#soundtrack analysis

[length-of-edward]

I think all of the ace attorney games have pretty solid soundtracks, but one of my current favourite themes is Kristoph’s theme.

It’s so calm and collected but ultimately carries a jarring and eerie undertone which perfectly sets up and backs Kristoph as a character. It feels like it’s trying to give you a sense of security but there’s the little something that’s just *slightly* unsettling

[lilliths-httyd-blog]

listening to Hiccup Confronts Drago and man i dunno anything about music so ill explain what i mean using allusions to playing a piano. drago's theme kicks in about one minute in when hiccup is trying to reason with him and if it was played on piano either hand would be playing a different tune (?? listen to it to get what i mean, there's like two melodies playing to make up the whole song. idk music.) and at this point the right hand would be taking the lead. there's softer, higher notes where drago is monologuing about his past and hiccup still has hope to change his mind. as the song/scene progresses the left hand with the darker, deeper notes starts to drown out the right hand and take the lead as we realise holy shit this is not working this is very bad. the deep notes continue to build up and drown out the high notes until the high notes are literally just fucking gone. we're fucked.

and then that leitmotif from The Downed Dragon kicks in

[arowyn-m]

SPOILERS FOR ARCANE S2 EP 9:

Throughout S2, all we've heard of Viktor's musical motif has been incomplete, distorted or hidden beneath other overlapping themes.

Viktor's theme only plays fully and purely in the last few minutes of Ep 9, when Jayce puts his hand on Viktor's shoulder in the astral realm.

"You must go, Jayce."

Viktor's expression falters after he says this, because the resulting pause is leading him to assume the worst—His face falls because he's expecting Jayce to listen and leave him to die.

But no, Jayce reaches for him, and touches him in the same way he has for years, ever since the first night in the ruins of Jayce's apartment. Jayce making that human connection brings Viktor back to his own humanity—it literally brings him back to himself.

And so, right as Jayce makes contact, we hear Viktor's full theme play for the first time in S2—and it just so happens to be the most triumphant and beautiful and orchestral rendition of it that we've ever heard in the show.

[heyhelloitsmilo]

i'm doing it

i am sUCH A SLUT FOR MUSIC GOD DAMMIT

god fucking daniel pemberton ATE THAT SHIT UP when writing that goddamn soundtrack i've been saying this for seven fucking months now im

im gonna fall over and perish

[neo--queen--serenity]

The Black Butler revival will, of course, in this day and age, be the complete embodiment of pro-ship vs. anti-ship discourse, given the subject matter.

But for those of you who are watching this for the first time in 2024 (which includes myself!), there are certain things about the show you simply must understand, for the sake of media literacy.

The first is that Black Butler is supernatural gothic romanticism at its core. This genre alone should tell you that the relationships integral to the plot will be complex, messy, and toxic, by default. That is not only a huge part of this genre’s appeal, but very much the point of the story.

The themes are dark, the terrible things that happen to the main characters are dark, and therefore the relationships at the forefront (and in the background) will reflect that.

The gothic genre has been alluringly popular for over a century (longer, if you know your history) because audiences are entranced by the macabre, the tainted antiheroes, the monsters who live inside us all. It’s popular for a reason.

That being said, understand that whether you, the viewer, ship Sebastian and Ciel or not is irrelevant. Their bond doesn’t need to be understood as romantic or sexual, but it sure as hell isn’t normal. It isn’t healthy. And the audience knows that. That’s the draw. It’s what makes them compelling to watch.

Ciel and Sebastian’s relationship mirrors many gothic novels, poems, and penny dreadfuls written in the Victorian Era (the very same time period in which Kuroshitsuji takes place). The Victorian folks who read these tales for the first time ate that shit up, because it was tantalizing. It was shocking. It was inappropriate, and monstrous, and violent, and erotic, and went against societal norms. But that was the point.

A huge part of gothic romanticism is the blatant sexualization of the relationship between the “monstrous” characters and their human counterparts in the story. Sex itself doesn’t need to take place for their bond to be sexually charged. The forbidden nature of their relationship—which typically involves layers of social taboos, moral ambiguity, or simple infatuation—is what makes their interactions erotic. Sexual contact rarely ever actually happens in these stories. It’s the taboo nature of their bond that creates the tension.

One of the many reasons audiences love this genre is the constant question of morality in its themes. Who, between them, is the real monster? Could the human character have ever been saved? This genre is often associated with tragedy, because the bond forged between the characters in these stories are destined to end in death and destruction. The reader knows it can’t end any other way. How can it?

But an integral element of these gothic tales is the catharsis that comes with this tragedy. The corrupted human often gets what they want in the end, even if it’s at the cost of their own life. Whether they regret their choice to foster this monstrous relationship varies on the story, but it doesn’t change the trajectory of their descent.

Sebastian and Ciel’s relationship is the whole plot of Black Butler. Their closeness bears a grotesque ick factor, but it is deliberate. It is a constant reminder of how unnatrual their bond truly is. Rationalizing or watering down how abnormal they are about each other misses the point entirely. They will never have a normal, healthy relationship, and that’s what moves the plot forward.

That’s why you’re watching it.

[godspeedmajortom]

I’m fascinated by how variations of Sea Power's “Want to Be Free (Remix)” provide a musical theme for death and endings that follows Harry and his foils throughout Disco Elysium.

The first place you hear it is as “The Field Autopsy” while inspecting the Hanged Man’s body. It's barely recognizable as the original song, though. It's sluggish and muddy and bilious. The piano melody has been lowered and sustained to an ominous funereal organ and combined with deep strings. A lilting viola line in the lush layers of the original "Want to Be Free" is isolated here and contrasts with the low organ, rising like the stench off a corpse. If you do the autopsy first thing as Kim suggests, Harry – freshly, grotesquely awakened from his apocalyptic bender – is not in a much better state than a corpse himself.

The music underscores a visceral scene of death and decay, our introduction to the Hanged Man, the first of Harry's foils. Both Harry and Lely are agents of state-sponsored violence as a cop and mercenary, respectively. They bear similar physical scars from the neglect of the systems they grew up in. They both desperately want to escape the horrorshow of their lives, using drugs and dark fantasies to cope with the terrible things they see and do but finding little more than self-destruction in the nihilism. The Bloated Corpse of a Drunk taking the Hanged Man's place in Harry's first night dream makes their connection explicit: you should be dead, Harry. This may as well have been you.

The next place you hear a variant of "Want to Be Free" is in the washerwoman's shack in the fishing village. “Live With Me” is wistful and melancholic. The gentle piano and cooing vocals evoke the wind and waves on the bay, an escape calling outside the salt-rimed shack. But this is a place of death, or at least its potential, as the return of the high viola from "The Field Autopsy" reminds us. This is where Ruby hid when Harry's arrival made her fear for her life, where she contemplated killing herself if things got even worse. This is where Harry can end up if no one vouches for him at the RCM tribunal finale, where his wounds will grow infected without medical care, where there is little left to do but return to drinking and wait to die.

But true to the song title, the shack also offers Harry the possibility of learning to with himself as he emerges from his bender. Here is a mirror free from the damage and trauma of attempting to destroy himself where he can reflect on who he was and who he wants to become. He can choose to keep or let go of his past coping/defense mechanisms like his facial hair and The Expression. He can choose to embrace or reject the self-defeating fantasy of fascism. The shack marks a midpoint of the game, when the hangover has worn off but before the case is closed. So "Live With Me" scores the balance between potential endings: abandonment or acceptance, relapse or recovery, death or life. Harry breathes in the sea air, breathes it back out, and takes another step.

I didn’t realize this until a recent replay, but “Live With Me” also plays when you visit the Working Class Woman to notify her of her husband’s death. Since this is an optional sidequest, I understand why they didn't create original music for it. But they didn't reuse "Rue de Saint-Gislaine", the song for the rest of the Capeside Apartments (including the Smoker on the Balcony's apartment when you talk to the Sunday Friend). The Working Class Husband is another mirror for Harry who has met his end, and "Live With Me" plays to mourn him.

Victor Méjean died from an accident while inebriated, a fate that also could have befallen Harry on a previous drinking binge. The striking thing about Victor's death is how easily he could have been overlooked and forgotten. He died at the end of a pier in a fenced off, abandoned part of town. His wife wasn't concerned about his days-long absence. It's only by virtue of Can Opening and Jamrock Shuffling that Harry will know about or find him. Victor literally and figuratively died slipping through the cracks – of the rotted boardwalk, yes, but also of any sort of social safety net. This is what happens to alcoholics in Revachol. This is what will happen to Harry if he continues drinking and hasn't built his own personal safety net with Kim or Cuno to prevent the RCM from abandoning him. As Harry informs Billie of her husband's death, it's only natural for him to think of his own possible endings, and the soundtrack reflects that.

The final version of the song you hear is “Burn, Baby, Burn” blasting from Sad FM on the boat ride to the Sea Fortress to find the Hanged Man's killer and Harry's last dark reflection: Dros, The Deserter. Dros shares Harry's penchant for clinging to political ideology to give meaning to his life and obsessing over women he can't be with. He lives in bitter isolation, refusing to move beyond the failures of the past, his personal shortcomings and the evils of the world alike. He's emblematic of yet another possible outcome for Harry: not literal death, but despair-induced stagnation that leaves one living like a ghost in the mortal realm.

By the time Harry gets in the boat to the island, his fate at the end of the game is set. The RCM (specifically Jean) has all they need to decide whether to accept or abandon their prodigal lieutenant-yefreitor. Should his former partners leave him, Harry can return to the shack and the circle of drunks who have also given up on life. Or he can return to the island, where he would take Dros' place as the creepy old man haunting the fortress, scaring children, and staring at the mainland with longing and resentment. But even if Harry returns with his unit to Jamrock, simply resuming his old life will not keep him from returning to the depths of despair. The RCM broke him; the RCM will not save him. Neither outcome helps Harry become a person he truly wants to live with.

"Want to be free/It will last forever/Eternally," croons the boombox on the boat. The lyrics echo the self destruction that Harry sought before the game's events: freedom forever from pain, the ultimate release of death. At least that's what the Ancient Reptilian Brain would see in those words. But there's tension in the lyrics as the desire for freedom and exhortations to "burn, baby, burn" repeat. The bridge offers an alternative vision of verdure not consumed by the disco inferno: "And the trees are green and overhanging/Feather-light, free, and everlasting." Perhaps a less moribund future exists for Harry, even if only in the next world, as a new person.

[lillie98]

Someone is absolutely getting fired over this, but I don’t care. The melody, the imagery, the sound effects (if you know, you know). We are about to witness something monumental. Thank you, Dixon and Stein (along with Jacob Smith), for creating magic inside music. Please take a listen and imagine…

[rosesofenvy]

How Far We’ve Come - Music Theory Analysis

[Disclaimer: I went to university for music as a violin primary and have the most confidence with classical strings. I passed my piano proficiency courses, but that is the extent of my piano knowledge. It has been a few years since I have done an in-depth composition analysis of any piece, let alone transcribing a piece by ear and then analyzing it. Music theory has never been my strong suit! Please excuse any mistakes in notation, and any inaccuracies in my transcription or analysis. I did my best and this was purely for fun *shaky thumbs up*]

----------------------

'How Far We’ve Come' by Harlan Guthrie is a duet between Grand Piano and Cello. This piece opens with solo piano, either in a pickup measure or in a single measure of 2/4 before transitioning to 4/4 time in measure 2. Throughout its entirety there are many moments of rubato which have been notated as ritardando and a subsequent a tempo. To most accurately follow the phrasing, listening to the recording is highly recommended.

This piece begins in the key of F#M or the enharmonic spelling of GbM. Although unpleasant to look at with either 6 sharps or 6 flats, depending on which spelling is followed, this key is often used by composers to invoke emotions of a conquest story, evoking relief, triumph, victory, and clarity. As we know from our story in Malevolent so far, this meaning is not lost on us. I have chosen to keep this piece as F#M since that is how I originally began transcribing it. I have also attached the GbM version at the end of the post, however all the analysis follows F#M spelling.

The lone piano begins on the third of our I chord with a hesitant, heavily rubato 8th note pickup into measure 1. The transition from measure to measure in this first phrase gains little confidence, especially with the transition from the pickup into m. 1 as this is the only instance in the piece where the set of 8th notes in the left hand do not lend itself into the next right hand pickup (four 8th notes instead of five). Each lead-in to the downbeat is stretched, pedal held throughout the measure to allow the sound to linger. Each press of the keys is deliberate, yet maintains a mezzo dynamic as the sound fades. m.2 is introduced with a vi chord, creating a hint of unease before resolving in m.3 to a IV(add7). We end our first phrase with a half cadence to a V chord, leading into a V7 as our next phrase begins with a B. 

As we enter our second phrase it is similar to our first with  m.5 beginning with a I chord, m.6 expands our vi chord compared to its first iteration, resulting in a more confident feel as we continue into m.7 with yet another expansion to our IV(add7). M.8 ends this phrase as we reach another half cadence V chord almost V7. 

Beginning m.9 the piece has a few possible paths of analysis, we arrive on a vi chord if we are remaining in F#M, which unlike our other initial starting phrases this throws us into a melancholic mood. There is a possibility of modulation to the relative minor (D#m), however I believe it remains in F#M and utilizes inversions of our chords and will continue with this assumption for the next phrase.

Remaining in F#M, m.10 could be a vi(4/2) inversion, or a I(6/4) inversion. Because Measure 11 moves to a ii chord, I believe it makes more harmonic sense for m.10 to be a vi(4/2) inversion as moving from a I(6/4) - ii is less common than a vi(6/4) to a ii. 

M.11 into m.12 is a fascinating progression. We have a V with the (g) in m.11, then we are descending to a Dnat, A#, E# progression. The Dnat is what has thrown me off the most, as it is a minor chord of sorts but doesn’t exist within our key of F#M, or relative D#m. The E# A# progression I believe is a I(4/2) chord, as it is leading us back into the next phrase. Even spelling enharmonically as a A#, Cx, E# chord it does not naturally occur within our existing key. After many hours of checking theory textbooks, writing out possible modulations, and playthroughs of the chords, I’m choosing to leave this as a V-I(4/2) progression and accepting my loss that I do not know what chord exists in the downbeat of m.12. However, I can say that resolving to something that is not a root tonic further creates this sense of melancholy.

Bringing us to our next phrase at m.13, similar to our previous phrase a vi chord but instead of resolving to an A# it resolves to the root D#. M.14 is identical to m.10 with the exception of the lower octave A#3 before resolving in m.15 to a ii chord until the fourth beat of the measure which leads us into measure 16 - resolving to a IV-V half cadence by the end of the measure. 

Reaching m.18 we are returning to our original phrase. This is where our cello enters for the duet, in which I have some observations about musicality first. As the piano is using a significant amount of pedal to sustain the sound, the cello utilizes a wide vibrato to create a warm sound. Notably, this doesn’t occur as significantly when entering with the lower notes. The cello is confident, encouraging the piano forward and maintaining a solid momentum even with the hesitance the piano has shown. 

M.18 we begin on a I chord, supported by the cello playing a low F# as the root. In the pause between phrases, it's as if you can feel the performers breathing together before they move to m.19, our vi(add7) chord. 

Measure 20 I have quite a bit to talk about. Stacked chord analysis is not my forte (pun intended). From what I could hear, there is a B1, F#2, B2, F#3 in the cello, while the piano continues with a IV(add7) chord. B1 is impossible to play on a cello with traditional tuning, in order to achieve this note they would have to tune their lowest string - their C string - down a half step. The chord B1/F#2/B2/F#3 is also impossible to play on a single instrument. If one cello tuned their C down to a B, then they could feasibly play the bottom chord, possibly the two B’s in octaves. It is possible for a cellist to play an F#/B/F# chord, however it would be uncomfortable and not result in a good tonality with it being a triple stop - but, the second cello could split the chord and play a different combination (F#2,B2 or B2,F#) with success. Other solutions to this could be having a double bass play the pedal B, as it would be within their ability on and remain in the correct octave, or having the piano cover the pedal B. This massive chord then resolves simply to a half cadence V chord in measure 21. 

Entering our last section, m.22, we return to a phrase similar to the beginning, with a confident I chord. With each measure we go to a more traditional chord progression to a V-IV-V in measures 23, 24, and 25 respectively. In an exciting turn of events, we land on a I chord in our final measure. The first PAC in the entire piece, and yet, it doesn’t sound as if the piece is finished. Throughout its entirety, all the phrases have been a form of inauthentic cadence. We end on a Perfect Authentic Cadence, a V-I, it should sound resolved. And yet, it continues on. The notes ring, and if left on repeat (as I have done for this analysis), it makes sense for it to continue. 

In conclusion, I believe this duet is in an general AABBAA format, with A being Major key tonality and B encompassing a minor key tonality. This piece is a conversation, it’s full of emotion and hesitance and is a fantastic representation of everything we’ve seen Arthur and John go through so far in the podcast. I can’t help but think of “I’ve come so far…and I have miles to go before I sleep” with this piece as a reflection of that. This composition is saying “Look, see how far we’ve come, what we’ve done to get here. How we’ve changed and grown.” All this to say, it’s an amazing story and an amazing composition. If you made it this far, I’m glad you came along in this musical journey with me and feel free to add anything I may have missed (or possibly mistaken). 

[humbledragon669]

S2E1 - The Arrival Write Up P8 - the Present Day from the "I Was Wrong" dance

I don’t see any point in beating about the bush, let’s dive straight in – plenty still to cover in this final five minutes (sans credits) of the first episode of season two. The first item in my notes for this section is something we see for just a few frames before Crowley even gets through the door of the bookshop:

This is not a happy angel. In fact he looks almost tormented, doesn’t he? Sitting there, just staring into space. Goodness knows what’s going through his head at this point, but I don’t think he’s thinking about whatever it was he had intended to do when he sat down behind his desk. And whatever it is, it looks like he’s pretty deep in thought given his jump-scare reaction when the door opens. Speaking of which, the door has either been left unlocked or Crowley has miracled it open, because there is no sound of a door rattling or key turning in the lock before he comes striding into the shop. Either of those possibilities has some lovely subtext – the former would suggest Aziraphale has deliberately left it open knowing that Crowley is going to come back (don’t forget, it’s now full dark outside, so it’s likely way past closing time), the latter suggests that Crowley knows he would have locked up and wants his entrance into the shop to be dramatic. I lean towards the former, but that’s largely due to the lack of evidence to support the latter.

I’m going to state the obvious at this point. I absolutely love the scene that follows. I think it’s probably a fandom favourite. The chemistry between this pair is bang on, the comedy timing is perfect, and we get a couple of new Aziracrow history facts. Not to mention we get to see Crowley do a little dance (which was unspeakably surprising in the first watch – I think I actually squealed). And I was in love with this scene before the chemistry, before the dance, before Crowley takes off his glasses, even before Aziraphale puts on his glasses and pretends to be busy. Here’s the moment I fell in love with this scene:

I’m sure you won’t be surprised to read that it was the soundtrack that initially swept me off my feet here. That moaning guitar noise gets me weak at the knees every single time. But it doesn’t really stop there for the genius score writing – check out the beginning of the next phrase with the plucked strings. Classic music-writing device to convey comedy, and I think the two are perfectly placed – the guitar slides in as Crowley slithers his way back into the shop, the strings make their star entrance as we see Aziraphale trying to make the impression that he’s busy, not at all thinking about the argument he’s had with Crowley and wondering when he’s going to come back, thank-you-very-much.

I seriously adore this movement he makes for two reasons. Firstly because he has to readjust his entire posture and position to settle into the place that would be necessary to actually work at his desk. Look how far he has to shift his butt forward to lean over the desk properly! The second reason I love this is because Crowley is already stood right in front of him, looking at him. He would have seen the entire thing. It’s so blatantly obvious that this is an act, not just for us as an audience but for Crowley too.

Personal side note: I am actually sitting here giggling at everything as I rewatch tiny bits of this scene whilst I write this. I just can’t help it. Did I mention I love this scene? Right, back to it…

Let’s make it very clear what this dramatic gesture (complete with comedic string glissando to really highlight the movement) is shall we? We know that Crowley has been in Aziraphale’s presence without his sunglasses on countless occasions. We also know that he only really removes his sunglasses when he’s comfortable in his surroundings and his company (at least in the AD years). I can’t imagine he is comfortable with either of those things at this present moment at time, considering that he knows he’s in trouble. I don’t think I’d be alone in thinking that he does this at this particular moment in time to show Aziraphale that he’s making himself vulnerable for the angel. He has nowhere to hide without those glasses – he’s completely exposed. Which is also why I think he makes a big show of it: it’s actually a grand (somewhat melodramatic) gesture – “look at what I’m doing for you, so you’ll know how earnest I’m being”. This complicated subtext really demonstrates the reason I love this scene so much – there are just so many layers in it.

Whatever I think of Crowley’s “grand gesture”, Aziraphale ain’t buying it. I’m sure that stubborn angel saw what Crowley has done, but it’s just met with a clearing of the throat and a fake “that’s interesting” noise as he reads his little index cards. But that little noise really says something else to me – it’s a sort of “is that all you got?”. The message is pretty clear to everyone – this angel is still pretty pissed.

The set of Crowley’s jaw in this little shot is quite something, isn’t it?! I love the way he’s gone from a cautious-yet-dramatic entrance to try and establish the lay of the land to simply throwing his sunglasses on the table and ringing a bell to announce his arrival. It’s almost like he thinks he really has to emphasise that he’s taken off his glasses, you know, just in case Aziraphale hadn’t noticed. And the “I’m back” line? On the surface it’s stating the obvious, but let’s not forget why the angel had asked him to come to the bookshop in the first place – to take his place as the rescuer. This is him announcing he’s taking up the mantle again, and don’t you just love that he thinks that will be enough to let him get away without having to apologise? Gotta love him for trying I suppose.

There is a shot of Aziraphale in the Bentley that we’ll see in episode 3 that I have seen described as being the best demonstration of the angel in full bitch mode. I disagree – I think this moment takes it. This is pure bitchy rage and sarcasm at its absolute best. And underneath the snark and the stubborn refusal to look at Crowley to acknowledge that he has laid himself bare, there’s a clear message: “it’s not enough”. Crowley’s groan is evidence that for once he hasn’t missed his cue – as much as he might be hoping to get away without making an apology, he knows that’s probably not going to happen. I say probably because he tries to get out of it again:

CROWLEY: You want a big “I think I said the wrong thing” sort of apology, or can we take that as said?

I find the choice of words here interesting. Notice he doesn’t say “I did the wrong thing” or even “I was wrong”. It feels to me like there’s an element of “I’m sorry you feel that way” about, like he’s not really sorry for saying those things, but bitter about their consequences. And let’s not forget that he not only said a lot of things that Aziraphale got upset with, but reneging on the arrangement of him being the rescuer, leaving the angel to deal with the situation alone, likely causes more anger than the words that were said. He also says “I think” before the rest of the phrase (suggesting he really doesn’t think he’s done anything wrong), not to mention that this whole sentence is actually just a last-ditch attempt to get out of the apology. It’s not really any surprise that Aziraphale isn’t satisfied with this lame excuse for an olive branch.

Did I say that little sarcastic line from earlier was Aziraphale’s bitchiest moment? My bad. This. This is it here. Man, if words could kill, these would do it. And note that Crowley still doesn’t actually take responsibility for his actions, choosing instead to try and placate his angel by telling him he was right instead.

I think we’re about to find out what it is that Aziraphale was thinking about whilst he was staring into space at the beginning of the scene.

There it is – he was never going to take anything less, was he? There is so much to unpack here too.

AZIRAPHALE: I want a proper apology- CROWLEY: No.

That’s interesting – Crowley knew exactly what was coming before Aziraphale actually asked for it. Which makes it clear that this “proper apology” is something that has been referred to before. Next up:

AZIRAPHALE: -with the little dance. CROWLEY: I don’t do the dance.

Curiouser and curiouser… So Crowley has never done this dance before. Hold your horses though, because here comes a piece of Aziracrow lore that everyone is dying to know more about. According to Aziraphale, he’s performed this dance at least three times before. I say at least because it actually sounds like he’s going to keep going with that list (if I was a betting person, I’d say the last of those dates might have been after Crowley delivered the Antichrist to the nunnery). He’s also furious about it.

And whatever those dances were for, the reason(s) was significant enough for the dates to be carved into Aziraphale’s memory (granted two of the three tie up with known meetings between the two of them, and I know we’re all pretty sure that 1941 is going to turn out to have been meaningful for other reasons). I have my own theory about the reason behind the dances, which I have written a fanfic about. Feel free to read it here if you like, just know that it’s a WIP at the moment (still!) until I get to the 1941 minisode in this season (which, at this rate, is going to be a little while).

It’s at this point I want to pick up on how we as a fandom refer to what’s about to happen. I think I’ve seen it mostly called the “Apology Dance” - I have in fact referred to it by that name almost every time I’ve talked about it. However, neither Crowley nor Aziraphale actually call it that. Crowley simply refers to it as “the dance”, whilst Aziraphale calls it by three names - “a proper apology”, the “little dance”, or the “I-was-wrong dance”. I don’t think it’s hugely important, and I think that, unfortunately, the adopted name may have come about due to a reference made to by the creator. I think there might be something interesting in the fact that it isn’t actually called an “apology dance”, by either of its benefactors, on a linguistic level, but that’s not for here. There are some details about the linguistics used for the words that go along with the dance that I’d like to take a brief look at in just a moment. For now let’s just soak up in the silent sass we see Aziraphale gives Crowley to signal that he’s ready for the performance:

I mean, could this angel be more ready to revel in Crowley’s humiliation? The head tilt. The eyebrow raise. Such perfect bitch-delivery. Something that the 3-second long pause we see before the performance actually begins would suggest that the demon is well aware of, and that he’s still silently begging not to have to go through with the whole thing. Let’s get back to those “lyrics”.

CROWLEY: You were right, you were right, I was wrong, you were right.

There are a couple of things I find interesting about this set of words, the first being the fact that there isn’t actually an apology anywhere in them. The other requires remembering that this dance has only been previously been performed by Aziraphale for Crowley, which means that these words were devised to appease the demon. What we don’t know at this point is who devised them in the first place. I do hope that we’ll get some closure about this whole thing in season’t 3, but I just don’t know if there will be enough time in 90 minutes to cover the topic.

I am not ignoring the fact that the final pose of the dance looks distinctly like Crowley has extended his wings, I just feel like it’s probably so obvious I might be insulting people by pointing it out. What I do want to give credit to is the depth David has gotten out of that ice skater/one-legged squat pose. Honestly, I do yoga and a squats work out on a regular basis, and that sort of depth (without falling over) is not even close to being within my reach.

Last thing to say about the dance itself, or rather the music that goes along with it. This little tune took me a long time to identify, and it nearly drive me nuts, but I did get there in the end. I think it’s “Girls and Boys Come Out to Play”. Or it could just be a sequence of descending minor thirds, because I can’t see how the lyrics or history of that song links to anything about GO. Answers on a postcard.

Jeez, Aziraphale, could you thirst any harder? (Yes, it’s coming up in the next episode…) It doesn’t look like Crowley really notices, though he does understand that consent has now been given for him to resume his role as rescuer, closing the distance (very quickly) between them. He also returns to using collective pronouns instantly:

CROWLEY: We need to keep him here and hide him.

Aziraphale doesn’t notice until the demon uses the word “together”, and even then it comes as a bit of a surprise. (Side note: there appears to be a fire alarm going off somewhere in the background at this point. Not as obvious as the helicopter I could hear earlier on in the scene I suppose…) And despite the fact that Crowley is trying to do his thing (rescuing), he’s still clearly very, VERY worried about the plan - we’ve gone into full hand-wringing, freak-out-face mode:

It only really occurred to me what this look of intense worry might have been whilst I was doing this write up. I’m going to try and be as succinct as I can here, but I don’t know if I can word it very precisely. So. It’s only at this point that the suggestion of the pair of them doing half a miracle is raised, by Aziraphale. Which means that, despite Crowley using collective pronouns and saying that they were going to do it together, what he actually meant was that Aziraphale could do a miracle. And what Aziraphale meant when he said that he couldn’t do it because Heaven would notice even the smallest miracle was that he a) interpreted Crowley’s plan in that same way in the first place and b) was subtextually saying that actually the demon should do the miracle himself. Crowley’s defence that he doesn’t want Hell’s attention would suggest that he in turn understood what was being asked. Furthermore, Crowley’s reaction to Aziraphale’s suggestion now would also back up that idea that he wasn’t actually suggesting that they do a joint miracle in the first place, because it’s clear that this is a new idea for him. Phew, that was a lot of words to say that their exactlys weren’t exactly the same exactlys, but I felt like I had to get it out of my head. And of course it would be remiss of me to point out how thrilled Aziraphale is at getting Crowley’s approval, but I do feel like that’s been discussed at length by many other people already, so instead I’ll just leave this here:

It seems like such a long time since I talked about anybody other than Crowley or Aziraphale, and it feels even longer since I talked about Gabriel/Jim, and about how he does seem to understand some social cues. Well, here he is, clearly interpreting Crowley’s dislike of him with indignation:

He even manages a little sass of his own when he has to repeat his adopted name to Crowley. He softens quickly enough though, letting himself be led into the chair, which brings me to my next observation. The chair appears to have been placed directly over the (inactive) seal that marks the portal to Heaven.

Obviously there’s a rug over it now, but I’m pretty sure that’s the right spot. Why there? There are any number of places that Crowley could have put that chair. He could even just have left it where it was. Does he even know what he’s done? I don’t think we’ve ever seen him in the bookshop with it uncovered or activated, so perhaps not, but it feels like a pretty big coincidence if that’s the case. I know we all love the idea that the reason the miracle that’s about to be performed is so strong because it was done by both of them, but I do also wonder if the placing of the chair has anything to do with it.

I find it interesting that Crowley is only really worried about attracting Heaven’s attention at this point. He doesn’t mention Hell in this little speech at all, and Aziraphale doesn’t offer his own counter-speech to Crowley. The demon does in fact seem to be doing his absolute best to reign the angel in as much as possible, something which Aziraphale doesn’t dispute or bicker over. There’s something else - and it’s to do with the miracle noise used here:

Oh, wait. That’s not the miracle noise from this scene, is it? It’s the miracle noise from Aziraphale vanishing the soldier in the last episode of season 1. This is actually the miracle noise from the season 2 scene:

Yeah… they’re the same (if you're not convinced, try listening through headphones - I'm not sure the first component comes through in the first clip properly on speakers). There are a number of possibilities for this. Firstly, and this is something I have been toying with more and more as the season has gone one, that the noise isn’t actually related to the caster of the miracle, but the caster’s intentions (good vs. bad). This would work for this scenario, as the intentions in both scenes aren’t driven by morality but by need. The second possibility is that the sound contents aren’t actually relevant to anything other than to signify that a miracle has happened. I don’t buy this - this show is far too heavy on the hidden details for that to be a thing as far as I’m concerned, but even if that is the case, that will also become important in time. Thirdly, is it possible that Crowley didn’t actually didn’t do anything except move his hand down here? That would explain why he was so focussed on telling Aziraphale not to overdo it, whilst simultaneously avoiding making assurances that he would do the same. We never see Hell tracing anything back to Crowley either, which sort of makes sense because Gabriel is one of theirs, but also doesn’t make sense because Beelzebub has made it very clear that she’s also looking for the lost archangel, and that she believes Crowley has knowledge about it. There’s also something else to consider, which you can see here:

Now obviously we don’t really have anything to compare this to - this is the first time we’ve seen some sort of barrier formed by ethereal/occult intervention (their words, not mine). That said, it looks to me like all those little highlights that run through the barrier are gold, which is very definitely part of the Heavenly colour scheme (see the outfit Crowley chooses to manifest for his visit to Heaven). There are no other colours here at all. One last thing to think about:

CROWLEY: That was a Class A surreptitious half-a-miracle.

Huh. Not two half-a-miracles. Just one. Singular. Which would imply that only one of them did what they had agreed to do, and only Crowley would know that, because in this theory, he’s the only one of them that hasn’t carried out his part of the deal. I have no idea why this would be, or the motivations behind it, but I definitely think it’s something to chew on. Speaking of things to chew on, I can’t stop wondering why Aziraphale looks like he’s about to give Crowley a talking-to after he says that he’s not the archangel’s friend.

No idea what that bothers me so much. Partly because of how cheerfully he’s just spoken to Jim I think, that it’s such a turn-around, but I can’t really pin it down.

There’s one tiny thing I want to pick up before I (finally) sign off on this episode. It’s the way that Michael refers to Aziraphale.

MICHAEL: There’s a former angel in this up to his bookshop-owning neck.

Interesting. As far as I was concerned, Aziraphale was very much still an angel. He might not officially work for Heaven anymore but that doesn’t negate the nature of his being. That’s a little like saying that a retired racehorse isn’t a horse any longer. Maybe it’s supposed to reflect how Heaven thinks of him now, but I find it an interesting choice of words nonetheless. More to chew on.

Well I don’t know about you, but that last couple of minutes gave me a lot of things to think about! This episode has felt somewhat like a marathon compared to those in season 1, but I think the likelihood is that the rest of the season (Final 15 excluded) should be an easier affair. If nothing else, the next couple of episodes should break down a little easier given the minisode format that was employed. Congratulations if you made it this far with me - this one has been a long one! As always, questions, comments, discussion: always welcome. See you for the next one! 😊

[myheartbelongstogilbertblythe]

my headcanon for if i were doing the music for season 2 of lockwood and co. (or listening to music alongside the book) is that "Just Like Heaven" by the Cure plays during the parade scene in the Hollow Boy. Like, it starts in the background maybe and then it REALLY starts as Lockwood and Lucy and Lucy jump off the float. Bombs flying, stuff on fire, Lockwood's coat flying out behind him, carnival lights twinkling- and them, together in the middle of it all.

The song has the same sort of vibe that the song from the Fittes ball has-- the sort of cheery synth vibe-- which makes perfect sense because they're both scenes where it's the two of them together. Plus it's another song by the Cure, which just fits the vibe of the show because they've used songs by them already.

And what's more fitting (/romantic) then a song that says "I'll run away with you" as they're running together?

Spinning on that dizzy edge I kissed her face and kissed her head And dreamed of all the different ways I had to make her glow "Why are you so far away", she said Why won't you ever know that I'm in love with you That I'm in love with you?

It shows that contrast between this divide that's grown between them and the rare moments when it is just them and they work well together. To Lucy, those moments are just like heaven, even though they're bittersweet because they never last.

And like the end of the book, the song ends with the singer alone like Lockwood is after Aickmeres and what follows.

[nardo-headcanons]

Oddities in the Naruto Soundtrack

welcome to another post of me yapping about naruto, i have been listening to the nart soundtrack ever since my teenage years and i stumbled upon some things that i found funny, many people have probably noticed this but in case you haven't, enjoy my yapping.

So the first thing I noticed was regarding Itachi's theme. I have more of these so lmk if you would be interested in hearing them.

When I played Senya on my e-piano it reminded me of the Pain theme (Girei). Why, you may ask? Well, it was something in the leitmotif.

So we all know what Itachi's leitmotif sounds like. I recreated it in my composing program(TM) for this post:

In contrast, here is the leitmotif in Pain's theme:

And this is what it sounds like when you layer them on top of each other:

And this, my dear friends drags through the entire theme:

Let me know if you want more of these.

[holdfastperseus]

So “Goodbyes” which is played during the Hug Scene in 1x06 has almost the exact same sound as “Complex and Many” which is played during Lokius goodbye in 2x06?

And the part where Loki hugged him has the exact same melody as when loki gripped mobius’ hand

[ineffableigh]

Ahh fuck there's more music crossover between Crowley and the Metatron

... it's fucking Twinkle Twinkle Little Star, y'all.

S1 episode where Aziraphale calls the Metatron S2 Before the Beginning

[hollyrogerbay]

anyone else notice how Deltarune seems to be getting more advanced each chapter, diegetically?

chapter 2 introduces the Recruits system, and updates save points to show all 3 slots in-game. chapter 1 was not retroactively updated to include the feature - it's an in-universe change. (although i believe chapter 1 npcs are automatically recruited once the system is introduced.)

and is it just me, or does it almost sound like the soundtrack is getting more advanced, too?

chapter 1's soundtrack was almost all soundfonts, chiptune, more retro synths, etc. - and the same goes for chapter 2, mostly. (mostly except for Susie, notably. her and her maybe-synth, maybe-live distorted guitars.)

we don't have much to work with, so this may not be anything worth mentioning, but the three songs for chapter 3-5 we've gotten sound noticeably more "real," i'd say?

"Hometown Day" is definitely the least notable of the three in terms of this, but still sounds relatively "realistic"/live

"My Funky Town" was what gave me this thought in the first place. the more live-sounding guitar in the left ear, something about the drums i can't quite describe accurately, the electric piano being played/recorded live. of course, it's not entirely "live" sounding, notably the saxophone being straight from the Touhou soundfont. but still much more than anything in chapter 1 and most in chapter 2.

"Green Room" is an odd case in general, considering it's pretty much just a remix of "Hip Shop," unlike any other song i can recall. but, yet again, it does sound a lot less "digital," would you agree? more effects on pretty much everything, the spacey drums and electirc pianos, everything.

this may not go anywhere, but i figured it was worth noting. the idea of chapters becoming more and more advanced as each one is added could also definitely be theory-crafting material methinks

[justarandombrit]

Sure, a lot of Starship being a trans allegory comes from the fact it's just The Little Mermaid in space with bugs, but I think it is elevated in transness above TLM purely because that movie doesn't have the line "There's no choice involved in what you are given / One mind, one voice, one body to live in"

[hadesisqueer]

I think Yang probably went on a few unimportant dates and had small crushes when she was younger, before going to Beacon. And I don't think that was her first kiss. However, even if I think she's had crushes before or gone on dates, Blake is clearly different, because this is not just a silly crush. Blake is her partner and best friend, and Yang is simply hopelessly in love with her. It took her a while to figure that out, and Yang was clearly terrified of fucking up because she's never felt that way before, and as we know, she has some self-worth issues; everyone she loves eventually leaves her one way or another. What if Blake doesn't want her that way? What if Yang messes their friendship up by telling her she loves her? Is she even worthy of being loved by Blake?

And Blake? She had been in love before, with someone cruel, manipulative. And then, she meets Yang, who is warm, and funny, and caring, and brave, and selfless, just an extraordinary person, like she said. How could Blake not fall in love with someone like that? And she probably knew Yang felt the same. But for a good while, Blake thought she only brought harm to others. She thought that because her feelings, Yang got hurt. She didn't believe she deserved her team. She hoped Yang hated her. After all, how could someone like her be worthy of someone like Yang?

Luckily, Blake healed, thanks to her family and friends supporting her. And thanks to Yang, of course. She realized she was allowed to love Yang, and that she was allowed to let Yang love her back. She just had to wait until Yang was ready, until she worked herself out, because she wouldn't push her. And now they're finally together.

Anyway, that's it. I do believe Worthy is both Yang and Blake's POV.