnathan Vivaas Kise

[jcmoneydick]

TharnType SS2 Episode 11

Why didn’t Type bring his bag with him? Why did he just throw it in the house and dip?

Type’s family dynamic is based on pettiness, and is so cute. You can tell Type doesn’t let his dad get away with anything. But, you would think that after seven years, Mr. Thiwat would get used to Tharn being around. As soon as Type is done hearing what his dad has to say he’s calling for his mom. It’s hilarious, and I could probably watch ten minutes of Type picking on his dad. 

Why are they trying to convince me that Tharn is capable of cooking. The series should be called Tharn & Ghost!Type considering how often Tharn talks to himself. It’s a coping mechanism, I get it, but like.... If you would tell Type this, you wouldn’t be sad and lonely. And at this point it kinda feels like them not talking to each other is all stupid pride. Tharn says “I want you to make up with me,” as opposed to “I want to fix things between us.” Tharn and Type both did wrong to get them to this point, but it wasn’t so wrong that they shouldn’t talk for a month. I feel like this is so dramatic and super freaking petty. If the script made it seem like this was the straw that broke the camel’s back, I would believe it. But the script (to me) implies this is their first big almost break up fight. I know the both of them are drama queens, but this “cheating” situation has been blown out of proportion. Also, Tharn no longer believes Type cheated on him (or is no longer worried about it). “I want you to make up with me. You know it, too. That you’re the one who let him in.” So he’s more worried that Type let Fiat in, but refuses to pick up the phone and apologize for accusing him of cheating. The whole situation has a mind of it’s own at this point.

Tharn went all the way to his parent’s house for a bandaid. Pussy lol.

I love how even Thanya is like “Tharn stop being a bitch”. Then his parents are all like “good communication is what you need” and “even your mama made me super jealous once”.  His parents are saying everything I said to him since episode 1 and I am living for it. I can see his dad wanting to roast Tharn “Is that all? If he said dude’s a patient, maybe you should believe him.” And I feel like Tharn is realizing how silly he’s been by not giving Type a chance to talk to him. Ghost!Type appears again.

I don’t know how to feel about Fiat feeling guilty. I’m happy Leo and Fiat can do their shit together, but that should be the end of their involvement with TT. Does Fiat not care that he was kidnapped? I really feel like that whole event should have been like “P’Type don’t want shit to do with me,” and leave it at that. Also, Phu and Cir need to stop leading people to TT’s condo. The face drop that Tharn committed to *chef’s kiss* cause I would be the same. Difference between me and Tharn: I ain’t nice, I would’ve slammed that door right in their faces. BUT ALAS, Fiat speaks for himself, instead of letting Leo do it for him. The apology does seem sincere, and Tharn seems to realize that his pride is getting in the way. Like Fiat’s show of maturity has influenced Tharn.

Type puts on his best grandpa shirt to see Khom. Does Type take the closest open beer to him, no matter where he goes? Isn’t that how people get syphilis? And now we see Type’s pride making a mess of their relationship. Khom is a real one though, he immediately debunks everything Type is complaining about. 

Is the ordainment thing like a rite of passage in general, or like depending on where you grew up in Thailand, or strictly based on religious beliefs? This is also the fastest decision Type has made since asking Tharn to top him. 

I figured Tharn was on his way to Type when he answered the phone in the car, but it was petty of him to say “I gotta go” like that. I would’ve broken down just like Type, but I would’ve also sent a “fuck you too” text. Someone pointed out that Type went through the five stages of grief during this five minute crying scene.  (I just laughed at Type, slipping in the sand.) I know this is supposed to be sad, but like all the shit they put us through makes this so comical to me. But he made valid points. I would’ve been mad at someone making me love them for seven years just to Jimmy Neutron me too. Type cried for so long it got dark outside. It was like noon when this scene started.  Are Vespas appropriate for beach AND road travel? 

Type’s dad is so mad Tharn showed up! It’s easy to see where Type got his tantrums from. Type switches from disbelief to “imma whoop his ass” in nano seconds. This apology scene furthers my belief that this was blown way out of proportion. I know Type says they need to communicate more, but I get the feeling that this wouldn’t be Type’s first time telling Tharn to be one hunnit with him. 

Type: I’d never do anything behind your back

Also Type: *kidnaps and assaults a nineteen year old*

Type: Let’s spend forever together.

At this point in the tale, so many of TT’s scenes together seem like MG couldn’t keep a straight face. Some of the laughs and giggles help the scenes, the rest of them seem like they’re breaking  character to me. The change to me is like a whole reset. The acting in the series seems more like MG than anything most of the time, so for Type and Tharn to be so characterized during episode 9 and 10 really throw me for a loop. It almost seems like two different people, and nearly negate (bastardize? debunk?) the impact of episodes 9 and 10.

“I’m not used to it” Just how hard is Tharn fucking Type?

Since Ghost!Type is gone, Tharn resorts to talking to Sleep!Type. Gulf has to be asleep for real in one of these cuts.) I’m happy that Tharn is making the decision to follow Type, instead of imposing his opinion on him. Personally, I think Tharn trying to propose to him right after they get back together is POOR timing on his part. I can see how Type’s thinking has changed, but I do feel like they should’ve warmed up to this again. A thrown in the wind “So, eventually you’ll wear my ring, right?” I really don’t appreciate Tharn trying to run away again. They just talked about this like less than 24 hours ago. Type stating his emotions and plans about this is so nice though. After 10 episodes of his avoidance of the marriage, I’m glad he clearly spoke his feelings for once. And Type mentions not being able to give his parents grandkids, but I thought Type didn’t want kids. I know wants can change after years, but it kind of shocked me at first. Is this stated anywhere in the first season or is this a headcanon I actually thought was canon? 

I really can’t believe Champ and Doc are out here playing games with each other still. Type has given Doc so many tips and advice. Khunpol HAS to be playing hard to get at this point. It’s cute, but also kiss already. 

Type’s dad manages to be racist and homophobic. How familiar, reminds me of home. Did Type just tell Tharn he’d blow him? How bold.

Prediction for next ep:

Type’s ordainment and Tharn’s slaving about the resort.

Mr. Thiwat’s begrudging acceptance of Tharn

TT’s engagement (romance turned to 100)

P’Thorn’s wedding

Maybe the families meet?

[on-the-shelves]

on my shelf: soundtrack to MA year 1 - summer

That was the most stressful semester of my life, which is saying something since it was my 10th uni semester. It was all still online which has its benefits, sure (no commute! sleeping in! not having to get dressed properly!), but even an introvert like me likes to be around people sometimes. It really feels like everyone, including the lecturers, has kind of lost it at this point. That's the only explanation I can find for the unusual amount of work thrown at us. Okay now that that's out of the way, let's get to the ~music~

BTS: "Butter" and "Permission to Dance" (2021)

Summery goodness from BTS following last year's Dynamite that's just fun to listen to, to figure out the pop culture references to, and to cheer on as they make the Hot 100 their playing ground (thanks in big part to very dedicated US/PR Armys). "Butter" features very cool, more minimal verses with an explosive, big chorus. It's filled with calm confidence. Learning the previous English song "Dynamite's" lyrics was pretty difficult, but "Butter" was even harder, even for native speakers, which just makes BTS' efforts all the more impressive. I immediately loved "Permission To Dance" and its very musical-theater, feel-good vibe. It just makes you feel happy! Here I found the rap line's vocal chops especially impressive - I love how BTS is constantly trying out new things in all their music, including the English singles.

ITZY: GUESS WHO (2021)

This EP is a lot like ITZY's usual output in its bold confidence and electronic sound, but it feels more refined and even a bit more experimental this time around. Listening from top to bottom, there's a good flow where the songs don't blend into each other and can stand alone, but don't rub against each other either. My favourite is closer "Tennis (0:0)", their calmest song yet. The instrumentation is more traditional (featuring some acoustic guitars) and very minimal, so the focus is on the group's vocals. The melodies would work in a louder song too, which just makes this stripped back sound stand out even more.

TOMORROW X TOGETHER: The Chaos Chapter: Freeze (2021)

Following on from the album series The Dream Chapter and the summer album minisode 1: Blue Hour, TXT introduced a new chapter, that focuses on the confusing and conflicting feelings of growing up and showcases yet more diversity in their sound. This album features a lot more input musically and lyrically from the members, like Huening Kai produced rock juggernaut "Dear Sputnik", and feels all the more richer for it. In general, the album moves between clear rock ("Dear Sputnik", "0x1=Lovesong"), pop ("No Rules", "Magic"), hip-hop and electronic influences, sometimes also mixing them to create interesting fusions, like on "Freeze". The one thing that stays consistent throughout is the angst, in all its various forms. It doesn't ever go full on overboard emo with it though, making it more palatable. My top 3 songs are "No Rules", "0x1=Lovesong" and "Ice Cream". They recently released a repackaged album including two new songs: "LO$ER=LO♥ER" (emo rock that made me very happy to hear since it's executed so well) and "MOA Diary (Dubaddu Wari Wari)", a super cute fan song.

WENDY: Like Water (2021)

Red Velvet member and vocal powerhouse Wendy released her first solo EP, after having recovered from a serious injury she suffered at the end of 2019. The songs suit her voice perfectly. There's a lot of ballads, but she makes them sound effortless, even in the highest notes, where her voice stays rich and full. She's able to convey the emotions needed sincerely, without being overbearing, a lot of it owed to the lyrical topics centering around themes like being there for each other, instead of very heavy, sad ones. In the musically lighter songs, like "Why Can't You Love Me", she's skilled in her playfulness, with an audible smile. Wendy's love for music and singing is tangible and makes the EP feel very comforting to listen to.

IU: A Flower Bookmark, Pt. 2 (2017)

I'd been wanting to go through IU's older music since her new album Lilac was released this year, and doing so, I got stuck on this EP of reworked covers. I don't know any of the original songs, but if I hadn't known they were covers I would've never guessed it just by listening. IU has a knack for making things distinctly her own - no matter what style or genre she's trying out, she'll fit into it perfectly while still being recognisable. This EP features a range of different styles, from different decades and artists, but it all flows together, like they were always meant to be here. My favourites are "Autumn Morning" (featuring an acapella intro), "Last Night Story" (reminds me a lot of late 80s German rock, like the song "Westerland" by Die Ärzte, but more fun), and the pretty and calming "Everyday With You".

LOONA: [&] (2021)

Loona have become one of my favourite groups, even more so as I've been getting to know their pre-debut solo and sub-unit songs. So I was very happy when they returned this year with all 12 members for the first time since 2019. Lead single "PTT (Paint The Town)" is similar in sentiment (and somewhat in sound too) to their 2020 lead singles with its fierceness. It gives space to welcome Haseul back too, even presenting her as a risen phoenix in the music video. At first I felt like the song "WOW" would've been better as lead single but then I couldn't get "PTT" out of my head for days every time I listened to it, so I had to admit it was the right choice. [&] feels like a mixture between what a lot of fans call "typical Loona" and the direction they went in on previous EP 12:00, especially on city-pop leaning closer "U R". My favourites are the bouncier "WOW" and "Be Honest", as well as "U R".

Some singles I loved:

Ji Jin Seok: "Come With Me" (2021)

-> a chill, K-R&B summer track featuring Ji Jin Seok's beautiful, calm voice

Epik High: "Rain Song" (2021)

-> perfect for rainy days. walks the line between sad and okay perfectly.

JOY: "Hello" (2021)

-> fun, upbeat song (actually a reworked cover!) that showcases Red Velvet member Joy's vocal colour perfectly. the album (also reworked covers) is lovely too, but I didn't listen to the full thing that much.