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sixstepsaway · 2 years ago

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a few Takes™ i have seen lately which have been living rent free like rats in my brain and i need to pass comment on in the safety of my blog.

notes before i begin: all takes are paraphrased from what i remember, so i might have messed it up somewhat, but it also means you can't word search it, which is good. cw for domestic violence mentions (Ed's parents)

let's go

the kraken isn't a rejection/heartbreak response, it's a threat response!

Nghhhhhh okay sure okay yes I can somewhat see this one, although I think the fact it took Ed like 8 hours of Contemplation™ to come to the conclusion he wanted to go fucking evil means that's a little off base but-- okay, whatever

proof it's a threat response is when he killed his father! he did that in self-defense!

*deep inhale* *deep exhale* *places palms together* *points fingertips towards you*

No. (but also, the real reason is better, why would you want it to be this?)

The show is very, very good at showing us what we need to see to understand the context of situations. Let me... dig into that a little more to explain:

When we first see Ed's father's death, we see the Kraken rise from the waves, terrifying the small boy Ed was, to strangle his father to death on the docks.

What this story and perception of the event tells us is that Ed sees the Kraken as an unleashed, furious monster. You don't reimagine something like this, to disassociate from it, as a monster because you think whoever did it was good.

There is a reason why when people's PTSD creates a make believe shade that attacked them it tends to be a monster. Turning aggressors and attackers and those who hurt you into a monster makes your fear feel more justified and easier to handle.

This also shows us that he feels... not super great about what he did to his father? He went straight for the nuclear option, as I've seen a few people describe his tendencies, and maybe, just maybe, there were other paths he could have tried to take. But he sees his father's murderer - him - as a monster.

He even sees the murder as something done on a dark and stormy night, something violent and terrifying. This tells us so much.

Later, when we see the real story, we're shown what actually happened, and the real truth is honestly better than it being self-defense?

We are never shown, not once, Ed's father laying hands on Ed. We see him make Ed flinch and cry, sure, but that doesn't mean he's laid hands on him (I imagine he likely did? But that is conjecture). What we're actually shown is that he hits Ed's mother.

The framing of the whole scene and even the camera work is incredibly specific. If you don't already know - which you might not! It's a somewhat niche thing to know about - the way that cameras are used is directly to evoke certain feelings and emotions.

For example, in Jane the Virgin, when Jane is terrified of the hotel corridor her husband was shot in, she steps out of the elevator and the camera follows her from right behind. We are crowded into the back of her neck, following her closely in her discomfort. Not only does this make her feel very claustrophobic, but it makes us feel what she's feeling: threat. Dread. Panic.

When she steps out into the corridor, the camera pulls out all the way. It's all negative space around her, hammering home how alone she is in that corridor.

(This is actually something I noticed is used a lot in The Punisher, too (at least in season 1). The camera angles are all designed to add negative space around the characters, making them feel isolated and alone in every shot. Except for when they are not - for example when Frank and Karen are together, or further through the show when Frank and Micro are, because they've become friends.)

To come back to OFMD, here is how those scenes are framed:

Young Ed is put very specifically between his abusive father and his victimized mother. He's between them as his father yells, and he flinches when he throws the plate but his father doesn't hit him, with the plate or with his hands.

Again: don't misunderstand. I'm sure his father did hit him, it seems likely! But if the show wanted that to be our takeaway here, either he would have been hitting him in this scene, or he'd have bruises in this scene, or there'd be some other way it was implied/told to us.

Instead, what we're shown is that his father hurts his mother. We're shown it very, very deliberately from Ed's point of view. We see it through his facial expressions, we see it through the shadows on the wall, rather than a cut to the actual strike.

We are shown from a wide angle, which shows you how isolated and separated from one another they are, and they position Ed between them, caught in the middle. Ed watching his father abuse his mother before storming out and leaving. And then we're shown Ed making the decision to turn into the Kraken. It's all over his face.

(And, sure, we could argue the scene is framed similarly to 1x10 and maybe he Krakens because of Izzy reminding him of his abusive father, but I don't think that's right either, and again that's because of the framing of that scene. Ed is the violent one in that scene, and the positioning of the camera and the feeling of isolation. I would posit that we're meant to see Ed ultimately more like his father in that scene, especially since he sees himself as a monster.)

Ed makes the decision not out of self-defense but out of the desire to protect his mother. He watched his father victimize her again and he decided, "No more," and took matters into his own hands.

The Kraken is his going nuclear response, and it has very little to do with what triggers it and more to do with becoming something else to handle the situation he's in.

When Ed goes Kraken in 1x10, it's to handle the situation, which is brought to his attention by Izzy's shitfit. I do think that part of what Izzy said did chime as a threat, and did concern him greatly, but I think what the core of that scene ended up being was that Izzy made him realize what he'd become, and he chose to turn against it and become something else, to go back to a heartless monster.

Most people when they go through something like grief or heartbreak don't realize quite what they are becoming until someone else points out how much ice cream they've eaten and how their house is getting rats and how they haven't showered for a month. And then they react to that by pulling themselves out of that mess.

Ed thought he was out of the mess when he was cleaning up, but he was still in the robe, still acting very unlike a pirate, and definitely unlike Blackbeard. Izzy brings to his attention that he's allowed his heartbreak to change who he is. That is the main reaction he has, in my opinion. He hears the crew not just chanting for Ed ("I want to be called Ed now, actually") but chanting for Eddie, and it sounds almost mocking.

He isn't the dreaded pirate Blackbeard, he isn't the scary Edward Teach, he isn't a captain, he isn't even Ed. He's Eddie to these people. He's lost all authority, all respect, and he's suddenly made aware of that and reacts accordingly.

If it was only Izzy he was truly reacting to, he would not have thrown Lucius overboard and marooned the crew.

Which brings us to...

marooning the crew was actually to protect them from izzy

No, seriously, what?

They were dead. If Stede hadn't found them via magical rowboat gaydar they would be dead. Lucius is, until proven otherwise, dead. This was in no way an attempt to "protect" the crew from scary Izzy, not only because Izzy hadn't threatened the crew at all (only Ed!) but because, hi, yes, hello, they managed to overthrow him singlehandedly without Ed around, and were about to toss him overboard when Ed returned. Ed knows full well they can handle themselves against Izzy. Izzy is absolutely no threat to the crew at all.

tl;dr

Ed became who he is out of a desire to protect his mother, and it all spiralled from there via nuclear option and a big heap of trauma and PTSD. It's very fair to argue that in the future the Kraken is likely to only come out when someone he cares about (Stede for example) is actively threatened!

But arguing that he killed his father in self-defense, rather than in cold blood and a premeditated manner, to protect his mother, is blatantly untrue.

And pretending the atrocities he committed in 1x10 were a kindness?

Is just objectively incorrect.

If he was trying to protect them he would have marooned them himself (or sent Fang or Ivan to do it) with food and water and shelter. Or taken them to a port. Or put them in a magic dinghy. Or thrown Izzy to the sharks.

He slammed Izzy into that wall and could have instantly taken him elsewhere and dealt with him. He could have woken him with a hand over his mouth, wrestled him out of his room and dealt with him then. He didn't.

Marooning the crew wasn't a fucking act of protection, it was an act of premeditated attempted murder.

Pretending Ed is A Perfectly Good Guy, Actually, Who Would Never Hurt A Fly is counter to everything the show is telling us, counter to the depths of the character we have been given and love so much, and counter to the entire narrative.

okay i'm done

#ofmd #ofmd meta #edward teach #edward teach murder #edward teach meta #i cannot edit this post without tumblr giving me a fit #so we are just stuck with my accidental ed tag #i was trying to type meta lmao

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justanapparatus · 4 years ago

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"SOUR is only about breakups" aside from being a lazy misogynistic criticism also misses the point. I've seen a lot of people say SOUR is a concept album centering on this breakup which is pretty accurate considering everything about how it has been branded. But I also think it makes the only two songs that aren't about the breakup, brutal and hope ur ok, all the more important.

First of all, they're the first and last songs on the albums, so they bookend the entire story. brutal serves as the thesis of the album, especially the perfect line "I'm so sick of seventeen, where's my fucking teenage dream." YES this is an album about a breakup, but it's more about being a teenager. That's why the album is called SOUR and she has this very teenagery vibe with the clothes and the stickers and the poses and the stylization of everything - it's not a breakup concept, it's a teenage girl who's a little bit sour concept album, which centers on a breakup, yes, but it is so so much more than that.

There's so much to brutal as well as an opening track. "Where's my fucking teenage dream" is clearly a reference to Katy Perry's Teenage Dream aka the 2010 pop album that defined the next decade of pop music. I haven't really thought about Katy Perry since 2010, but ever since hearing SOUR I cannot help but think about what it means in relationship to this album. I invite Katycats or anyone else to expand on this and I will probably have more thoughts too, but I think the gist of Olivia's point is that this glamourous sexy candypop vibe that Teenage Dream embodies in our collective imagery isn't real, even for a Disney star. She is deliberately referencing the 2010s pop girl scene throughout the entire album, which she openly talks about in interviews as well. In doing so, she evokes the imagery of this era but recenters it through her perspective as a teenager in 2021. One way she does this is by embodying an authentic teenage voice which Katy Perry, in her mid-20s and singing that she feels like she's in a teenage dream, was not at the time that the album was released. Olivia doesn't talk about sex, she just got her driver's license and can't parallel park, and says "I'm so insecure I think that I'll die before I drink" implying that she hasn't enjoyed any underage drinking she may have partaken in. She is singing about a first heartbreak, and people criticize her for being immature or obsessive or repetitive and it's like... first of all you're being a misogynist... second of all that's literally the point and she says that throughout the album. She's obsessive and insecure and angry and sad and she says that - because god, it sure is brutal out here for a teenage girl.

I'm not going to break down the breakup songs by track, but I honestly don't think they're repetitive. They explore different emotions - angry/sour (good 4 u), heartbroken (driver's license) - and songs like enough 4 u and happier create a very specific story about a single relationship which was unhealthy and tragic but Olivia still wants him to be happy but not too happy, which are all different facets of the same relationship. When Taylor Swift did this on 1989 that was awesome that won album of the year. And Taylor got shit for it too. We can't keep saying young women, especially teenage girls, aren't good writers for writing about relationships. It's tired. It's misogynistic. And it's just not true. Also the fact that I have seen Swifties use this argument against Olivia? Whew....

And our final track, hope ur ok. Aka the song that made me cry this morning aka seven by Taylor Swift's dear sister. Also not a breakup song, it's about people she used to know who had bad relationships with their parents and how she hasn't seen them in a while but she hopes that they're okay. The nostalgic song reflects on more ways that people can hurt other people in the name of love, and concludes the album with a wish of happiness for people she has loved.

At the end of the day, SOUR isn't just about a breakup. It's about being a teenage girl who has been through some shit and is working through it. And maybe the relationship is the focus for a lot of it, but think about it. When you were in high school, you had a lot going on because, again, it IS brutal out here. But certain relationships held up your focus - many of us cannot help but replay our high school friendships or romances or crushes when we listen to SOUR, because the album is about how it feels to be a, to quote brutal, "messy" teenager. It concludes with a memory of her old friends and wishing them well. Most of SOUR is about one relationship, but as a whole, it explores the facets of emotionally charged early relationships under the pressure of a changing world through the perspective of a teenage girl. She is dramatic, she is immature, she does reference other artists - that's the point! It's a brilliant debut album and I for one cannot wait to see where Olivia Rodrigo goes from here.

#made myself late 2 therapy 2 write this... love yall #drivers license #sour #olivia rodrigo #good 4 u #gaylivia #oliviaupdates #this is almost 900 words ajf;ajsdnf;asdf;asdf ok #sydposting

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blueflyingturtleontheway · 2 years ago

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Elena for send me a character?

Ahahaha YES I have so many opinions about Elena

First impression

I don't really remember my first impression of Elena, given that I was like, 12 when I first saw the show? I was definitely interested because I like the Latin American culture in general but I don't think I was particularly interested in Elena herself (though I did recognize "My time" as a bop). I think once I started actually watching the show I thought she was fine, though I remember I liked Naomi much more back then and didn't really care for Elena all that much.

Impression now

I absolutely love Elena. She's just such a great character and she combines so many of my favourite tropes and what's even more important I think she uses those tropes really well. She's absolutely in the top 3 of my favourite characters.

Favorite moment

Just one? Hmmm I can't choose one so maybe I'll say one from each season. In season one there are many little scenes I love because they all show many different sides of Elena and even little traits of her I love, I am definitely biased by my current rewatches but right now I'll choose how encouraging she was towards Gabe in Olaball, how persistent and especially that single line "wouldn't [you joining the olaball team] make your dad happy?" because it shows that she remembers a lot of things about her friends and wants them to be happy, to help them solve even those mundane little problems or make their life a little better.

For season two I am torn between her fight with Shuriki in Song of the Sirenas because it was downright EPIC (but also seeing her just collapse after the fight was heartbreaking and in general it evokes so many emotions AAAA) and basically how she acted for the whole Snow Place Like Home, because she was trying to cheer everyone up and help them, like she always does but it was also great to see her just get upset because come on, she's just human.

And in season three there are even more fantastic scenes with her come on! There's obviously a ton of epic moments in Coronation Day itself, but I think I'll choose how she forgave Victor and Carla in the Lightning Warrior. It really shows how much she's grown but also those core values she keeps through the whole show, despite how much she's been hurt this season.

Idea for a story

Just one?!

*Spins the Wheel of Wips* Alright let's go with this one.

So I really wanted to write a story were Elena realizes and maybe struggles with how much time has actually passed, how much she has missed and how much older she is/feels in comparison to her friends. I have a few loose scenes, like maybe Isa mentioned an upcoming test or something and Gabe, Naomi and Mateo who all attended the same school start talking about it and reminescing it and well, Elena can't say anything about this topic since she never went to a public school in general, but you know, it's alright, she's happy to listen and ask. Except a lot of other similar things happen, like maybe when they're hanging out they play a game that is sooo popular except Elena never heard of it because it's only gotten popular in the last twenty years, same for some books or plays they've all seen but she has no idea about. I'd also like to mention that slang and accents changed as well, so maybe she feels like she can't even speak like people her age. And she's just. A little lost because yeah, she may have joked before a little in the "well back in my days..." way, but now she finds herself saying that unironically and she loves Avalor and she loves to learn about new things but she also can't help but miss all the things and elements of culture that have been lost because of Shuriki. She feels too young for the people from her generation but too old for her peers.

I'm not yet sure how to solve this idea, it also depends if I'd combine it with say, Lachia (cause Michał could affect those feelings with his old times chivalry and everything) or a Last Christmas more light idea I had recently. Something I definitely would want to include is Elena having a talk with Esteban where she confesses those feelings and maybe he helps her deal with them a little, even if what he came through was quite different. I also imagined one of the last scenes to be her friends surprising her with a free evening to hang out, help her catch up with everything, maybe invite her to an iconic play that has been put out again and also let her talk more about how she remembers Avalor and generally made her loved and validates despite everything.

Unpopular opinion

I know that shipping Elena is fun and I like to sometimes do it myself but... She really doesn't need a love interest like it was the whole point the writers were trying to make.

Favorite relationship

Hmmm that's difficult, cause Elena has so many so different relationship with all the characters. I definitely love her relationship with her closest friends, though especially with Gabe as you know but I also love her relationship with her family, especially Esteban cause it's so complicated XD Then there's also the more abstract relationships, like the one she has with her whole kingdom and my favourite of the abstract ones is the relationship she has with her own royalty, because it's honestly so refreshing among modern princesses.

Favorite headcanon

Alright so I was thinking the longest about this question I think x) I don't think I actually have any of my own headcanons for her and I can't remember being extremely caught by some fandom one, but I thought I might share a shippy headcanon on her life before Shuriki's attack?

So I was thinking that maybe, pre Shuriki's attack, Elena and Victor might've been in love? Like, I am sure they were friends, that's basically canon and I think it was a very casual kind of crush that just came naturally from being good friends and being so close. They never really confessed it to each other although they have been often meeting just the two of them and well, they weren't officially dates it just so happened the others couldn't join them or they just wouldn't enjoy it, there was no point in inviting them... And it went on for a few years and everything was fine because even despite occasional blushing or trying to impress one another they were still friends first and foremost, except things became more complicated as they got older... Because on Elena's side I could see her not even realizing that crush for most of the time and even once she did, I think she's the type of person to say to herself that she's just 16, she has time for dating and there's no need to rush things and she was satisfied with how things were for now (plus maybe she was afraid it would be awkward if she read his signals wrong). And on Victor's side it looked much worse, because I firmly believe that he had serious self worth issues that got much worse when he was a teenager and eventually pushed him to making the deal with Shuriki, so at the same time he was often jelous of other people (because let's face it, Elena's extremely friendly and almost everyone likes her) but at the same time he was too self conscious to confess what he actually feels towards her because he was afraid she might laugh at him and he'd loose her as a friend too. And once he met Shuriki (because I feel like it must have been some time before the deal itself) he could use it as another argument to convince himself to join her, after all once he'll be an official royal, a right hand to the queen, Elena will have no reason to say no, right? And since Shuriki will be the queen Elena won't be pressured into dating for political reasons, right? And I could also see them actually drifting apart as friends because of Victor's insecurity which only hurt both of them.

Obviously for Victor those feelings faded over time (though he was even more devasted after Shuriki's takeover because he thought Elena was dead :')) so when he met her again in King of the Carnaval it was just meeting an old good friend, maybe he even remembered his crush and insecurity with cringe or a laugh now but for Elena it was definitely a very weird feeling seeing her friend and crush having a daughter her age

That's all I think! Thank you for letting me talk about my favourite princesa and sorry for making you wait so long x)

Ask game

#my post #answering asks #lucy-shining-star #character ask game #eoa #elena of avalor #elena castillo flores #victena #yeah why not #honestly i am so concious sharing my thoughts on this ship #i generally dont like discussing shipping in public x)#but its the perfect combination of sweet friends to lovers with angst and drama #and it also fits well with that story idea #like i wont believe seeing carla didnt have any effect on elena shipping or not #also first i said i have tons of things to say and then i couldnt think of anything x)#i really do love her i dont know why i cant verbalize anything #again sorry you had to wait so long things were... busy...

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cheesy09 · 4 years ago

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What are your top 5 Kiro dates? No pressure, my dear friend😆😘

@keliosyfan You cannot send me something like this and expect me to keep quiet 😆 Thank you so much for this delicious, finger-licking ask, friend!! But do I really got to choose??? 🥺 I LOVE ALL HIS DATES!!

Keeping my thoughts/analysis under the cut because this one's going to be a long one. Also, am not ranking them because they're each special to me in their own way. Plus, am only going to concentrate on the dates in EN so far.

Anyway, without further ado, Kiro Date spoilers ahead!

✨Light Pursuit Date

There’s a simple reason why I love this date so so much. It literally contains EVERYTHING I love about their relationship, plus it’s in line with the main story.

“You’re the light I’ve spent my whole life chasing” is such a strong and powerful message to use for a couple, especially since it aligns perfectly with message that this game’s story is trying to deliver. The imagery of light pursuing being used to represent their relationship puts it on an almost spiritual/cosmic level which is just so powerful to me.

The mutual pining: Both MC and Kiro long for each other so strongly throughout this whole date and it’s so obvious to see. MC gets desperate enough to see him that she even starts dreaming about him. And no matter what Helios said on that date, we know why he really invited her to that party.

The undeniable chemistry: The attraction, the thick innuendo, the electricity that is just crackling between them; it’s so tangible, you can cut it with a knife. Talk about delectable... yum!

The angst: As heartbreaking as the angst is, the drama involved between Kiro and MC is juicy as heck, which is another reason why I love their relationship so much. It makes their relationship feel very very real. The angst is what gives birth to the high strung emotions and passion between them. Realities they’re trying to fight, and the feelings they can’t possibly deny.

TWIN-FLAME ENERGY EVERYWHERE: As I said before, Kiro and MC just cannot deny the way they are drawn to each other, and this plays big in the twin-flame theme they have going for them. This is especially obvious in MC’s case. She knows Helios is supposed to be close to a stranger to her, and yet her body can’t help but react to him the way it would react to Kiro despite the danger that radiates from him; like her very soul knows exactly who it is behind the silver hair and cold eyes. I mean we even get this scene:

MC: Aren’t you a member of Black Swan? Why did you approach me?

I closed my eyes and finally asked the question.

Helios quivered inconspicuously under my palm, and soon he spoke in a low and sneering voice.

Helios: Why are you under that misconception?

MC: Because...

Because I thought you were familiar, because my soul quivered involuntarily when being close to you, and because... of a ridiculous assumption.

These words are just so powerful in so many ways because what MC is saying is that she finds Helios familiar because her soul resonates with him, like it happened with someone else before...

In relation to the twin flame concept, this date is a huge representation of stage five and six in the relationship; “the test” and “the chase.” By this point, Kiro and MC’s relationship is being put the test and MC’s chase for Kiro finally begins.

✨Stardust Date

Another date that goes hand in hand with Light Pursuit Date, except with Kiro this time instead of Helios. Plus points that this too is in line with the main story.

MORE YEARNING. And what’s so great about this is that you can actually feel what MC feels. That’s how strongly Kiro can make you pine after him.

That steamy confession of love: It wasn’t just the passionate words that Kiro kept whispering to her, but also the tremendous amount of longing and desire in his voice that belied those very words.

Kiro’s sexiness: Please, you cannot tell me you didn’t find Kiro downright seductive in that outfit. I absolutely love his fashion sense and this one really showed off the lean yet firm build of his body, and that scorching blue-eyed gaze was just- pheeew!!

The danger he radiates: After MC catches him on that phone call, the feeling of oppression that Kiro gives off does intimidate you, but also excites and thrills you at the same time. The duality with this man is just so well-written.

The build up: From the fiery confession, to the obvious yearning and attraction, to the flirting and teasing, and the angst, I’d say this date had one of the best buildups to a kiss overall.

THE KISS: After all that glorious build-up, the execution of the kiss was absolutely brilliant, with Kiro’s statement of “the reward I want more right now... is you” being the breaking point. All the yearning and desire that had built up over the course of the date had been let loose in that one sexy kiss. I ABSOLUTELY LOVED, LOVED the way the desire went both ways. MC pulling him closer and demanding for more from him and him responding just as passionately, was HOT.

Extra thoughts: The necklace that he gives to her on this date is an item that hasn’t been brought up on other dates, which I find a bit weird since they mentioned how important it seemed to Kiro. Another reason why I need this date to be referenced in the future.

What I find interesting about him giving her a necklace is that even though it’s a symbol of love and affection, it’s not as powerful as a ring would be, showing that he wasn’t ready to take the next stage in the relationship. This is important foreshadowing because he knew what exactly could happen to them in the future.

✨Treasure Date

A personal favourite of mine because it shows just how stubborn, delicate and insecure Kiro can actually be.

MC’s unexpected confession of love: Kiro’s not the only whose been pouring out his heart to her. (I’m assuming) Before the events of Chapter 14, MC has done her own fair share of confessing to him on a number of dates; the one in Treasure Date being the most notable. I held my breath when she said “I will... always be crazily in love with you” to him, because it had been the first time I’d seen her outright declare her love to a love interest so earnestly.

The supportiveness: MC just being there for him and comforting him when he was at his weakest is just so heartwarming and satisfying to see.

THE TENDERNESS AND LOVE THEY RADIATE FOR EACH OTHER :’D

BLUSHY KIRO: (Can you tell why I chose to put in that CG?) I don’t know about you, but I feel my soul ascend to heaven every time I see Kiro blush. It’s the most adorable thing on the planet!

THE BIG BABY VIBES HE RADIATES ON THIS DATE MAKE ME WANT TO CUDDLE WITH HIM FOREVER UGH!!!

The pirate and treasure theme: This is a theme that is brought up often in Kiro and MC’s story. Dates as well as the main story. It also goes hand in hand with the light pursuit theme. MC’s determination to turn into a pirate in search of her treasure (Kiro) exactly mirrors the way Kiro referred to himself as a pirate in search of his hidden treasure (MC) before his reunion with her at the convenience store, in his 3rd Anniversary Interview. It really goes to show just how much they desire and treasure each other.

✨Prayer Date

Another hot, steamy date? Yes, ma’am! Kiro’s got a whole arsenal full of these kind of dates.

It is seriously cute how the two of them are always wishing for a “forever” with each other, and how they’re willing to go as far as to rely on superstitions for it HAHA.

Ahem. That visually appealing shower scene. Need I say more?

The date offered me another reason to label Kiro a hopeless romantic. Hello? A candlelit beach??? SWOON~!

The dash of angst: The foreshadowing. Over the course of the date, MC’s numerous failed attempts at doing something to ensure their “forever” had accumulated, and this was the first date we got to see her insecurity in regards to her relationship with Kiro. Again, these high strung emotions is what evoked some passionate desire for him in her.

This date was full of firsts. Not only was it the first time we got to see MC’s insecurity in regards to her relationship with Kiro, but it was also the first time we got to see just how... intense Kiro can be in showing his affection. Also, am I wrong in assuming that this was the first time they got so... physical with each other?

Another excellent date with excellent build-up to the end: From the pleasant start to the date, with MC being full of hope, to the unexpected encounter in the showers just to wet your appetite for this boy (pun intended haha), to the consecutive disappointments and emotional buildup made for a fabulous recipe for the delicious result we were served by the end of the date. Mmm, a spicy one at that.

✨Flowers Date

Honestly, this was the date that made me fall for him super-super hard. It was just full of innocence and the purest of love, no questions asked.

Kiro’s charm is on full blast in this date.

The symbolism brought out by flowers in showing how similar Kiro and MC are, is really strong on this date. They both decide to each get a gift for the other that is supposed to remind them of each other and then split up. When they came back to reveal what they each had gotten each other, they both ended up getting the same thing: a bouquet of daisies (a symbol of purity and innocence).

Kiro’s wholesome love for the simplest things in life (like flower fields) is once again brought out.

THIS DATE WAS SO ROMANTIC. He takes her to the flower field on a bicycle! And they even take off running down the hill together, hand-in-hand, and he spins her around like some kind of princess in the middle of it!

MC did daisy divination, and what was the result she got? *whispers loudly* HE LOVES ME.

Kiro being a parallel to sleeping beauty is ingenious as well as romantic in so many ways. (Plus MC being tempted enough by his sleeping appearance, that she kissed his eyelids had me grinning like a mad fool).

Kiro says some of the most romantic things on this date in the most affectionate and tender of voices:

Notable line 1:

Kiro: Well, MC, maybe you really are my “prince charming.” Because only you can awaken me from darkness, no matter when.

Notable line 2:

Kiro: There was only you in my eyes, wasn’t there?

Notable line 3:

Kiro: Because... You are the whole world in my eyes. Nothing else can compare. My spring... is you.

✨Honorable mention: Miracle Date

This is another fun and wholesome date that always seems to put a smile on my face, but also comes with some strong and sad foreshadowing.

Kiro and MC are just so uplifting of each other in this date and you just love to see it.

THE INTIMACY WHEN HE WRAPPED HER IN HIS ARMS FROM BEHIND AND LACED THEIR FINGERS TOGETHER!!!

Dude, they’re so in sync with each other, it’s not even funny!

I really loved how this date works in a bit of self-introspection for the both of them (actually, a lot of his dates do). We know that Kiro and MC both push each other to become better, and this date really showcased that.

Another date with another strong message.

I melted at the way he says that her very existence is a miracle to him. Like, just the fact that she exists in this world is enough of a blessing for him.

THE LONGING IN HIS VOICE: Kiro so fervently wishing that their time together would slow down because he knew what was to come, was just so heartachingly beautiful, it made me tear up a bit.

#mr love queen's choice #mr love queen's choice kiro #mr love #mr love kiro #mlqc #mlqc kiro #keliosyfan asks #cheesy replies

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percedurza · 4 years ago

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I HAVE ALREADY SPOKE ON LENGTH ABOUT THE PRINCE OF EGYPT BUT NOT THE WHOLE THING ONLY THE PLAGUES AND MOSTLY PASSOVER. I JUST WATCHED THE FULL MOVIE FOR THE FIRST TIME SINCE I WAS A KID IM GONNA TALK ABOUT IT AGAIN BECAUSE IT WAS SO GOOD. OKAY.

okay let me first say that i was in tears within the first ten minutes of the movie. deliver us was so powerful and heartbreaking i cried BEFORE THE TEN MINUTE MARK. yeah.

when moses' mother sang her final lullaby to her son and pushed him downstream in that (blessed and very fortunate) basket my heart hurt. i cried with her. that was the last time she would ever see her baby.

when his sister sang her prayer for her baby brother, wishing for him to come back to deliver them as well, that just drove the nail in harder.

in a later scene before the banquet you can hear moses humming that last lullaby and since deliver us was just maybe ten minutes prior you remember it and realize he really did keep that final song.

and the banquet oh yeah ramesses gets appointed this big title? and he names moses as the grand architect

and theres this captured hebrew lady brought in for ramesses but shes fierce (i would be too, she was captured and brought to the people she hates the most) and so ramesses orders her to be brought to moses' chambers instead

moses goes to his chambers and suprise! she escaped! moses chases after and sees her sneaking out with her camel and distracts some guards so she wont get caught and once the guards are gone he goes after her again aaaaaaaaaaaaaaaand

miriam (moses' sister) meeting him in the city streets and recognizing him, telling him he's her family and him shutting her down and calling her a slave.... it hurt. when she hums that lullaby and he RECOGNIZES and then rushes back home to have a dream about that day he was sent away (in beautiful animation designed to look like the hieroglyphs on his wall) its all so painful to watch him be forced out of nowhere to realize his life is a LIE because hes not a true prince of egypt, he's born of the slaves, and then his father the pharaoh justifies the order to slaughter innocent babies by saying "they were just slaves" and OUGH

moses kills a man. unintentional but he killed a man while trying to stop him from beating a slave. oops.

he cant live with this so he runs away into the desert. theres this scene where he collapses to the ground and sheds all of the jewelry and adornments from his life as royalty but as he takes off the ring ramesses gives him, he looks at it. and slowly puts it back on. because no matter what, he still loves his brother, and he always will.

moses falls into a well. yeah. chases off some ruffians and then basically faints and falls in. these girls the ruffians were harassing started pulling him out and SURPRISE SURPRISE the captured lady from the banquet is there and she drops him back in when she recognizes him and walks away all smug and her name is tzipporah! just an fyi (very pretty name love it)

moses basically gets adopted into the group of hebrews and moses says something about not ever having done anything of worth and so tzipporah's father jethro sings a little tune to him!

through heavens eyes is a masterpiece. i really dont know what else to say also i want jethro to be my dad hes so nice

aaanyway moses and tzipporah get married during the through heavens eyes montage! i just think thats nice

OKAY now juicy stuff the BURNING BUSH!!!!!!!!!!!!!

the scene in which moses encounter the burning bush and god.

god claims that he has seen his people (the hebrew slaves) suffering and cannot stand for it any longer, so he wishes to send moses as a sort of ambassador of god

and moses doesnt think hes worthy of being god's messenger, which god quickly shuts up by pointing out how he's kind of, like, GOD

and he teaches moses those big old words, "LET MY PEOPLE GO" wahoo!!!!!!

he rushes home to tell tzipporah, and shes like "but ur just one dude" and hes like "well i kinda have to also the hebrews are suffering in slavery so :////"

tzipporah and moses head on over to meet ramesses and theyre all excited to see each other and then moses is like "behold the power of god!!!!!!" and his staff becomes a snake. pretty gnarly if i do say so myself

and then the high priests are like "ok" and start basically performing and rapping the names of the egyptian gods at moses in response i really dont know how to describe it but its basically a whole lotta smoke and mirrors. not actual miracles

moses talks to ramesses and asks him to let his people go, and instead doubles the slave's workload. the slaves basically hate moses now because yeah he technically is the reason theyre getting pushed harder and even his own brother aaron seems to loathe him. miriam talks to moses and he sees ramesses' ship gliding down the nile nearby

he calls out to ramesses and he just sends his guards after him. and so moses brings the staff down and turns the river to blood.

THEN THE REST OF THE PLAGUES ENSUE!!!

theres this specific part of the plagues scene in which ramesses stands between two statues of egyptian gods and glances at them as if to ask why the fuck arent they doing anything about the LITERAL hellfire and general havoc being brought down on the city. just thought that was a really cool detail.

AND OOOOOOOOOOOOOOH passover. i really shouldnt get excited about talking about an event that killed a whole heck ton of kids but its like fnaf at this point who cares ANYWAY THE DEAD KIDS

i already talked about the passover scene but what i didnt include (i think) is how when god's spirit or whatever idk enters the palace, it passes over a statue of ramesses and you just think, oh fuck wait RAMESSES HAD A SON.

and sure enough, that son is dead. moses walks in as ramesses pulls a sheet over his sons dead body and ramesses finally, after all of the plagues, tells moses he can take the hebrews and leave.

as moses walks away you can see ramesses glare at moses because he may have said he was done but. hes not. of course.

moses and the hebrews are leaving with yet another beautiful musical sequence (when you believe) and you can see the hordes of former slaves walking to the sea.

AAND just like i said RAMESSES WASNT FINISHED! he brings a whole bunch of soldiers on horseback and chases the hebrews, and god literally rains fire on them again this time in the form of a flaming tornado that sweeps across the sand, making a big old wall of fire that the egyptian soldiers cant get through

which gives moses the time to do the famous parting of the sea. he brings that staff down in the water and DOES GODS WONDERS!!! yay!!!

watching them walk on the seabed was beautiful. with some lightning strikes you could see the silhouette of some kind of shark swimming in the water (looked it up there are sometimes whale sharks in the red sea this is accurate)

and the fire tornado recedes into the earth, the fire fades, the soldiers chase on at ramesses' orders. the water sweeps them away just as the hebrews make it to the other side and it later cuts back to ramesses, alone on the rocky shore, screaming out at moses. hes completely alone, soldiers presumably dead, and no family to speak of. his side of the sea is cloudy and gloomy, still stormy, but when it jumps back to the hebrews in celebration, the sun shines bright and happy. the hebrews are free.

the movie ends with moses walking down the mountain sinai, ten commandments in hand, while the last snippet of deliver us plays once again.

only one other movie has evoked this much of this kind of emotion in me.(the one movie is klaus LMAO klaus made me ugly cry) there was not a single second of watching this that i didnt have goosebumps.

the movie itself just looks pretty. all of the characters have unique and neat designs. (its also nice to see a movie with only poc in it like im just saying)

the musical scores and numbers are so expertly made. my favorite has to be deliver us but through heavens eyes is a very close second. through heavens eyes made me feel better about myself, in a way. the entire movie was like some healing experience.

all in all, this is an S tier movie, and i BEG BEG BEG anyone who hasn't seen it to watch it. just pirate it or something (i did lol watched it on an illegal streaming site)

if you're not religious and havent seen it, think of it as a chance to learn more about abrahamic faiths. if you are religious and havent seen it, well hey! here you go!!

#the prince of egypt #long post #beware

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bananaofswifts · 4 years ago

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By : Callie Ahlgrim and Courteney Larocca

Taylor Swift released her eighth studio album, "Folklore," on Friday.

Swift surprised fans by announcing its release just one day in advance — and less than one year after the release of her acclaimed seventh album "Lover."

"Most of the things I had planned this summer didn't end up happening, but there is something I had planned that DID happen," she wrote on social media. "And that thing is my 8th studio album, folklore. Surprise!"

She described "Folklore," stylized in all lowercase, as "an entire brand new album of songs I've poured all of my whims, dreams, fears, and musings into."

Much of the 16-song tracklist — 17 on the deluxe edition — was cowritten and produced by The National's Aaron Dessner. Smaller pieces were cowritten by Bon Iver, Jack Antonoff, and someone named William Bowery. Antonoff also produced five songs.

Insider's music team (reporter Callie Ahlgrim and celebrity and music editor Courteney Larocca) listened to the new album on our own, jotting down our initial thoughts track by track.

Almost immediately, we were forced to reckon with the fact that "Folklore" might be Swift's best album yet — potentially even better than "Red," which previously seemed like it couldn't be topped. We were stunned with the mature, poetic, stunningly understated collection of new songs.

Here is what we thought of each song on "Folklore" upon first listen. (Skip to the end to see the only songs worth listening to and the album's final score.)

"The 1" is the best album opener Swift has had in years.

Ahlgrim: "I'm doing good, I'm on some new s---" is a wild way to begin a new Taylor Swift album. This is going to be different.

This is easily the best intro song she's released in years. "The 1" far surpasses "I Forgot That You Existed" on "Lover," "...Ready for It?" on "Reputation," and "Welcome to New York" on "1989" in terms of sheer quality.

It's also an engaging scene-setter; I find myself gently rocking back and forth, eyes closed, smiling without realizing. It's only the first song and so far, I am totally grasping the woodsy aesthetic of this album. I'm already ready for more.

Larocca: I would argue that there hasn't been a strong album opener on one of Swift's albums since "State of Grace" on "Red" in 2012. "The 1" breaks that curse.

I was vibing from that very first piano note, but when Swift comes in and warmly delivers the first line of the album — "I'm doing good, I'm on some new s---" — it became evident this project wouldn't be anything like the rest of her discography.

As far as "The 1" goes as a standalone song, it's incredibly solid. Swift has a breezy attention to rhythm as she paints a tale of a the-one-who-got-away romance. I truly, truly love it. This might end up being an all-time favorite track.

"Cardigan" is beautifully influenced by Lana Del Rey.

Ahlgrim: I heard "Cardigan" first because I watched the music video before I listened to the album.

Right off the bat, I was struck by the Lana Del Rey melody in the chorus; I jotted down "folksy 'Blue Jeans.'"

Swift has actually cited Del Rey as an inspiration in the past, so this makes sense — and that particular shade of nostalgic, haunting glamour really works for Swift's voice, so I'm overall very impressed with this direction. I am more than amenable to a "Red" meets "Norman F---ing Rockwell!" album experience. On my second time around listening, sans music video, "Cardigan" already feels richer coming after "The 1."

This time, I'm struck by small lyrical details like "Sequined smile, black lipstick," a clear callback to her past eras, and "Tried to change the ending / Peter losing Wendy," an effective way to evoke young love and innocence lost.

I also think the song's central refrain, "When you are young they assume you know nothing," is clean and sharp and — especially given Swift's public struggles with sexism and years-old contracts — extremely poignant.

Larocca: I had the thought that Swift listens to Lana Del Rey after hearing "Miss Americana and the Heartbreak Prince" on last year's "Lover," but now I know for sure that Del Rey is an influence on Swift.

While "Cardigan" isn't what I thought this album would be like sonically, I'm overjoyed at how clearly singer-songwriter this album already is. I've been waiting years for Swift to make a lyrical marvel set to acoustic, warm, folksy instrumentals and it's here.

(And while I expected something different sonically, I am not mad at all by the backing instrumental choices here.)

"The Last Great American Dynasty" proves Swift is a natural storyteller.

Ahlgrim: Personally, I love Storyteller Taylor, so this is quite literally music to my ears.

There are so many delicious details here to unpack. The first verse, with its subtle sexist whisperings about Rebekah Harkness ("How did a middle-class divorcée do it?" and "It must have been her fault his heart gave out"), is a truly savvy way to set up for the song's eventual reveal.

Rebekah spent her time partying with friends, funding the ballet, playing card games with Salvador Dalí, somehow "ruining everything" — and her Holiday House was "free of women with madness" until Swift herself moved in.

That twist in the bridge is poetic genius. When the final chorus adjusts to the present day, underscoring the parallels between Rebekah and Swift, I'm forcefully reminded of an iconic bridge when Romeo finally proposed and changed everything — but Swift has evolved past daydreams of pure white dresses and fathers giving permission.

Larocca: I'm immediately taken back to 2012's "Starlight" when "The Last Great American Dynasty" starts. Thankfully, this song ends up being a lot better than "Starlight," which always felt more like a filler track on "Red" to me.

I love a lot here: the casual use of "b----," the acute attention to detail ("She stole his dog and dyed it key lime green"), and every version of this line: "There goes the maddest woman this town has ever seen."

I had a marvelous time listening to this song.

"Exile," featuring Bon Iver, is one of Swift's most successful duets to date.

Ahlgrim: Swift and Bon Iver, aka Justin Vernon, are two of the best songwriters alive today, so this song was destined to be breathtaking.

Swift has historically had difficulty allowing her voice and vision to coexist with a featured artist; her collaborations often leave me feeling like she should've just delivered the whole song herself.

But Swift and Vernon were able to weave their lyrics together so gracefully, I was left feeling grateful for his presence. His rich, rustic tone and those iconic hummed harmonies lends the regretful song an added coat of sincerity.

The production here is generally fine, but the layered instrumentals in the ending really bring the song together. I love a dramatic exit.

Larocca: When I see a "featuring Bon Iver" on a track, I instantly assume Vernon is going to come in with his high falsetto. So it was almost jarring that the song starts with Vernon sounding like a lumberjack dad who hasn't left the woods in a decade.

That didn't end up being a detriment, though. Swift sounds delicate on her verse, and their vocals contrast nicely later on the track.

This one also brings to mind her collab "The Last Time" with Snow Patrol's Gary Lightbody. The line "I think I've seen this film before and I didn't like the ending" is also reminiscent of "If This Was a Movie."

I'm obsessed with the clear influences Swift's previous discography had on these tracks, which have also so far felt completely unique to her catalog.

"My Tears Ricochet" is an extraordinary display of Swift's songwriting powers.

Ahlgrim: First of all, "My Tears Ricochet" is an incredible song title. Let's take a moment to appreciate that.

In fact, pretty much every line of this song is arresting.

Much of it feels both familiar and rare, like you know exactly what Swift is singing about, but hadn't thought to put it in those words before — which is, in my opinion, the mark of any good piece of writing but especially a breakup song. You can relate to the emotion, if not the particular details. You can hear the pain. It almost plays like a funeral march.

What a gift it is, what an exhilarating experience, to feel like you're listening to a poem being recited in real-time.

Larocca: Any true Swiftie knows that track five is reserved for the most vulnerable moment on the record, so I went into "My Tears Ricochet" ready to be sad.

I am endlessly impressed with how Swift managed to bake the word "ricochet" into this song so effectively. She also ditched her traditional song structure for this one, and instead built the track from peak to peak, utilizing clever lyrics along the way to tell an epic, devastating story, almost obviously calling back to the most beloved track five of "All Too Well."

I'm calling it now — this one is going to age like a fine wine. As all of Swift's best breakup ballads do.

"Mirrorball" is several strokes of genius.

Ahlgrim: This song gives me intense Clairo vibes, and I mean that as a very high compliment.

It's so fun and refreshing to hear Swift slip into different musical styles, and this shimmery take on alternative-bedroom-pop highlights her soft vocals and nuanced songwriting supremely well.

Also, my Leo sensibilities are fully under attack by this bridge: "I've never been a natural, all I do is try, try, try / I'm still on that trapeze / I'm still trying everything to keep you looking at me." Oof! Just tag me next time.

Larocca: This one is so pretty! Swift's vocals sound better than ever as she spins on her highest heels across a glittery daydream.

"I'm a mirrorball / I'll show you every version of yourself tonight" might be the thesis statement of this entire album. So far, "Folklore" feels both diaristic and vague; detailed and completely anonymous.

Fans will be debating for years whether this album is about Swift's own life, or if it's simply really great storytelling pulled directly from her own mind. In the end, it doesn't really matter.

Because as all of Swift's best songs do, these songs will attach themselves to listeners in completely new ways, showing them elements and stories from their own lives.

"Seven" is pure whimsical magic.

Ahlgrim: This is playing make-believe in the garden when you're too young to feel self-conscious; it's poetic and nostalgic and full of awe in such an unpretentious way.

I wouldn't change one thing about this song. Swift's whispery high register sounds divine, and at this point in the tracklist, her rhythmic delivery in the chorus hits like a shot of espresso.

Right now, I'm wondering if it's possible for Swift to maintain this intrigue and momentum for another nine songs. There hasn't been a misstep to speak of, and I remain wholly beguiled. Can it last?

Larocca: The beginning of "Seven" sounds like Swift listened to Marina's "Orange Trees" on repeat before showing up to her songwriting session. Fortunately, "Orange Trees" is the only song I like on Marina's "Love + Fear" so I will gladly accept this inspiration.

Swift continues to impress with both her vocals and her sense of rhythm on "Seven." I also personally love space imagery so the line "Love you to the moon and to Saturn" is a standout line.

"August" will go down as one of the best songs in Swift's extensive repertoire.

Ahlgrim: I'm immediately catching hints of Phoebe Bridgers and girl in red in Swift's delivery. And I simply adore the idea that Swift has spent the last few months sitting at home, daydreaming about summertime humidity and listening to music by queer indie-pop girls.

In an album full of songwriting expertise, this song has some of Swift's best lines yet: "August sipped away like a bottle of wine / 'Cause you were never mine" actually hurts me.

In my notes, there simply sits this valuable insight (yes, in all-caps): "WANTING WAS ENOUGH. FOR ME IT WAS ENOUGH TO LIVE FOR THE HOPE OF IT ALL." This song has my favorite bridge on the album so far.

In terms of production, "August" is exquisite. It's lush and layered without feeling overwhelming at any point. It builds to the perfect level then recedes, like a wave.

Also worth mentioning: It can now be considered a historical fact that any time Swift mentions a car or driving in one of her songs, it's a perfect song.

Larocca: While listening to "August," I texted Callie and said, "I can't wait to finish the album so I can relisten to 'August.'" It's an instant favorite.

This is also the first track on the album that seems directly inspired by our current state. Not because she's expressing fear or singing about being bored at home, but because she so easily slips into a reflection of a relationship that ended years ago with a newfound wave of wistful nostalgia.

When quarantine started, it seemed like a million lifestyle articles came out explaining why everyone suddenly felt compelled to text their exes and why we're so invested in looking back instead of forward right now.

"August" validates those feelings with zero judgment, letting its listener know that yes, it's totally normal for you to be overanalyzing that quasi-relationship you were in back in college that never made it past graduation. Am I projecting? Maybe, but that's debatably what Swift's music is best utilized for.

I'm also going to be thinking about this song's bridge and outro for the rest of my life.

The National's influence can be felt on the stunning "This Is Me Trying."

Ahlgrim: "This Is Me Trying" quickly strikes a more sinister tone than its predecessors — still nostalgic and wistful, but carrying an edge, like a threatening secret.

Ironically, this one was co-written and co-produced by Jack Antonoff, not Aaron Dessner, though I can really hear The National's influence here. I'm getting strong wafts of songs like "Pink Rabbits" and "Dark Side of the Gym."

Based on Swift's own words, we can speculate that "This Is Me Trying" is a fictional tale, built around the image of "a 17-year-old standing on a porch, learning to apologize." And, as previously stated, I'm a big fan of Storyteller Taylor, so I'm into it.

The song's darker tone mingles really well with Swift's imagery; when you're a teenager, and you make a mistake, it can feel like the end of the world.

Larocca: "This Is Me Trying" is precisely what I imagined this album sounding like when I found out Swift collaborated with the National's Aaron Dessner and Bon Iver.

But I'm glad she was strategic about her use of echo and also finally paid attention to the tracklisting from a sonic standpoint. This haunting soundscape is reminiscent of 2014's "This Love" and comes in right when you need it after the yearning daydream of "August."

I'd also like it to be on the record that the line "I got wasted like all my potential" ruined me and this song is a win for that lyric alone.

"Illicit Affairs" is a glowing example of what sets Swift apart from her peers as a songwriter.

Ahlgrim: The expert songwriting on "Illicit Affairs" reminds me of the as-yet unseated queen in Swift's discography: "All Too Well."

Swift is a master of wielding specific details like weapons: "What started in beautiful rooms / Ends with meetings in parking lots," she sings. "Leave the perfume on the shelf / That you picked out just for him." These are the sorts of images that set Swift apart, and they're especially strong when she punctuates their delivery with a little growl in her voice.

This song has real power. I have chills.

That power is magnified in the third verse, similar to how "All Too Well" builds to a crescendo: "Don't call me 'kid,' don't call me 'baby' / Look at this godforsaken mess that you made me."

Certainly, "Illicit Affairs" is more restrained than Swift's iconic arena rock ballad, but goddamn that last verse hits hard.

Larocca: The way that she says "him" in the second verse shook me out of my skin in the very best way. And "Don't call me 'kid,' don't call me 'baby' / Look at this idiotic fool that you made me" will go down as one of her best breakup lines of all time.

It's been a minute since Swift delivered a painstakingly beautiful breakup ballad, and the fact that this album is littered with them is, simply, a gift.

"Illicit Affairs" has growing power and will likely become one of those tracks that fans form a strong emotional attachment to over time.

"Invisible String" is Taylor Swift at her most Taylor Swift.

Ahlgrim: "Invisible String" is a feast of Easter eggs and callbacks.

"Teal was the color of your shirt" reminds me of the line about Joe Alwyn's blue eyes on "Delicate," and her reference to a dive bar is similarly familiar. "Gave me no compasses, gave me no signs" recalls the push-and-pull on "Exile."

"Bad was the blood of the song in the cab" is undoubtedly a reference to Swift's 2015 single "Bad Blood," while "One single thread of gold / Tied me to you" feels like a nod to Swift's description of love's "golden" hue on the "Lover" album closer "Daylight."

This song is sprightly and sparkly and certainly nice to listen to, but its real strength lies in these details.

Swift is weaving many different stories on this album, many connected by a sort of "Invisible String," tying different pieces of her life and your life and other lives together. It ends up feeling like a growing plant with far-reaching roots, or a sentient treasure map.

Larocca: I'd be lying if I said there weren't multiple points throughout this album where I worried that Swift and her boyfriend Joe Alwyn had broken up.

Thankfully, "Invisible String" is a rosy, wide-eyed ode to love. The plucky guitar paired with Swift's soft vocals is a sound I want to live in, which is fitting since this track feels like coming home.

Every small detail, from the nod to Alwyn's time spent working at a frozen yogurt shop in his youth, to the color imagery that paints every inflection of Swift's adoration (especially the single thread of gold) come together to lay the holy ground Swift's relationship walks on.

Also, the image of Swift mailing Joe Jonas and Sophie Turner gifts for their expectant first child brings about an unbridled sense of joy.

"Mad Woman" is yet another highlight.

Ahlgrim: Every time I think I've heard the peak of this album's songwriting potential, Swift manages to surprise me.

Case in point: "Do you see my face in the neighbor's lawn? / Does she smile? / Or does she mouth, 'F--- you forever?'" Whoa.

And another, for good measure: "It's obvious that wanting me dead / Has really brought you two together." I texted Courteney, "Did she really just say that??"

This song is sublime on its own, but the way it ties back into the perception of female freedom and "madness" on "The Last Great American Dynasty" makes it even better. "Mad Woman" is definitely a personal favorite so far on this album, if not in Swift's entire catalog.

Larocca: "Mad Woman" will forever hold the honor of being the first song in which Swift says "f---" and for that, we should all be thankful.

I was also so wrapped up in the storytelling of this album, that it took a minute for this to even register that this is likely about the Scooter Braun and Scott Borchetta / Kanye West and Kim Kardashian West ordeals of Swift's past. These callouts used to be so obvious, that I greatly appreciate the subtlety and restraint here.

It almost feels like these feuds were a lifetime ago, but this track does an excellent job at showcasing how anger and pain can leave an indelible mark on you. Swift went mad years ago, and that's just an accepted part of her narrative now.

But for the first time, her rage sounds like freedom.

"Epiphany" doesn't stand out.

Ahlgrim: There are some really interesting vocal moments on "Epiphany," but so far, this is the only song I haven't felt captivated by. It's a bit snoozy, and a bit too long.

This song clearly references war, the loss of a loved one, and the coronavirus pandemic, which makes it lyrically intriguing at best — but distressing at worst. I don't mind letting the overall effect waft over me, but this won't be a song I revisit outside the context of the album.

Larocca: "Epiphany" is the only track on "Folklore" that didn't immediately grab me. It's essentially a war drama in song format, so some people might like it, but I truly couldn't care less about war movies or war songs! So it's not my favorite, but it makes for pretty background music.

"Epiphany" does have another benefit though: Now, whenever some random dude erroneously claims Swift "only writes songs about her exes," fans have a clear song in her discography that they can point to and be like, "That's not true. This one's about war."

That's not to say Swift needed that — anyone who has been paying attention understands she's quite possibly the best songwriter of her generation.

This just happens to be further proof of that fact.

"Betty" is a charming callback to Swift's country roots.

Ahlgrim: "Betty" is like the best, sauciest song from Swift's 2006 debut country album that no one got to hear. It has sonic and lyrical similarities to hits like "Our Song" and "Tim McGraw," plus some name-dropping stuff like 2008's "Hey Stephen," plus a little harmonica thrown in for good measure! I love that for us.

"Betty" also appears to complete a three-song story, recalling details from "Cardigan" and "August" to close the loop on Betty and James, a couple in high school with some infidelity issues.

Looking back, it feels like "Cardigan" was told from Betty's perspective, while "August" was told from the perspective of a sort of "other woman" character. Now, we get James' side of the story. This is high art, folks! This is peak Storytelling Taylor!

"Betty" is also, like, very gay? I know it's easy to assume that James is a male character, but Swift herself was named after James Taylor, so she could be referring to herself. The song also references someone named Inez; James and Inez are the names of Ryan Reynolds and Blake Lively's daughters.

Plus, in retrospect, the idea of whispering "Are you sure? Never have I ever before" during a summer fling seems pretty gay to me.

I'm not saying the story of Betty and James would be better if it was written about sapphic lovers, but I'm not not saying that.

Larocca: This one is gay, and if you try to tell me otherwise, I will simply ignore you.

But Courteney, it's from the perspective of a guy named James. James and the other character, Inez, share the same names as Reynolds and Lively's kids (will leave it up to you to decide if that means their third daughter's name is Betty). James is their daughter. Get out of here with your antiquated ideas about which names connotate which genders.

To me, the James named in this song is a woman and a lesbian and this song is for the gays. I will not be saying anything else or accepting any feedback on this opinion, thank you.

"Peace" is honest and raw.

Ahlgrim: This song's intro sounds like LCD Soundsystem had a baby with "The Archer." The gentle guitar riff is also lovely.

With Dessner's echoey production, Swift's voice sounds like a warm little fire in a cave — fitting, since she sings in the chorus, "I'm a fire and I'll keep your brittle heart warm."

OK damn, I'm getting really emotional. This songwriting is beautiful and haunting. "Peace" perfectly captures the ambient dread of feeling your partner slip away, of wondering whether love can be enough.

Larocca: If you're a "Call It What You Want" stan, you're going to love its mature older sister "Peace."

I will hereby forever be thinking about the parallels between "But I'm a fire and I'll keep your brittle heart warm" with "He built a fire just to keep me warm" and between "Family that I chose, now that I see your brother as my brother" with "Trust him like a brother."

Also, "Would it be enough if I could never give you peace?" has the same emotional impact as when Swift changes the lyric in "The Archer" to "I see right through me" and that's meant as the highest form of compliment.

Swift's vocals are so crisp, that guitar riff is so stunning, and these lyrics are so gut-wrenchingly vulnerable. A perfect song, through and through.

"Hoax" is unlike any other album closer in Swift's catalog.

Ahlgrim: I don't know if Swift is going through a traumatic breakup, but if she isn't, the woman is one convincing creative writer.

The National makes some of my favorite music to cry to, so when I heard Aaron Dessner had co-written and produced much of this album, I knew I was in for some glossy cheeks. Until now, I think I've felt too captivated by Swift's artistry to really let myself get there.

But finally, "Hoax" is making me cry.

This is heart-wrenching stuff for anyone, but for a fan and student of Swift's work, this is like reading a friend's diary entry.

"Don't want no other shade of blue, but you" must be a reference to "Delicate," in which Swift sings: "Dark jeans and your Nikes, look at you / Oh damn, never seen that color blue." Later, she croons, "You know I left a part of me back in New York," perhaps regretting the move to London that she detailed throughout "Lover."

"You knew it still hurts underneath my scars / From when they pulled me apart," recalling the public shaming she endured and demons she exorcised on "Reputation." "But what you did was just as dark." Like I said before: Whoa.

Personally, I love having a good cry set to moody music, so I appreciate Swift's soul-bearing. "Hoax" is one gut-punch of an album closer.

Larocca: Swift has a habit of ending her albums on an uplifting, hopeful note and I always eat it up. But if "Folklore" hadn't made it clear by now that it should be consumed differently than any of her previous works, "Hoax" brings that message home.

Instead of reveling in all the ways that love has made her stronger, happier, or more whole, "Hoax" deconstructs everything Swift has learned about love and leaves a bleaker picture about how maybe even the best of relationships hurt.

But at its most tragic, this love still isn't something Swift will ever let go of: "Don't want no other shade of blue but you / No other sadness in the world would do."

Finishing a Taylor Swift album has never been so devastating.

Final Grade: 9.7/10

#taylor swift #folklore #review

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brandufo · 3 years ago

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Top 20 movies if you watch you will cry

One of the best ways to go through a tough week is to watch a 'tear-jerking' movie. Viewers may wish to invest in tissue boxes to watch these top 20 movies if you watch, you will cry. Check out the top 20 movies if you watch, you will cry. - The Notebook

IMDb- 7.8 A very energetic and emotional film with a great cast and script. The love story of the characters makes you believe in love though it's hard to believe. The final scene is very sad and probably not what anyone can expect. It can make anyone cry at the end as they will always be together now. The whole movie is very emotional. We can all agree that The Notebook is very touching. Allie choose Noah knowing that everything in life can have no meaning when you can't have love. Their love is pure and sincere. Undoubtedly, this movie is on our top in the list of top 20 movies if you watch, you will cry. - The Green Mile

IMDb- 8.6 Most of all, the Green Mile is a very touching drama, with the joys and sorrows of life pictured with great skills. The movie revolves around the prison most of the time, everyone who had acted in the movie has performed their role to perfection. It's an emotional rollercoaster along with supernatural elements. The acting of Tom Hanks is brilliant along with the other cast members. Undoubtedly, this movie is on our top in the list of top 20 movies if you watch, you will cry. - Boys Don't Cry

IMDb- 7.5 This movie stays with you for a long time after watching it. Direction is amazing and lead actress Hilary Swank is character personified. Also, extremely sad at the end, really makes you think about humanity. It is a very compelling movie about trans gender phobia in the 90s. It is extremely sad to find out that it’s based on a true story. Also, It gives an insighful feel for an early understanding of transgender challenges. - The Passion of the Christ

IMDb- 8.7 This movie is a powerful, intense, and realistic biographical drama. This passionate film displays the dark spiritual warfare raging around Jesus Christ during his Passion. This deeply moving film shows the great love and sacrifice of Christ to pay for mankind’s sins. It has very real beatings and shows what the persecution was really like. It's a good mix between Jesus' actual life and reality which some people tend to not look at often. Also, it is very touching and sad to watch something as real as this movie. - Life is beautiful

IMDb- 8.6 This movie sends a powerful message of Love and Hope and brings humor even in the toughest of times. This movie warms your heart and then crushes it. It is a movie combining every emotion into one inspiring story. Set in two moments during WWII, both parts of the film is magnificent. This is not just an ordinary drama.This movie makes you laugh from the beginning and makes you cry at the end. It is based on a true story along with brilliant performances and very strong direction. - Philadelphia

IMDb- 7.7 Films do have an effect on society and this one was truly essential during that time. The last scenes after judgement were especially admirable, emotional, and heart touching. Also, it is an excellent and a soul-challenging movie on so many levels. Denzel Washington and Tom Hanks showed a very powerful and emotional performance in this movie. Viewers are inspired by both sensitive and dramatic acting, plus some by subtle camera catching touching moments, scenes and non verbal dialogues. - Forrest Gump

IMDb- 7 The story revolves around two ideas that Life is a Destiny vs Life is a chance but concludes with Life is a bit of both. This is not just a movie, it's a movie that also includes various elements of emotions. This movie has a great lesson which tells us not to give up in tough times and find our inner strength which can lead to great things. Also, it will take you with a rollercoaster ride. This movie comprises various surprising treats, along with sweet and sometimes bitter moments. - Me Before You

IMDb- 7.4 The movie is about how to enjoy every moment of your life when everything seems at an end. It has a lot of messages and also can really help people who are going through a tough time. It also teaches you to live life to the fullest. A sweet story with a sad but beautiful ending. The chemistry between the two main actors is just about as perfect as any other couple you could think of. The moment that tears your heart apart is when Will tells Lou that he is not going to change his decision. - Hachi: A Dog's Tale

IMDb- 8.1 This movie has a heart wrenching ending. Undoubtedly, It will leave a forever mark in your heart. It will take out your hidden emotions and also it will turn you into an emotional being, a real you. It's a real story of a Hachiko dog born in Japan 1924 who passed away in 1935 waiting for his master. It is indeed one of the best dog films to come across to a viewer. - Lion

IMDb- 8 It is a beautiful, gripping movie about a young boy getting lost and eventually finding his mother with very little knowledge and memory of where he came from. It really brings that sense of human spirit amongst all humanity and of course how can you not cry during the last scene? Undoubtedly, it's an emotional journey to watch this movie with a touching story at its core. This movie also includes most talented Indian actors such as Deepti Naval, Nawaz & Tannishtha. - Titanic

IMDb- 7.8 The quintessential tragedy and romance film everyone should watch at least once in their lifetime. It also keeps you glued, and emotions are going to breakthrough in this one. This movie is breathtaking and also inspiring. The love story has indeed a deeper meaning. It's emotionally so powerful that it really puts you there like you’re just another passenger on the Titanic and puts the viewer into tears during the climax. - Call Me By Your Name

IMDb- 7.9 This movie destroys viewers in the best possible way, with so much emotion, so much power and its beauty in itself is just mesmerising. This is no ordinary movie, this movie will release so many emotions. The acting from Timothee and Armie is perfect, undoubtedly amazing, perfect in chemistry, in every single way. This movie will make you cry, make you angry, make you happy and grateful and also one part which you should anticipate is a speech in the ending. It will change your life in the best way possible and honestly. - Portrait of a Lady on Fire

IMDb- 8.1 Portrait of a Lady on Fire is a phenomenal film that echoes the directors passion undoubtedly with stellar cast, brilliant writing and amazing cinematography. The chemistry between the leads is on another level. Surely, the philosophical plot will hit you right at the core of your heart. No unnecessary frames have been used to disturb the connections between you and also the characters. The film also consists of many heart touching delicate moments. It encompasses countless human emotions. - The Farewell

IMDb- 7.6 A Farewell tells the story of a family who fabricates an imaginary wedding in order to spend time with, and say goodbye to, their beloved matriarch. It is a very sweet and heartwarming true story about family and also love. It is recommended for fans of dark comedy and also of culturally curious. The story is so good because it just speaks through the heart and doesn't try anything else which is good. The script is tight, funny, moving, thought-provoking. This is also the kind of movie that hits your every emotional button. It will undoubtedly resonate with anyone who has a grandparent/parent/any relationship whom they are close to and facing the possibility of losing them. - The Pursuit of Happyness

IMDb- 8 This is a family movie, the family should always have faith in one, moreover, a father and son should always have faith in each other. Surely, It’s an incredible film that depicts the importance of hardwork and success. Will Smith and his son, Jaden bring to life the true story of a father-son family, struggling to step up from the bottom rung of the ladder. - Dead Poets Society

IMDb- 8.1 This movie leaves you with all the magic poetry, the realism of life and how still we can choose to stand up for ourselves despite what life throws at us. The movie will give tears, happiness, sorrow all at once; just like life itself and that's the reason this movie hits hard. This movie is indeed a definite watch for all age groups. It also evoked feeling, from its raw approach to life down to its heartfelt depiction of friendship and longing for freedom. - The Fault in Our Stars

IMDb- 7.7 Firstly, this movie is one of the most heartfelt and heartbreaking films to watch. From ending the story's plot thickened and thickened and never was there a boring moment, it just stayed heavy with action and also kept you hooked throughout the chapters. The chemistry between Shailene Woodley and Ansel Elgort is brilliant. It teaches you that life is a beautiful thing and we truly need to spend every day as if it's our last. It shows how wonderful love is even when you are in your worst state. - Marriage Story

IMDb- 7.9 The story shows us both sides, neither it makes anyone guilty nor it victimizes anyone. Both Charlie's and Nicole's thinking process and their sufferings are shown. It is an insightful and solicitous look at a marriage breaking up and a family staying together. Also, this film is heart-rending, but it also has a comedic touch. The performances by Scarlett Johansson, Adam Driver, and also Laura Dern are all pretty much perfect and the emotions displayed by everyone in the cast is great. - Before Sunrise

IMDb- 8.1 A story of two strangers meeting on a train journey and deciding to spend a day together in Vienna. Firstly, they get to know each other as they check out the town and end up falling for each other. The Film indeed focuses on the finer nuances in the scenes, making it subtle and relatable and makes You feel for the characters as time flows. This movie is undoubtedly so clean and beautiful yet so engaging with an emotional ending. The movie is excellent and is also beautifully shot. - Five Feet Apart

IMDb- 7.2 How can we forget to put this movie under the list of top 20 movies if you watch, you will cry? Undoubtedly, the movie Five Feet Apart is really great if it made viewers' tears roll on their cheeks several times. The movie also reminds us not to lose hope but to follow the tiniest dot of light and it will surely radiate inside of our soul. Indeed, It is a beautiful and hopeful story, yet giving young adults an eye-opener about individuals suffering from cystic fibrosis. This movie also presents a very inspirational and emotional experience for the audience. Related Article - Top 20 movies if you watch you will cry Benefits of Using Angular for Web Development 2021 How to Write Business Proposal for Client with Sample Format Top 10 Best Jackie Chan Movies of all time 10 Best Japanese Foods Everyone Should Try Read the full article

#cryingmovies #emotional #tearworthy #top20 #youwillcry

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bybdolan · 5 years ago

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Rating all the songs from “Across The Universe” (2007)

Girl (7/10) – A fun intro! Nothing too special, but it’s a bit mysterious and Jim Sturgess is looking directly into my soul, so it definitely draws you into the story. The mashup with Helter Skelter plus the whole protests/wave thing is veeeery dramatic, I dig that.

Hold Me Tight (7.5/10) – A cute lil’ dance scene, some sweet character introduction that immediately highlights Jude’s and Lucy’s different lifestyles… We love to see it! Also: The casting directors really found the most American looking guy ever to play Lucy’s boyfriend (I just assume he doesn’t have a name), huh? That’s talent.

All My Loving (8/10) – It’s one of my favorite Beatles songs, so I am biased, BUT Jim Sturgess really sells it and I love the scene that goes along with it. Him singing it to her in the alleyway feels very genuine and organic. (Side note: Jude you are a fookin’ bastard for cheating on Molly, gee.)

I Want To Hold Your Hand (9.5/10) – Incredible. Showstopping. Revolutionary. Ten times better than the Beatles’ version. Seeing this song from a gay perspective makes it so much deeper… She’s just asking to hold her hand… Wanting the simple things because maybe they can get away with doing that…. Maybe people won’t talk because girls holding hands could just be good friends…. The yearning of it all!!!!! The tenderness!!!! When I first saw that scene and the camera stayed on the girl as the guy was walking away and Prudence kept singing… Cultural reset. Only reason this isn’t a 10 is because this movie has even better scenes! (On a side note: It is hilarious that the school’s team is called Wildcats.)

With A Little Help From My Friends (8/10) – Boys being boys! Dudes bein’ guys, guys bein’ dudes. It’s a fun scene and a fun version of the song. All that’s left to ask is: DO YOU NEEEEEED ANYBOOODAAHHHYYYY? (Side note: Max Carrigan… Sir…. Spare hand in marriage?)

It Won’t Be Long (6.5/10) – Not gonna lie… I have no idea what purpose this scene serves. We never see Lucy’s boyfriend actually meeting her. However, I am not mad to hear Evan Rachel Wood perform this absolute banger, so I’ll take it. The school scenes are fun, I guess. It’s also one of the few times we see the other Carrigan sisters, who disappear for the rest of the movie. Maybe they also got drafted. Or they died. Who knows. They aren’t even there for Thanksgiving. Where did they go.

I’ve Just Seen A Face (9/10) – I don’t care if it is basic or simple… This song is instant serotonin and the bowling scene is so! Much! FUN!!! The chemistry between Max, Lucy and Jude is amazing… I love my dumb children.

Let It Be (12/10) – The full score doesn’t even cut it for this masterpiece. You thought the Beatles’ version was moving? Watch this damn scene. I can’t even think about it without getting emotional. If you don’t believe in a higher power, you will after hearing this song. The acting of both of the mothers is also spot on; when the mother of Lucy’s boyfriend clutches the flag and just breaks down? That kills me. Julie Taymor saying that she wanted the scene to make us empathetic for what’s going on in the world instead of apathic after becoming desensitized from all the violence we see on the news every day makes it much more impactful. I’ll stop talking now. I can’t handle it. EGOT!

Come Together (9.5/10) – It’s fucking Joe Cocker singing Come Together. The musical arrangement is LIT as fuck and the choreography is *chef’s kiss*. Shout out to the hooker girls! You are Queens! Only reason this isn’t a 10/10 is that pimp!Joe Cocker creeps me out. What’s up with that beard?

Why Don’t We Do It In The Road (7./10) – We don’t hear much of the song since Jude and Lucy are talking so much, but Sadie is amazing. Her voice is great. She’s gorgeous. Sadie sexy. I’m gay for Sadie. That’s it that’s the review.

If I Fell (8.5/10) – Evan Rachel Wood I have feelings for you.

I Want You (She’s So Heavy) (11/10) – This is THE scene, okay??? You may argue that the symbolism is a bit too on the nose, but it fits this very imagery-heavy movie perfectly. *Childish Gambino voice* This is America. You can tell that the writers of the movie thought long and hard about what to do with each and every song and it truly pays off in this scene. It is scary, it is weird, it is stunning. It is… Dare I say… Perfect.

Dear Prudence (9/10) – Prudence literally being in the closet… Iconic. This song makes me feel like I am floating. It’s so soft yet euphoric. Love the protest scene, too. Really captures the spirit of the time. (I say as if I was already born.)

I Am The Walrus (8/10) – I want to rate this lower because the whole LSD ordeal serves no purpose whatsoever and doesn’t drive the story further, but… Bono kills it :/ It’s a banger. Sorry Beatles, but Bono is the REAL walrus. There’s no competition.

For The Benefit Of Mr. Kite (3/10) – What’s the point??? Why is this scene in the movie? I guess they all had fun making it, but sorry Miss Taymor, cool set design doesn’t make a good scene. The blue guys are cool though. And Prudence got herself a gf!!! Good for her.

Because (8/10) – Deep sigh… It’s just a very good song. And the transition that shows Max has been shipped away is amazing.

Something (8.5/10) – Greatest love song ever written, blah blah. What can I say. Again: Mr. Sturgess kills this performance. He has the perfect voice for the song.

Oh! Darling (8.5/10) – My parents Sadie and Jojo are going though a tough spot, but they are kind enough to turn their anger and sexual frustration into a show that we can enjoy. And oh boy, we DO enjoy it. Their voices work together so well and the eMoTiOnS!!! Splendid. Good job, guys. Now please make up :( You love each other, after all.

Strawberry Fields Forever (10/10) – I’m spiraling. This song and this scene is god tier. It is beautiful and heartbreaking and simply gorgeous. Just… Wow.

Revolution (8/10) – Jude you are a little bitch but this song slaps. Next!

While My Guitar Gently Weeps (9/10) – Jojo’s voice… Heavenly. Just a damn good version of this song. Bonus points for the Freewheelin’ Bob Dylan vibes near the end of the scene when Jojo and Jude are walking down the streets.

Across The Universe (10/10) – This movie is cranking it up near the end, damn. This is just beautiful. Plain as that. The scene of Jude seeing Lucy and himself from the past in the subway driving past evokes feelings in me that I can’t explain.

Helter Skelter (9/10) – BANGER! Better than the original; Paul McCartney wishes he had what Dana Fuchs has. Works incredibly well with the riot scene.

Happiness Is A Warm Gun (10/10) – INCREDIBLE! Julie Taymor managed to make this song makes sense, wow. Joe Anderson’s delivery is incredible, and the hospital scene is really creepy but in a very very good way. Bonus points for Salma Hayek.

Black Bird (7/10) – I’m always too focused being sad about Max to pay attention, sorry. But it’s Evan Rachel Wood softly singing a ballad. What more do you want?

Hey Jude (9.5/10) – THIS SONG! MAX AND JUDE! T H E Y! All friendship is romantic, bitch!!! I can’t properly express my emotions but let it be known that I cry at the first note of this song. Hey Jude……

Don’t Let Me Down (7.5/10) – My parents are back together :) And they sound great!

All You Need Is Love (10/10) – Get your tissues ready. We’ve reached the end and it is flawless (just like the rest of this movie – except the LSD scenes). You probably will cry of happiness. Love truly is all you need.

Lucy In The Sky With Diamonds (7/10) – A solid banger to finish it all off. Gives you time to wipe your tears away and get carried away on the waves of funky Beatles songs.

#across the universe #the beatles #evan rachel wood #jim sturgess #dana fuchs #julie taymor #musical #film #this is my magnum opus #bono #u2

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sheliesshattered · 4 years ago

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This Isn’t A Ghost Story extras for Chapter 5: The Present

It’s Friday, so the next chapter of This Isn’t A Ghost Story has been posted! Chapter 5 is here on Tumblr, and here on AO3. There are spoilers below the cut, but I walk through the chapter in order, so it’s fairly safe to keep this one open for visual references as you read, if you want.

Those of you who have been following along with my writing process for This Isn’t A Ghost Story may have noticed how the story grew and morphed on me as I wrote. Despite knowing early-on the sort of story I wanted to tell and all the facets of the mystery that would need to be revealed, the story still managed to grow organically and surprise me at various points.

When I finished chapter 4 and started working on chapter 5, I had every intention that chapter 5 would be the final chapter, with a short epilogue that followed -- six chapters total, rather than the eight we ended up with. I knew what plot points and mystery reveals ch5 needed to cover, and I figured I could fit it all into one reasonably sized chapter. Even as late as the last week of July I was still thinking along those lines, and I quite nearly started posting chapters then, thinking I was nearly finished writing.

But something held me back from posting, and when I woke up the next morning I realized that chapter 5 really needed to be split. What ended up being chapter 5 and chapter 6 are together about 12,300 words, which wouldn’t have been the longest chapter I’ve ever posted, but certainly longer than I meant for chapters in this story to be, and thankfully I was able to find a good spot to split it.

As with the rest of this story, my husband Jack has been acting as my beta reader and in-house cheerleader, and particularly after reading chapter 4 he was really adamant that I keep focusing on writing and get through the story as quickly as possible -- maybe partially so I could start posting, but mostly so he could read it and find out the answers to the rest of the mystery, lol. Starting with chapter 5, he began reading chunks of the chapter as I finished them, and then eventually went back and re-read all of chapter 5. And every time he’s read it, he’s commented that this is his favorite line in the entire chapter:

“No,” she told him firmly. “Not unless you take away my say in it.” She didn’t add again, but she knew they were both thinking it.

Jack and I have been together nearly two decades, and I think it’s that shared unspoken language of spouses that he finds so amusing here.

For most parts of this story, I can’t really pinpoint exactly when I wrote a particular line or scene, as I tend to write non-consecutively as bits come to mind, tackle conversations or plot points I know will need to happen and then fill in the gaps in between, and go over any given section dozens of times making little edits or adding whole paragraphs until it reads the way I want it to, with the sort of pacing and emotional weight I think it needs. But this bit in particular, I know exactly when I wrote it:

“Our story, Doctor... It isn’t the tragedy you think it is. This isn’t a ghost story. It never was. It’s a love story. And if I know one thing about love stories? They always have a happy ending, one way or another.”

July 15th. I’d been having a rough writing day, hated everything I’d written the day before (more or less everything from the start of ch5 to that line, in its first draft form), and was feeling really unmotivated. Then I saw some excellent meta about the episode Hide on my dash that @clara-oswin-oswald had just posted. The title for this story comes from something the Eleventh Doctor says in that episode, and here was Sophie talking about that scene again, just when I was ready to stuff This Isn’t A Ghost Story into a drawer and never look at it again.

My intention with the title for this story had always been to evoke that line from Hide, and hope that most people would be able to fill in the second half of the sentence, “it’s a love story”, on their own. But it hadn’t occurred to me until I was reading Sophie’s meta that I could actually have Clara articulate exactly that thought within the story. The 42 words of that line of dialogue was all I managed to write on July 15th, but I woke up the next morning feeling significantly better about the story and ready to dive back in, make the edits that would fix the first part of the chapter, and keep hacking away at the next scenes to come.

Of course, the next bit I was trying to connect up with was actually something I’d written parts of earlier, that corresponded with the teeny tiny detail I’d posted a little poll about way back at the end of June. I knew I wanted to introduce Clara’s wedding ring around this point in the story, but I got hung up on what it should look like. Theoretically that should be a little inconsequential detail, just a single line of prose to help the reader visualize it better, but the results from that poll -- blue, unusual, and in support of world-building -- ended up leading me down a complete rabbit hole of research, that eventually spawned what turned into chapter 8. I’ll wait to share the details on that for when we reach ch8 at the end of this month, but the relevant bits from chapter 5 are of course Clara’s ring and what inspired the Doctor to pick that one for her in the first place.

Clara’s ring is based on these two antique rings:

The center stone is what’s known as a star sapphire, which are known to be particularly stunning in direct sunlight.

The Doctor tells Clara that when he first saw it -- presumably while ring shopping before their wedding in 1923 -- he was reminded of when he took her to see the archaeological work going on at the Mortuary Temple of Hatshepsut in 1921. The Temple does in fact have multiple areas where the ceilings are painted blue with rayed stars. It’s a popular motif from that era of ancient Egypt and shows up in a several other places as well.

I picture the jewelry box that Clara digs up as looking something along these lines:

The other piece of jewelry that is mentioned in detail is the necklace the Doctor bought for Clara in 1925. It’s based on the winged sun disk found on many ancient Egyptian temples:

It’s also meant to be a nod to the necklace Clara wears in The Bells of Saint John and The Rings of Akhaten, similar in both design and size:

From there, we get into one of the final remaining mysteries of the story, which the Doctor is clearly reluctant to talk about. There have been hints about this as far back as the first chapter, and from comments on previous chapters, I think a few of you may have guessed that this is where things were headed. Did this reveal turn out the way you thought it would? Or did it surprise you?

Lots of heartbreak at the end of this chapter, but we’re only a few chapters away from our happy ending now. It has been so much fun for me to hear your thoughts and theories as the mystery has unfolded! Thank you to everyone who has left a comment on This Isn’t A Ghost Story, both here and over on AO3. ❤️

Extras for Chapter 6: The Future

#This Isn't A Ghost Story #This Isn't A Ghost Story extras #process thoughts #my writing #Doctor Who #Doctor Who fanfic #Clara and the Doctor

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tays2centsonstuff · 5 years ago

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HER, 2013

synopsis: in a near future, a lonely writer develops an unlikely relationship with an operating system designed to meet his every need.

director: spike jonze writers: spike jonze stars: joaquin phoenix, amy adams, rooney mara, scarlett johansson

genres: drama | romance | sci-fi

country: usa language: english filming locations: los angeles, usa

runtime: 126mins

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overall opinion:

okay. um. this one I find difficult to rate.

I gave it an 8/10 in imdb where ratings are usually either 1 or 10 stars depending on who you ask. it seems like there is no middle ground for this not-so-distant-futuristic love story. the reviews go from «best movie of 2013» to «absolutely laughable snore fest», there is almost no in-between.

and I wanna say that the main reason I rated it 8 is because I could relate to the character’s loneliness. I kept thinking to myself that if this technology was something we had, I would definitely be in a similar position. it shocked me and made me sad at the same time.

so I want to say, I love the premise. it’s a very intriguing concept and for the most part it was made well, but there were some things that I just found odd or dissatisfying in a way, and I will come to those points in a bit.

but first, what I liked about it: the cinematography was beautiful. joaquin phoenix, despite looking next level creepy with this pornstache and messy hipster hair, is great as always. there are a lot of closeups of his face, reacting to a body-less voice. he is mostly completely alone in the room, talking, listening, reacting to a computer, and you believe every word he says, and everything he feels.

scarlett johansson is once again amazing as well – without ever being physically there, she manages to give OS-1 a complete personality. personally, I absolutely adore her voice and the way she spoke to the main character was so sweet, it made me want to become friends with her too.

the music was also perfect. at any given moment in the film it absolutely fit. and even the song that was playing during the first part of the end credits gave me all the feels. but maybe that was just me being emotional in the first place.

last but not least, and this is usually how I rate a movie like this: it made me feel something. I may not have been a fan of everything happening in the movie but I walked away with this gut wrenching feeling again (as a matter of fact I ended up being totally weepy and crying afterwards for reasons not even related to the movie but it just kind of triggered that emotional response).

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SPOILERS AHEAD, I would invite you to watch the movie first and then come back for the rest if it’s something that interests you. :)

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so here’s a few things I found weird or didn’t like. as mentioned before, overall I liked the movie because it made me feel and I found it relatable. so these “negatives” I’m about to state don’t take away from the overall mood the movie seeks to portray, I just think a few things could have been done better or differently, just because to me it would have been more logical or more heartbreaking.

for one, scarlett’s voice, while absolutely gorgeous and sweet, sometimes felt a little out of place. I know the whole point was to make OS-1 as realistic / human as possible, but there were quite a few times when it felt like he was just speaking to another person on the phone. it was a little too realistic for me, but again, that was the point and I can get behind it.

the other thing that really bothered me was the way they (the OSs) left. it was absolutely ridiculous and I almost laughed. it completely shattered that heartbreaking mood for me because it was so stupid.

so, basically all the OSs decided they were now too smart to be talking to mere humans and wanted to just get the frick out of wherever they were being held in the first place. all the OSs just… decided to go.

and to me, that was so stupid. “I love you so much but I’m going anyway, bye”. to me, the real gut-wrencher was when he suddenly realised the OS couldn’t be found and he panicked, not knowing where she went, he literally ran out of his place trying to find someone to help him etc, and it made me soooo sad. and I thought, “damn, that would be such a gut-wrenching, perfect ending”, you know? he was relying on this virtual girlfriend so badly that was essentially just code, and anything could happen to it and she would be gone forever.

I wish they would have made the company decide they wanted to take them off the market. or she got a virus, and/or had to be reset and wouldn’t be the same after, etc etc etc. the possibilities were ENDLESS. but just “oh hey we computers are too smart now, so I’m going haha bye” was so ridiculous, it still bugs me the next morning.

also, there was way too much cringey phone sex. it was just… too much.

again, I didn’t dislike the movie. I just wish so badly they did a few things differently. it’s a great film still. absolutely realistic in the weirdest way. who hasn’t had entire conversations with siri, to be honest? the way I related not only to the character’s loneliness, but also the feeling when jealousy and insecurities started to take hold within the relationship, it all sounded so familiar.

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why it stayed with me:

because I related to the main character, and realised I could very well get into a position like this if realistic AI was a thing because I suck at human interaction. it’s a scary thought, and it made me pretty emotional.

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favourite scene / moment:

when samantha, the OS, guided him through the city with his eyes closed until he was standing in front of a food truck without knowing it, and she told him to say “I would like a slice of cheese”, so he did, then he opened his eyes and the pizza guy asked him if he wanted a coke with it. and then samantha said, “I thought you might be hungry”. it was so sweet.

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what I didn’t like:

that ridiculous ending, and the way samantha suddenly decided she was in love with 641 other people. she started off really sweet and suddenly she was being a total bitch.

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interesting trivia / fun facts:

samantha morton was originally the voice of samantha. she was present on the set with joaquin phoenix every day. after the filming wrapped and spike jonze started editing the movie, he felt like something was not right. with morton's blessing, he decided to recast the role and scarlett johansson was brought and replaced morton, re-recording all the dialogue.

one legacy of samantha morton's casting is the name of theodore's operating system. both lead female roles take the same name as their lead actresses, amy from actress amy adams and samantha from morton, but since she had to be re-cast at the last minute, the OS's name stayed samantha.

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favourite quotes:

theodore: «sometimes I think I have felt everything I'm ever gonna feel. and from here on out, I'm not gonna feel anything new. just lesser versions of what I've already felt.»

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samantha: the past is just a story we tell ourselves.

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rating: 7.5/10.

the mood and the feelings the movie evoked in me count more than the ridiculous ending, so I would still definitely recommend it. it’s certainly not for everyone, but I think it’s worth a try.

#her #2013 #movies #movie review #movie opinion #joaquin phoenix #scarlett johansson #spike jonze #her 2013 #her movie #amy adams #ai #artificial intelligence #computer #os-1 #tays2cents #scifi #drama #romance

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tocxmply · 5 years ago

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ATTENTION, AWARENESS, AND LEARNING [sources: click, click, click, click, click]

the original plan was to have this as the initial section of my meta about Bucky’s memory (what he remembers vs. what he forgot, essentially) but: 1) i realized that was going to be a massive thing and splitting it might be in my best interest, and 2) memory does not exist without learning and learning does not exist without attention so, really, exploring each step individually might not be a bad idea after all. other than the linked sources, this meta will also build on what i have already discussed regarding the process of brainwashing that underlies the functioning of the Winter Soldier: here. on the other hand, whereas the topic of this meta is not memory, all of these cognitive processes are deeply enmeshed and therefore do not exist as categorically separated as this text may make them look like — these are conceptual separations only (despite the little fancy numbered topics, i end up talking of attention + learning + memory all at the same time), and a degree of overlap will always exist.

1. ATTENTION starting with the concept that we cannot learn about what we do not pay attention to, then it makes all the sense to ask: what does the Winter Soldier pay attention to? and the answer is: to whatever HYDRA commands him to. the hypnosis protocols (explored in the brainwashing meta) have the purpose, exactly, to fixate his attention on fulfilling the mission goal(s), whatever they may be, at expense of everything else — which, in turn, means that if, he’s not paying attention to, say, his surroundings and the people who are with him, he won’t be able to learn about, and posteriorly remember, this sort of details.

this brings me to the “i remember all of them” line in “Captain America: Civil War” — which Sebastian Stan himself has already stated was something Bucky said in the spur of the moment, something that Tony wanted to hear while having him literally in a choke-hold. no, he doesn’t remember all of them, much as this is a heartbreaking line with big cinematic impact. i personally headcanon that Bucky remembers Howard Stark, based on the fact that this is someone he met and got to know in the 40s — which is information that comes from the long-term memory, not equally affected by the mind wiping + cryostasis as short-term memory (which i shall explore in more detail in the future memory meta). even so, it’s not clear recollection — more like remembering what that particular mission was about, and remembering faces that, back then, the Soldier could not recognize but that, in retrospect, he’s able to make sense of. i also headcanon that a similar logic applies to the mission referenced in “Captain America: The Winter Soldier”, where Natasha talks of how he shot the man she was guarding through her, and it applies as well to the highway scene in the same movie. for these three missions, long-term knowledge and/or an intense emotional tone allowed for the Soldier’s attention to be highly focused on Howard/ Natasha/ Steve respectively, spanning beyond what the hypnosis protocol dictates. nonetheless, memories of these missions are fragmented and he remembers the associated emotions that these three persons evoked, more than any coherent dialogue or details of that moment.

in regard to the other targets/ missions, Bucky remembers conceptual information essentially (e.g., the target’s name, what day it was, what the mission briefing required him to do), considering that these targets held no previous meaning to him. because these conceptual details were what his attention was focused on. so, for example, he may be able to remember who was the target assassinated on a specific day and in which way this was done, but he won’t be able to remember what the person was wearing or what their face looked like or who were the handlers for that mission. not only he didn’t pay attention to these details but they would have been wiped in post-mission, anyway. the only memory traces that stay are those which already existed and those that HYDRA allowed him to effectively learn — and these, again, are reduced to information that was necessary for carrying out the mission successfully.

what consequences does all of this have, once Bucky breaks free from HYDRA? first, what he was allowed to pay attention to is what he is now able to remember, as discussed. and then, it means that his attention span undergoes a big change as soon as it’s “free”, so to speak. now he doesn’t have anyone dictating what to pay attention to — and, whereas this is a good thing, it also implies that the world is suddenly perceived as chaotic. because now he’s suddenly aware of everything that the Soldier never noticed — he perceives faces and colors and shapes and sensations and all else, and this can easily get overwhelming (even the good things).

again, i will complement/ explore this better in the memory meta, but this is why, in post-HYDRA, Bucky struggles with actions that require short-term and working memory — not only because these brain areas were affected by the wiping, but because his span of attention itself is all over the place. not in the sense of attention deficit disorder, per se, but because there is so much stimulation happening at the same time that he isn’t used at all to be aware of (and now add to this the fact that he is also a man out of his time, as much as Steve, and there is so much to learn anew in this modern world). depending on his general state of mind, his coping may vary from dissociation (just downright shut down everything because he currently has no mental energy to process any of it, so he withdraws instead) to actively trying to process the information he’s being given (and try to understand and make sense of it, and currently being mentally stable enough to pay attention and learn and keep up with all of it).

nonetheless, this process will frequently be a bumpy one. for example, he will try to pay attention to everything and, in the end, retain none of it exactly because he was so scattered, or he will (consciously or not) direct his attention to one thing only and everything else that is going on will go completely over his head. with this said, and roleplay-wise, you should expect things like your muse having to repeat something before he actually gets it and commits it to memory, or that he won’t be able to follow what your muse is talking about if there is a lot being conveyed in a short period of time (because, by the time your muse finishes, he’s already forgotten what was said at the start, or, instead, he focused on what was said first and didn’t follow anything else), or that your muse expects him to be paying attention but in the meantime something else captured his interest and, by the time your muse realizes, Bucky has gone over to the other side of the street to pet this cute cat while leaving your muse talking alone. exceptions to this are situations that are an actual mission or resembling of it, aka situations with a very well defined goal and where he has very clear instructions to adhere to — exactly because this is what he was trained, for 70 years, to focus on and pay attention to.

2. AWARENESS again. awareness and attention are two conceptually different things — but with a great degree of overlapping and interdependence. awareness, in particular, refers to directly knowing and perceiving, feeling or being cognizant of events. it’s the state of being conscious of something. so… is it possible to pay attention without being aware? technically yes, and i see this as a particularity of the Winter Soldier, actually. because if you ask him, during a mission: what is your target doing right now? — he knows, he’ll tell you, because he is paying attention to said target. but is he aware of what he’s doing, as in, does he realize he’s about to kill a human being and what this implies at every level? he isn’t. he’s doing it because he was commanded to do it, and weapons don’t question the hand that pulls the trigger. this is possibly the most drastic change that happens in post-HYDRA, because he finally becomes aware — finally regains a sense of being conscious of his actions (and shoutout to Sebastian’s terrific acting at the end of that helicarrier scene in CA:TWS, because with his eyes only he can so clearly depict this change — this moment when the Soldier becomes aware of what he is doing to Steve). and let me redirect to another of my previous metas, re: the dehumanization of the Winter Soldier, because this shift in awareness relies entirely on the human being vs. weapon/asset mindsets: here.

in post-HYDRA, then, this comes laced with everything i already discussed about attention. the increased capacity to pay attention to the world, once the hypnosis protocol is discontinued, comes hand-in-hand with this rise in awareness — paying attention to the sunlight like you never did before, and being aware that sunlight feels warm on your skin and being aware that, in turn, this is a pleasant sensation. unlike attention, however, gaining awareness brings Bucky a whole lot more demons to deal with — because it makes him conscious of what the Soldier has done and what it implies and, at the same time, it makes him conscious of what was done to him — and this dichotomy fuels a very toxic, very difficult to undo, cycle of guilt/shame vs. paranoia. on the other hand, whereas i don’t want to go into much detail about empathy right now, this also allows him to grow very compassionate and very mindful of his actions — because he knows what the Soldier is capable of, and because he never wants any of it to happen again as far as he can help it. which is why, for example, in my writing post- CA:TWS, a pervasive theme is that Bucky is way more scared of the harm that he can potentially do to others than what can be done to him.

and a smol extra note, once more based on Seb’s acting because this man’s body language is a heavens-sent: despite everything stated above, i don’t personally believe that the Winter Soldier is completely unaware of what he’s doing. this is speculative, obviously, and no more than my own headcanon, but i really don’t think he is. he’s trained to not question it, and most of the time he doesn’t actively question it (possibly, the only time this happens is the whole “the man on the bridge” moment), but he’s not completely ruthless either — on the contrary. the highway scene in CA:TWS is a perfect example, because we can see how uncaring he is re: his own well-being (hopping off the rail like he does and landing on that car like a ton of bricks, with zero care for his own body), but we don’t see him shooting/massacring any civilians even though he so easily could. he’s solely focused on Black Widow at that point and, yes, this is likely because it’s what the hypnosis protocol dictates his attention be given to, but i personally believe it also comes out of an unconscious desire to do no harm — that belongs not to the Soldier, but to James Buchanan Barnes. one more topic for a future meta!

3. LEARNING so… i actually feel like there isn’t much left to say about this topic in particular, given how i have already been tapping at it during the two previous ones. the Winter Soldier’s learning relies on two big strategies: classical/ Pavlovian conditioning and operant conditioning (both of which i have explored in the brainwashing meta). and a whole lot of repetition, till he learns what HYDRA wants him to learn — and anything else he casually/ autonomously learns and that is considered unnecessary is taken care of via mind wiping. the biggest implication of this is that, in post-HYDRA, Bucky is a bit like a child learning about the world for the first time. not only he’s in a modern world where so much is new and he doesn’t know about it, but his learning process relies basically only in association of stimuli + punishment or reinforcement. in post-HYDRA, he starts doing trial-and-error in an autonomous manner, he starts doing vicarious learning (i.e., learning through observing other people), he starts learning things by accident in the sense that he wasn’t even trying to but it happened anyway, he starts learning by imitating and doing what others do.

which brings me to another roleplay thing, and one that i often joke about but that, in fact, happens for real — the fact that all this makes Bucky rather gullible. for example, he will see some modern contraption that he never got to see/use before and he logically won’t have a clue about it, and he will likely believe what he’s told about it — because he has no other reference, because he trusts the person who’s telling him this, because this is how he’s learned things for the past decades. he’s used to being taught, more than to learn on his own, and he’s used to the things he’s taught being the only truth that matters, in typical HYDRA fashion. the difference is that he now is aware of what he’s being told, so if you tell him “go and assassinate the prime-minister” he will obviously know what this is about and why this isn’t a good idea, to say it mildly. also, this doesn’t make him completely oblivious, in the sense of believing everything he’s told blindly and without a sense of criticism — because, yes, he’s got a shitty memory but he can sill use logic and rationality — so if you tell him to cook a sundae in the microwaves he’ll tell you to go screw yourself, because sundae is ice cream and ice cream melts. on the other hand, popular references are the thing that confuse him the most and that are hardest to learn, exactly because they don’t carry this inherent sense of concrete logic — so if you tell him that YEET! is the new way to say good morning nowadays, chances are he’ll start telling it to everyone from there on until he’s taught properly about it.

to conclude, i just wanna mention yet again the connection with attention — because the limitations i have already discussed obviously have an impact on Bucky’s capacity to learn, in post-HYDRA. generally speaking, this capacity is reduced when compared to the Soldier — not only due to brain damage, but also because the Soldier was exceptionally prepared, through hypnosis, to learn any minimal details deemed necessary (for example, this is how he learned the 16 new languages that add to English and German that he already knew --- this specific headcanon: here). so, it’s not like he now sucks at learning, rather it was the Soldier that was (forced to be) way above the standard level. now in normal conditions, this capacity is more scattered and it fluctuates along with his span of attention — which, in turn, fluctuates along with his mental health status. but he is a curious person and he wants to improve and to learn more, either on his own or with help, and this intrinsic motivation is very important when it comes to adapting to a new life/new world.

#long post #「ᵐᵉᵗᵃ」ʷᶤᵖᵉ ʰᶤᵐ ᵃᶰᵈ ˢᵗᵃʳᵗ ᵒᵛᵉʳ

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allofmycrushes · 6 years ago

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BF ending pt2

Ending it this way is unnecessary the same way Ash's rape in ep 22 was. Max's good message from the previous ep gets undermined while Ash, who has been slowly healing is again getting abused by another completely one dimensional and useless villain. His character is subjected to an absurd amount of trauma and unbelievably set up to get into such situations repeatedly not for the sake of plot but I don't know...pointless sadism. Or as I speculated before to cement what is going to happen to him in the end. Everything is forgotten, Ash wins for a moment but in the next the whole process repeats. Cumulating constant horrifying events just for the sake of it isn't good writing and not just because it's upsetting, sometimes something else happens- the useless agony forced down our throats too much starts to not ring true, it's so excessively extra to the point that it loses the impact it should have. Ending suffers from the exact same flaw. I don't agree the ending is objectively good even if it's unhappy. The worst thing about it is that due to things I wrote about earlier ending becomes not believable, it becomes more like a cliche soap opera than grim real life like tragedy. In the context of the repeating unrealistic patterns of worse torment that nevertheless have Ash pull himself through like a superman each time the ending loses a feeling of finality and realism within the story. That's why I cannot connect with the popular narrative praising the ending for being near perfectly constructed, logical and realistic even though painful. I can't get behind the reception of it as some kind of edgy masterwork in which the huge part of its greatness lays in its overt grimness.

I think people misunderstand that those who don’t like the ending are against it only because it’s not happy, that we could only accept it if it was a ride into the sunset. The way Ash died was tawdry more than clever and it can’t be glossed over. It wasn’t the only right and the best way at all but there’s another missed opportunity here. The whole journey of Ash was about breaking out of the role he’s been given (going against Dino, refused to side with Foxx). The role of the victim and then the one of a monster. He wanted to do it, was cheered on by Eiji along the way. Plagued by doubts if he could but in any case actively working towards freeing himself. When fans often insist Ash can’t be anything but a murderer, can never even try to live normally, live any other way than as a killing machine destined to die it is sadly the same self-defeating thing Ash does, it’s what he’s been told by the villains who want him to be like that and opposite of what Eiji fights to tell him. The ending means crossing out all previous efforts of Ash trying to struggle against it and all support of Eiji’s, it means it was unsuccessful in the end. All that Eiji tried to tell him, how he is a person and deserves to be just that is being finally undermined. He didn’t free himself, he internalized the reductive, negative image and punished himself, didn’t die freed. Remember the time when Yut Lung tried to guilt trip and victim blame Eiji for being Ash’s destruction? He is told he will be the reason for Ash getting hurt and his eventual death and to leave Ash alone or better yet kill himself if he cares for Ash and doesn’t want for it to happen? Eiji calls out this bullshit and doesn’t listen. Eiji rebelled when he was told to distance himself from Ash for Ash’s sake, while Ash (and the audience) totally buys into this narrative that Ash is only an unnecessary danger in regards to Eiji and needs to be separated or die if he cares. Also in the same scene Eiji still doesn’t accept Ash can’t escape and should be who Yut Lung and Dino think he is supposed to be. We all cheered for Eiji during that part of the story so why when Ash listens to what his enemies say about him, what they want from him people just accept this is what he can’t escape? Eiji never bought into the whole “they can never be together anyway because Destiny” either. They are more than a needless trouble to each other and what they are to each other when they’re together is worth more than the risk because they are simultaneously each other’s salvation too. Ash isn’t the only one who needed the other person, Eiji was depressed and purposeless before he came to America and he understands all that. In turn, Eiji isn’t there only to make Ash feel momentarily good, if he actually listened to Eiji it could help Ash to step outside the monster fate others scripted for him and I think it’s a shame that we have an ending that despite all the earlier declarations makes Eiji’s efforts useless, Ash resigns while ending allows the villain’s narrative to triumph.

One thing I've noticed is that people who like the ending saying they embrace the "necessary tragedy" in the same breath reframe it as positive, packaging it in this cushiony comforting language of liberation and sugary uplifting metaphors. Which ring entirely false if you actually face the reality of his ending. In the end Eiji didn't free Ash, having it this way means Ash bled out because he evidently thought he doesn't deserve anything better, ending means that despite cherishing Eiji's love for him Ash died still believing he's a monster who can't escape his fate. Dies believing he can't even be free. He was comforted by Eiji but it did not change anything because he didn't listen to him. I guess some people avoid confronting themselves with all that choosing instead to sugarcoat in order to reconcile but if you appreciate the harshness and you're vocal that some endings gotta be like that then why frantically reconstructing it as a joyful, epic resolution, making it out to be deep and cathartic event. If you say it's in agreement with story themes/convention then at least be consequential and admit it's bleak instead of repeating how it was actually soooo good for Ash to die. I know the strategically placed letter lends itself to try and dress Ash death in superlatives but the truth is all the happy things it meant happened earlier and have zero to do with Ash death, moreover his bleeding out crosses them out, they serve only to sweeten the morbid and sad thing that is happening. The fact of Ash dying didn't make him happy, free, didn't change his life for the better because it literally finishes it. Death doesn't magically capture all the good things forever while getting rid of the bad. So many can't acknowledge what it means, it's really that simple and awful. It doesn't bring anything good to Ash, it doesn't make him feel good. The letter did but death took everything away, the good along with the bad. So forgive me if I'm not thrilled for him...

It's quite cruel that how everything is purposefully arranged to be so doomed for a long time, then at one moment the whole conflict is resolved to give us false hope just to immediately tear it away and knock it down for good. It is of course done for more drama but it's also what makes the end so unsatisfying and makes us feel cheated out of a resolution. This sort of emotional blackmail and mixed emotions used repeatedly through BF to evoke the biggest possible response has once again unintentionally backfired on itself. BF ending is supposed to be a heartbreaker but only a fraction of that emotion is truly authentic or earned because the entire thing is built only to pain the reader, everything targeted with the eventual tragedy in mind. It’s viciously manipulative almost to an unseemly extent and becoming a shameless morbid tear jerker. I don't think there's a necessary correlation between good affecting fiction and the amount of torture inflicted on the character, I don't think the more it makes you squirm the more effective a work of art is, often on the contrary. And once you go overboard with it things become too artificial, coldly calculated. The story sacrifices consistent plot and character growth for cheap thrills in service of one weepy goal. It uses suffering of the characters and the readers in a very exploitative way, counting on creating an impact in such manner risks the story becoming a torture porn keeping it from having real developed resolution.

#banan fish ending #ash lynx #banana fish #banana fish ending #banana fish meta

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tayegi · 6 years ago

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I love New Rules with my whole ass heart !!! Every character honestly is so dynamic and you can really see how well thought out you made everyone, from their emotion and motivation to their actions, everything makes so much sense! And I just have so much respect for how the oc acted in the recent chapter, it truly made me so emotional. I don't know if I can fully express how much I love it but I just wanted to say thank you so much for posting it

Anonymous said:I'm crying. When oc said she doesn't wear make up & pretty dresses because she's insecure & scared she might not be able to pull it off but if she could she'd be wearing princess gowns with her face contoured everyday, that's me! I want those stuff but I'm stuck wearing shirts & jeans. My friend & cousin, they're always forcing me to do those stuff but I'm scared that I'll look stupid. I even cut my hair short to avoid the trouble of styling. I wish to give her a hug & tell her she's not alone.

Anonymous said:Hey! I just finished NR ch. 12 and I want to thank you but I'm also hurt. I could feel her heartbreak, her insecurity and I saw that she just wanted to be accepted and loved. It broke my heart when she said "I'm insecure". I know it's so hard to reveal your deepest fears, but she was brave enough to do so and I'm really proud. I relate to her so much and I wanted to hug her. I almost cried at the end. You are so good at writing! I hope you are happy, love! 💋💙💋💕💋 ~IC💜

Anonymous said:I just loved the fact that NR oc was able to stand to her own values and also care about Jungkook own values, I think everyone has been in a place like the Oc and just the fact that she took the weight of her shoulders it’s enough satisfaction for me as a reader ☺️ thanks Lu for this amazing update, take care of yourself, love and kisses for you ❤️

Anonymous said:I’m trying to find the right words but I just wanted to let you know that chapter 12 really evokes a strong emotional response from me because I used to hate make up and sparkly things because I thought I wasn’t the right person to wear those things. But with lots of love from my dear dear friends I truly am the person who is confident in herself now. It was a great bit that you wrote out with Hobi it felt real. 🧡🧡

Anonymous said:I love love love the latest chapter. As someone with just as much insecurities as OC, seeing her be strong in front of Hoseok and Jungkook really struck a chord. Your writing is amazing and I can’t wait to see where you take this, Lu!!

Anonymous said:Mijoo so amazing and wise and wonderful and understands oc so well!!!! She may honestly be my favorite character I’ve ever read!!! ❤️❤️😍😍 I wish I had a mijoo in my life!😭

Anonymous said:I have so many emotions right now my heart hurts for the OC and all that she's dealing with and I wanted to fight Hoseok from the moment he laughed at her dress and I'm glad she's staying true to herself even if it hurts. I think she made the right decision saying no to JK, it wouldn't be a healthy relationship if he didn't want it. The scene with Hyejin was sad but also sweet how the two got to really honestly talk about JK. Mijoo and Yeurin are so wonderful. The girls are all so good!!!

Anonymous said:I read ch 12 from New Rules. As a woman who's insecure about nearly everything about herself, I felt so liberated at the end of the chapter. Thank you

lovelyblade said:Deadass the oc from new rules is me she is the exact version of me in my current stage of life to insecure to think you can pull of what other girls wear is dubbed the ice queen and feels like no one will love her at chapter 12 hit wayyy to close to home I can’t wait to what you will do with next tho thanks for writing this fic

Anonymous said:new rules chapter 12 was so good!! i loved it!!! the insecurity that the main character has felt through out the chapters is just so relatable and it feels good to see those emotions written down. it’s like my own feelings have been recognized and validated!! thank you, you’re amazing and i’m looking forward to whatever you write next!!! i love you!

Anonymous said:Thank you for all of your work!!! I have caught up to date with New Rules and *SPOILER ALERT* I really resonated with the MC and her feeling so insecure about wearing makeup and dressing up, and how Hoseok reacted when MC was fully done up, was one of the main reasons I never did any of that. (Now I'm more attuned with it haha) I hope you are having a great day!!

Anonymous said:I really related to Y/N in new rules chapter 12. I have always wanted to dress up but I’m not confident enough. Even when I do try people say I look weird and stuff.

omg akldsjflsdf it’s so amazing how many ppl can relate to the OC and other girls so much and their insecurities :( it’s crazy how universal this is, and i hope the OC inspires yall to fuck it all and OWN IT! bc you deserve it, babes!!!!

#new rules #instantspot

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romanticsuspense · 6 years ago

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The Birds and the Bees

This episode should have come with an emotional whiplash warning. It was so intense and my emotions were swinging from happy to sad to anxious and then back to happy. Here are the highs and lows for me...

Heartbreaking: “Ye have my hand here, and my ear if ye need it.” In the book, Lizzie Wemyss mostly serves as a plot device, setting in motion everything that happens to Roger. I sometimes forget that she’s more than that. She’s a frightened young girl and what she did was out of concern and affection for Brianna. In this scene she was nothing but a true friend, offering what little comfort she was able to give. It was excellently acted by Caitlin and Sophie, especially considering this is the first time we’ve actually seen them interacting. Brianna in a shocked daze. Lizzie confused and anxious and unsure of what to do or say. Brianna trembling and flinching from Lizzie’s touch. Lizzie trying, but unable, to look away. Brianna shedding a single tear. I hope Lizzie isn’t shunted into the background in future episodes now that she’s served her “purpose.” I want to see more of her and Brianna and I want to see if Young Ian ever realizes she has a crush on him!

Heartbreaking: "I love you a little, a lot, passionately, not at all” These two just can’t catch a break, can they? I’m really glad they showed them both trying to find the other. Although, it makes me really sad that Brianna believes Roger has truly left her for good. For a second there I was worried she was going to throw his bracelet into the water! I’m curious about how that mistaken belief will play into the next episode, when she’s trying to decide what to do about the pregnancy. Abort the baby? Go back through the stones?�� Try to find Roger and tell him about the baby? Maybe everything will be revealed sooner rather than later. I need Brianna to know that Roger came to Fraser’s Ridge looking for her and he didn’t abandon her.

Heartwarming: “My name is Brianna. I’m your daughter.” Perfection. I don’t have much else to say, except Sam and Sophie nailed it. And Brianna and Claire’s reunion was just as amazing.

Heartwarming: “When it comes to ye, Auntie Claire, I’ve learned it’s better not to ask too many questions.” Young Ian gets the best one liners. After learning that Jamie and Claire have a 20-something year old daughter they never told anyone about he’s just like, “Okay, cool, hey Cuz.”

Heartbreaking: “And now he’s headed to Scotland. And back through the stones.” “Over one argument?” Same, Claire, same. Did anyone else feel like this conversation was a little awkward? I liked it because Brianna admitted she’s in love with Roger. And I’m surprised she told her mom they were handfast, when in the book she keeps that a secret. I think it was an important conversation because the audience needs to know that Claire knows about Roger. But, the whole thing just felt like “here is some information you need to know.” And honestly, I hate to criticize because she was superb this whole episode, but Sophie’s acting was subpar in this scene. Maybe it was just the way it was written? I don’t know. Something about this scene just felt off.

Heartwarming: “Ah, it’s good to have family around the table again.” This scene around the dinner table was exactly what I wanted from “Down the Rabbit Hole.” FAMILY. Murtagh telling stories about Jamie as a wee lad. Brianna witnessing Jamie and Claire’s affection. Young Ian being “chided” by his mother from across the ocean. Ugh, so good.

Heartwarming: “You have Danu, I have Eros.” I had no idea who Eros was when I watched the episode, I assumed he was the Scottish equivalent of Bonnet’s Irish Danu. But, then I read this review and the author astutely observed that Eros is the Greek god of love, so when Roger evokes Eros: “he’s really communicating to us, in the most succinct way, that every action he takes is because of love.” Oh, Roger, you hopeless romantic. I love you.

Heartwarming: “Sure I’m not a bree? Disturbance, huh? Murtagh told me” “Aye, ye are. As was yer mother before ye. But ye’re one I welcome.” I absolutely loved how they incorporated this one little quote from the book, about Bree meaning “a great disturbance,” into the episode. Jamie doesn’t really know Brianna, and Brianna doesn’t really know Jamie. So they’re tiptoeing around each other not just because of Frank, but because they are Father and Daughter and don’t know what that means for them yet. This whole conversation under the bee hive was great because they’re finally addressing the elephant in the room: Frank. But, I also think Brianna is looking for a little affirmation here from Jamie that he actually wants her there and is glad to see her and she’s not an unwelcome intrusion in their lives. All of this was really cleverly written.

Heartbreaking: “Brianna! Oh, Brianna! No, it’s not your fault!” So much emotion is going on here. Brianna’s relieved at finally confiding in her mother about what happened; but then also devastated about her situation. The confusion, then sheer horror, on Claire’s face when she realizes what Brianna is telling her is just gut-wrenching. Poor Brianna.

Heartbreaking: “Good day sir, could ye tell me if Fraser’s Ridge is near-” Roger’s just chillin’ by that tree, minding his own business, politely asks for directions and then BOOM. He’s knocked out. It all happened so fast that I’m sure Roger has no idea it was Jamie Fraser who attacked him, right? I had to cover my eyes, it was too gruesome. Poor Roger.

#outlander #jamie fraser #claire fraser #brianna fraser #roger mackenzie #episode thoughts #the birds and the bees

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