#this is a reference to a certain song in a certain play which fit them really well

[kalitheinksimp]

Day 5 of Inktober: theater play

[felassan]

Snippets. 🐺💜

The Game Informer article approximately covered the first 4 hours of the game. [source]

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Twitter user: "Please please please let me make a feminine shaped body with no chest, begging for non-binary to be something I can present not just a pronoun slap" Saira: "this will be entirely possible with the body sliders!" [source]

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''the characters you don’t romance WILL romance each other which can showcase different straight and queer relationships.'' [source] (So it's not only Harding/Taash, but more companion-companion pairings will be possible, and these will be diverse? ^^)

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the game will have Brazilian Portuguese subtitles [source].

the community Council, which had long-term fans of the series on it, also had folks on it who had never played a DA game before [source] (this is good! a good mix)

another detail was that they ranged in age from 20s-40s, unfortunately I can't recall the source for this rn but yea.

"Last names are based on your faction. You can customize your first name, however." [source: the BioWare Discord]

"In-world - Rook is a nickname you're given before the events of the game, and it's what everyone refers to you as. It allows for other characters to refer to you in dialogue without awkwardly having to write around not having a defined title, while still allowing for name customization." Also, in the game, it is explained why we got the nickname Rook in the past. [source: the BioWare Discord]

"There are specific lines and dialogue options for different lineages, as well as different backgrounds, and classes, including at least a handful that are unique to lineage/background combinations. No specifics but we wanted to make sure the game felt reactive to the choices you made in creating your Rook." [source: the BioWare Discord] (lineage as in: human, elf, dwarf, qunari)

A user asked whether elven Rook is Dalish or City. Answer: "It'll depend on your background. As mentioned previously, certain lineages will have variations of that background that go into more detail where appropriate." [source: the BioWare Discord]

"Every faction is, ultimately, made up of people. Some good, some bad, and some trying (and failing) to do their best. So it's fair to say that different people in the world might have a different perspective on how the various factions fit in and what they're trying to do." [source: the BioWare Discord]

"Without getting into spoiler territory - Rook's a hero because they chose to be, not because they were chosen. Your choice of background fills in some of the details - and you get opportunities to define it further - but some things we leave up to you to fill in." [source: the BioWare Discord]

A user asked "In what capacity is the Inquisitor going to return? Can we expect something similar to Hawke’s return in Inquisition?" Answer: "This one you'll just have to wait and see as this is well into serious spoiler territory. But more generally, as I said in the Q&A - the Inquisitor's been part of this story all along, and it would be very strange for them to suddenly fall out of it."

"Much of what would have been abilities or “spells” in the past are now accessed in real-time from the core buttons on the controller! Mana Shield, Mage Beam, Bolts, Magical Blasts, Orb Toss, and Elemental Bomb. Not to mention the elemental types change depending on your weapon. It very much feels like casting spells, but don’t just take my word for it. I’m excited to show more Mage gameplay as we get closer to launch." [source] There will be quick buttons on the keyboard for PC people too. [source]

The Veil Ranger spec can be built around charged ranged attacks, lightning damage, and stagger [source]

Many builds are possible in the game and this is highly variable with gear and companion-set up [source]

At some point this summer, they will be showing more of the skill trees [source]

The music score has variation, flourishes, and great tavern songs [source]

Corinne: "everyone at EA has been incredible in their support for the game and commitment to quality. Hopefully we’ll have a chance to do it [Discord Q&A] again. In the meantime I watch the Discord comments fairly regularly, even if I don’t respond often." [source]

A user asked about cameos of previous characters. "Seeing the surprise appearances for the first time is half the fun! There are some good ones, but I’ll leave the discoveries to you all" [source]

On a post of the table team gathering picture - Corinne: "The moments where you gather the whole team like this are some of my favorites." [source]

When Solas shot Bianca during the prologue during SGF, "Some of the journalists in the live demo audibly gasped!" [source]

In combat there are primers and detonators [source]

Lots of beloved elements from previous DA games inspired the combat of DA:TV [source]

[the-cards-she-wont-show]

TTPD Twin Storylines weaved together & double meanings throughout! ✌️👯‍♀️💕

Attention ALL Swifties (particularly Gaylors) and associates of the Tortured Poets department

PLEASE READ!! (and read with an open mind!!)🤍

Listening to the amazing TTPD on repeat this past week, I am certain that I have made an important discovery that I haven't seen talked about anywhere else yet and would like to get the coversation going, in hopes that Taylor will see that we are all finally listening to her! I'm still piecing everything together, as there is so much to unravel and am far from calling myself an expert on her exact timelines and dates, so am looking forward to hearing thoughts from others that are more knowledgable in her history.

I have been of the belief for a while now that Mastermind and Dear Reader were foretelling of her future, and also that the album title had a double meaning (evidenced by the lack of apostrophe in 'poets'). That the tortured poet would be departing. Note that I am also a believer that she has been closeted by those closest to her and is preparing to ruin her name and perceived reputation, give up the false public version of herself and come into her own true self. Everything as we know it will be destroyed and it is all playing out now, coming together as part of her plan.

Falling in line with all of the two's - the double album, the double meaning in the album name, the two sides of taylor etc, I have found that there are two intertwining stories told throughout her tracklist, AND that all songs also have a double meaning!! None of which are about the perceived muses of Travis, Matty or Joe. The 'evidence' for those relationships are all red herrings (for example 'putting narcotics into all of my songs' - but only in the songs with obvious reference to her beards), to make it seem ambiguous and open to interpretation of who the songs may be about, which is seen often throughout her discography. She uses an incredible amount of metaphors and we must look beyond those to decipher her lyrics - do not take anything at face level with Taylor. Most should realise that she is so much smarter than making obvious songs about whichever male muse she is 'dating' at the time. She has always played into that public view to cover her true self. Many songs have themes of secret and hidden love, which juxtaposes with the public 'relationships' she is seen as having.

She tells us in 'The Manuscript' that "lookin' backwards might be the only way to move forward". Therefore we must listen to TTPD in reverse, from track 31 (13 reversed!) to track 1. I believe The Manuscript also acts as a bookend for both of her stories and should be listened to as a closer after the last song of the story 'Fortnight' ends, to get a complete picture. Once we have listened to the album in reverse order, can we see so plainly that each song tells a different story of a period/situation/muse/love/heartbreak in her life - beginning at her parents meeting in The Manuscript, to current day. I think the songs may also actually have a sister song from the corresponding album/period in time, with similar sound, lyrics or theme that connects them. I believe that each song also has a double meaning and can be interpreted as messages to her fans about things that have happened to her over the years or that are about to happen, and she is trying to communicate her feelings of being trapped, which is honestly so heartbreaking. Many relate to her being caged and forced to hide her true self, in particular by one person closest to her - her father. It is devastating to listen to.

The really brilliant part I discovered next, is that The Anthology tracks also have another hidden storyline being told which intertwines and intersects in the exact right place to fit in with her life story. It includes all of the "THE" songs and is in reverse order from the parallel life story and vinyl variants order of issue (but chronological track list order).

The Tortured Poets Department

The Smallest Man Who Ever Lived

The Alchemy

The Black Dog

The Albatross

The Prophecy

The Bolter

The Manuscript

Rather than presenting my interpretation of the timeline and each story told in every song, I urge everyone to listen to both stories, in these exact orders, with an open mind as to what she could possibly be describing! My mind was completely blown when I figured this out!! Her mind is incredible, there is no other way to describe the album, other than a masterpiece! I feel so much for the pain she has gone through. This album explains her feelings and reasons for hiding her true self over the years for any fans that will inevitably be feeling upset and deceived. We all need to show compassion for everything Taylor has sacrificed and give her what she needs. She truly deserves love, honesty, happiness and peace. ✌️💜

I'm in the process of creating a document trying to piece all of the hidden connections together just to wrap my head around this amazing body of work, so may possibly link this when I have it completed, otherwise I will add it to this post for anyone that might be interested.

I have a couple of extra personal thoughts, theories and hopes for anyone still reading…

The manuscript of her life story may possibly be the manuscript for a future book/film.

I think one meaning of "Fortnight" is a foretelling message to the fans that havent been noticing any of her many hair pin drops - she has been trying to get the message across but they aren't listening. For the fans she loses when she comes out - she touched them with this album for only a fortnight, before she lost them. She loves the fans but staying in the closet is ruining her life. I think something big could be happening a fortnight after release? Friday 3rd May is International Sun Day. ☀️ Karlie Kloss was always 'sunshine' to Taylor. According to Karlie, their first meeting was at the 2011 Met Gala on May 2, however, there is a possibility that they could have met at the afterparty - after midnight, making the anniversary May 3! 2024 Met Gala is a few days later, could they both make an appearance? If nothing big occurs, perhaps some seeds of doubt will be planted on the 3rd? Or.. It could also be a surprise rep TV (with or without Karma and Debut - surprise triple drop?) with wlw vault tracks?! Who really knows.. I honestly have no idea, but whatever happens, I know Taylor has it all meticulously planned out and everything will happen when it is supposed to.

Taylor is chairman of the Tortured Poets department - the leader of the mass coming out we are about to see. As Chely Wright put - 'we need someone at the top' to come out and pave the way for others to do the same, and to stop the forced closeting in the celebrity world. I think Travis and the majority of her former beards are also queer and there will be many more 'tortured poets' that will join 'the department'.

Karma will be album 1 (TS12) in the 3,2,1 countdown, TS13 is 0 - the album in which she gets all of her full colour back, reclaims her glitter gel pens and finally can sing her truth proudly! She has destroyed her own name and reputation, burnt down the lover house and all her former selves.

Last of all, PLEASE BE KIND! If anyone has made it to the end of this and doesnt agree, I'd love for you to have a listen to the songs in the orders above before commenting. If not, lets just agree to disagree! We all have our own personal takes on Taylor's lyricism and I would never dream of being unkind to another just for having a difference of opinion. 🫶

For Taylor - if you somehow happen to see this - please know you are truly a mastermind, you are loved and we've got you!

🌈💛💛💛💛💛💛💛💛💛💛💛💛💛🌈

❤️ gerimegs

[winterdaphne2]

Gay Easter Eggs in BBC Sherlock

(I trust the above requires no explanation.)

Perhaps someone has done this before, but I wanted to put together a compilation of gay easter eggs in the show that I’ve seen other people point out and/or have thoughts on myself. So here it is!

When I say “easter eggs,” I’m thinking of small clues that the show creators included in the set designs, music choices, and other details of the show to reference that Sherlock and John are in love. I’m thinking of things you could miss at first, especially little clues that often require a bit of extra information or require observations across episodes to understand.

Of course, there’s also lots of subtext woven into the show, moments where interpreting the dialogue or visuals in a certain way tells us something about Sherlock, John, and/or the state of their feelings for one another. I’m not sure if I can clearly define “subtext” versus “easter eggs” and explain what distinguishes them, but at least to me, several of the things I’ve listed here seem a bit different from what people often refer to as subtext. Maybe subtext is about uncovering the layers to a piece of dialogue or an action that takes place in plain sight and seeing how that impacts our interpretation of the story, but easter eggs are about spotting smaller, hidden details. I’m not trained in literary or film studies, though, and I’m not trying to be doctrinaire about this at all! This list is just for fun, anyway. (The above image might not actually count as an easter egg, but I couldn’t resist including it here. Indulge me.)

The more I read about this show and the harder I look, the more I think that hardly anything is there on accident. All these easter eggs must have been included on purpose. The creators knew they were telling a love story all along.

I’ve linked to the posts where I initially saw people point these out or to other good sources, and for some of these I’ve added my own commentary/observations/interpretations. I’m sure there are many other easter eggs that I’ve missed! What have you spotted?

John’s PIN in TBB – When John tries to pay for his groceries at the beginning of the episode, we see that his PIN is 743. In ASIB, Irene’s code to unlock her phone is SHER, which would be 7437 on a phone keypad. So, John’s PIN is a clue that he is or will be in love with Sherlock. Source: @loudest-subtext-in-tv, here.

Shaftesbury Avenue, 20m from Piccadilly Circus in TBB – While investigating in Chinatown, Sherlock and John bump into each other at what used to be a cruising spot for gay men in London. Source: @the-signs-of-two, here.

Archer the American in ASIB – In the scene where the American CIA agents try to get Sherlock to open Irene’s safe, the head CIA agent pressures Sherlock by threatening to have one of his men shoot John. The agent says: “Mr. Archer, on the count of three, shoot Dr. Watson.” Ordering someone named “Archer” to shoot John could be a reference to Arthur Conan Doyle’s poem “The Blind Archer,” which is about Cupid and describes Cupid shooting two men who sound an awful lot like Sherlock and John. Source: couldntpossiblycomment, here.

“¿Dónde Estás, Yolanda?” in TEH – The song that plays during the scene with John and Sherlock’s disastrous reunion at the Landmark restaurant is a cover of the song “¿Dónde Estás, Yolanda?” performed by the band Pink Martini. The Spanish lyrics to this song are about searching for a long-lost lover, which is fitting for the scene where John sees Sherlock again for the first time since his fall. Notably, the creators didn’t use the first of the two versions of this song that Pink Martini has released. The band’s first version appears on their 1997 studio album Sympathique and features a man singing about a woman. Instead of using that version, the creators used the version from Pink Martini’s 2011 compilation album A Retrospective, in which China Forbes performs most of the vocals. So, the creators deliberately chose a remade version of the song in which a woman sings about a woman. They chose a gay song about searching for a long-lost lover for Sherlock and John’s reunion. abrae (@tea-and-liminality on tumblr) has a meta with more to say about the use of this song here.

John’s “oscillation on the pavement” in TEH – In TSOT, John observes a potential client standing outside 221B and trying to make up her mind as to whether to come in. Sherlock tells John “I’ve seen those symptoms before. Oscillation on the pavement always means there’s a love affair.” In the previous episode, John came to visit Sherlock at 221B but hesitated on the pavement outside, staring at the door and trying to decide whether to go in. Sherlock’s comment, “I’ve seen those symptoms before,” is a hint that we, the audience, have also seen those symptoms before—with John in the previous episode. Source: @bidoctor, here. (I saw someone else point out that last part about Sherlock’s hint to the audience, but I can’t find that post, sorry!)

Lilac dresses in TSOT – While planning John and Mary’s wedding, Sherlock chooses lilac-colored dresses for the bridesmaids. When John tells Sherlock that he likes the bridesmaids in purple, Sherlock pointedly corrects him by stating that the dresses are lilac. Apparently, “In Victorian times, giving a lilac meant that the giver is trying to remind the receiver of a first love.” So by dressing the bridesmaids in lilac, Sherlock is trying to remind John of his first love: himself, Sherlock. My heart breaks. Source: @asherlockstudy, here.

Putting the horns on Mary and Janine in TSOT and HLV – In TSOT, there’s a shot where Mary gives Sherlock and John a thumbs up before they head out on a case. The way Mary is standing, the horns on Sherlock’s cow skull thing on the wall behind her are placed right over her head. (I always thought this shot looked pretty weird, but now I see that it must have been intentional!) In the HLV scene with Janine at 221B, there’s a moment when Janine steps in front of John in the frame to kiss Sherlock, and her movement positions the horns right over her head. “Putting the horns” on someone means cheating on them. So in both cases, placing the horns right above Mary’s and Janine’s heads indicates to the audience that Sherlock and John are the real relationship in this show. Source: this post from multiple users on the @sherlockmeta blog.

The architecture of Sherlock’s mind palace in HLV – In the mind palace scene after Mary shoots Sherlock, the architecture of Sherlock’s mind palace is based on locations from ASIP. Sherlock literally built his mind palace out of places from his first case with John, illustrating that his relationship with John is what grounds him and that it means everything to him. abrae has some very helpful screencaps of this here (and I would recommend that whole meta, btw!)

The glasshouse scene in TAB – In TAB, the Victorian John tries to ask Sherlock about his sexuality and sexual history while they’re sitting in a glasshouse. In Victorian Britain, “glasshouse” was another term for a military prison. So John, a military veteran, asks Sherlock about his sexuality in a setting that represents where he would have been sent if he had acted upon his homosexual desires at a time when homosexuality was criminalized. Source: @haffieliesel, here.

What do we say about coincidences? The universe is rarely so lazy.

[monsterkin-culture-is]

Top 10 Fave Vampire Songs 🩸

Another species songlist! Honestly I like some of the songs here more than a few on my werewolf list...

As usual, feel free to send requests in the notes or my asks! Name links lead to Spotify.

10. I Don't Care by VIOLENT VIRA. This one isn't an explicitly vampiric song but it has all the vampiric female rage in it and it's one of my all time favourite metal songs. Her screams and vocals are insanely powerful.

9. Lonely Vampire by Weathers. If you feel you just need some feel good pop amongst the gothic angst of being a bloodsucker then this is definitely the song for you! It's one to get up and dance to.

8. Bloodsuckers by Johnny Hollow. One of those songs where I haven't picked up the artist yet but definitely will. The instrumentals on this one are like nothing else. Honestly though this song makes me think more of carnivorous gnomes than vampires but that's my problem...

7. Vampires by Night Club. Night Club has perfected their dark electronic music and their entire discography sounds like what would play at a vampire nightclub. How convenient they have a song named Vampires! They sound like if Draculaura went raving and have the black and pink aesthetic to match.

6. Cold Blood by Valen. Yes there is a certain point in these where I just add songs I like that have a keyword in the title but you have to trust it fits I promise!! In 2023 this song was 43rd on my Spotify top songs. In my defence the lyrics & vibe are still vampiric...

5. Lesbian Vampyres From Outer Space by Scary Bitches. Another Scary Bitches song in 5th position! Just like the last one this is definitely an experience... an experience I love though! Again, this is one you have to hear for yourself. The WW2 references really make the song.

4. Blood by Starbenders. Not explicitly a vampire song but definitely fitting for an angsty human x vampire drama. Starbenders as a band have such a unique and lively sound to them. My other favourite is Cover Me, which would honestly also fit in that theoretical vampire drama.

3. Bloody Creature Poster Girl by In This Moment. Massive slasher final girl (potentially turned villain) energy. I only discovered In This Moment about a month ago through a friend but I have been addicted to their music ever since - they're on all my main playlists! Definitely a song I associate with some of my fictionkins & werewolf kintype too.

2. Lust for a Vampyre by I Monster. This song feels like a lovestruck daydream. It's sweet, sinister and sooo catchy! Also who doesn't love a good human x vampire song.

1. Old Money by Jonathan Young & Caleb Hyles. This isn't just my #1 vampire song but one of my favourite songs of all time. Collectively we can ignore the cringe and appreciate Young & Hyles outstanding vocals and the catchy tune. Also bonus points - it's explicitly about vampires! This is a big band number straight out of a gothic musical.

That's all for now! Let me know if you liked any of these & feel free to make your own additions in the notes!

[m1d-45]

Occasionally I’d play music in the background while playing the game. Now on this fine day, I’ve played ‘The Plagues’ from the prince of Egypt. I have a certain two brothers on my team. One of them being my main, Kaeya. “This seems too familiar,” I said aloud. In SAGAU, what would their reactions be?

plagued

a/n: voidless, words cannot describe the jealousy i feel knowing you are a diluc haver. also, i had kinda a hard time with this one, so let me know if this isn’t what you wanted!

word count: ~2k (the song itself is abt. 300)

-> warnings: major spoilers for kaeya and diluc lore, biblical references (quotes from the song are used, which itself is an interpretation of the bible), the brothers think you’re the ‘lord’ being referenced, heavy angst, this got so sad so quickly—

-> lowercase intended!

< masterlist >

taglist: @samarill || @thenyxsky

i don’t think it would register the first 10 seconds or so. they might be interested from the haunted whispers, or wonder how your device managed to capture a choir. they would pause on ‘this saith the lord’ but would get over it quickly. naturally, they would assume it was referring to you, and everything after carries a bit more weight. what if it was a command of yours?

‘Since you refuse to free my people

All through the land of Egypt’

they’d be curious about where ‘egypt’ was, and whether or not you lived there. why were the people captured? were they prisoners of war? they knew how deadly a fight between gods could be- was your world in the midst of war?

‘I send a pestilence and plague

Into your house, into your bed

Into your streams, into your streets

Into your drink, into your bread’

all of a sudden very worried. they’re gonna assume the worst case scenario and worry that you’re suffering through a plague. diluc’s making plans to offer more food the next time he has dinner at the manor, and kaeya’s concerned you might get sick from the poisoned food. they don’t have the most advanced medicine, and certainly not medicine fit for a god.

‘Upon your cattle, on your sheep

Upon your oxen in your field

Into your dreams, into your sleep

Until you break, until you yield’

this will give them pause, if only until they think it over. cattle? ‘oxen’? how could your world be so advanced as to have a device to peer into theirs and yet rely on these animals? they quickly get ahold of it though, don’t worry: naturally, your device was a holy item, only to be used by you, a god. it made sense that the people you ruled over would rely on cows and sheep to live. but then.. was this song one of warning? warning whoever the other party was of your divine retribution?

it makes more sense to diluc than it does kaeya.

’I send the swarm, I send the horde

Thus saith the Lord’

this only cements in their minds that it’s a song of warning. your people there must call you their lord—it made sense, perhaps they should adopt it?—and you were threatening to send a swarm of… something. they hoped they would never have to know. the haunting beauty of the chant is not something they’re keen on ever experiencing.

‘Once I called you brother

Once I thought the chance to make you laugh

Was all I ever wanted’

this hurts.

badly.

horribly, an ache immediately burning their chests. the tired, saddened voice of the brother will echo inside of kaeya’s head, likely long past whenever the song ends, and diluc’s tripping—literally, if you’re mid-battle his model will freeze in place for a few moments���over the realization that this is a hymn meant for brothers.

they refuse to meet each others eyes, each focused on the task you’ve given them. the other members of your party look away, giving them space even if they’re not the type to usually do so. i ask that you leave the brothers off-field, as they’ll surely be delayed in following your commands and will likely get hurt because of it.

’I send the thunder from the sky

I send the fire raining down’

the eerie enactment of your voice suddenly carries so much more weight. in your world, at some point, two brothers had fought over ‘egypt’, and you had sent down plagues in punishment. surely you knew this, right? was this a warning to them? were you angry with them?

’And even now I wish that god had chose another

Serving as your foe on his behalf

Is the last thing that I wanted’

you can’t see it due to the camera being permanently set behind the character—provided he’s on the field—and diluc certainly can’t, since they’re facing away from each other, but kaeya’s eyes are quickly turning glassy. it hurts, the weight of his promise to khaenri’ah, to his father—to both of his fathers—manifesting as a hollow ache in his chest. it’s getting harder to breathe through the block in his throat, and he wonders if you’re intentionally playing this because of him. it wouldn’t be so surprising; he knows he’s not the best or the most devoted, he knows that you likely look down on his lying and secrecy, he knows, he does, but please don’t remind him of it. it already haunts him when he tries to sleep.

‘I send a hail of burning ice

On every field, on every town’

diluc has a better handle on his expressions—read: he’s better at suppressing them—but anybody who looked could see he was distressed. his jaw is tense, every muscle in his body taught. he didn’t move an inch when he was off-field, and he relied heavily on the binds of your device to move him on-field. he feels like a live wire, buzzing with energy and yet no way to vent it. he can’t cope with these feelings the same way he normally would, he can’t throw himself into paperwork or into battle. he can’t stomp through mondstat’s plains, he can’t call flame to his fingertips and burn out the pain. your presence, the heavy air of divinity around him, barely does anything to soothe the ache. if anything, it only burns brighter.

‘This was my home

All this pain and devastation

How it tortures me inside

All the innocent who suffer

From your stubbornness and pride’

oh.

it’s like the words were handcrafted, bent into a hook and cast on a line that swiftly caught kaeya’s soul. he tries to remind himself that it’s not about him, it’s not about diluc and it’s not about khaenri’ah and it’s not about crepus, it’s about some nation in your world called ‘egypt’-

he can’t. the words resonate with his very essence, the core of his being shaking alongside the swelling music and tragic melodies. he feels like a glass in the hand of an opera singer, quivering in place and unable to move an inch, just waiting for the right frequency to make him shatter.

as he chokes on his own air, he wonders why you played this song specifically. did you know how much it would rip him apart? did you realize how much it hurt, to see himself reflected in its lyrics? did you know that it would send him back to his youth, did you want him to relive that pain?

over the turmoil, he can hear your voice. “this seems too familiar..”

so you were aware.

he supposed he deserved it.

’I send the locusts on a wind

Such as the world has never seen

On every leaf, on every stalk

Until there's nothing left of green’

diluc also caught your little comment, and he might have laughed would it not have come out watery. of course you knew. of course you chose this song specifically. of course you put him on the team with your beloved, of course you made him work with his brother, the one you’ve poured the most of your time and effort into. of course. of course. this was all just a jab at him, wasn’t it? perhaps he was being a touch self-centered in that assessment, but really, it wasn’t that far-fetched. he knew his brother was your favorite. he knew that, despite his own feelings about him, your opinion stood higher than any other. no matter how hard he tried, he would always fall to second place.

it made sense that you wanted to remind him.

’I send my scourge, I send my sword

Thus saith the Lord

You who I called brother

Why must you call down another blow?’

cryo vision or not, kaeya’s skin is burning. his heart is thundering at twice the pace it should, his skin flushed with both blood and embarrassment. he couldn’t help but feel like you were directing this at him specifically, like you had picked this song specifically to get under his skin. he didn’t doubt that diluc was affected as well—time apart didn’t change either of their habits—but didn’t dare to look over. surely, if he saw how disheveled mondstat’s cavalry captain had become after a simple few verses, his words would once more line with fire and flame. he knew his brother resented his position as the one in your favor, but now, with this further context…

it feels like you only picked him to fix him.

‘I send my scourge, I send my sword

Let my people go

Thus saith the Lord

Thus saith the Lord’

dilucs mind is racing, trying to pick out the meaning behind the song. it’s a tale of two brothers, that’s obvious enough, and it’s clear you mean for a parallel to be found between those sung about and him and kaeya. maybe- maybe if he can find it, if he can find the message you want them to learn, he can act on it and maybe he could fix whatever you hated so much about their relationship. he wanted to, desperately, because surely there was a reason you chose to play this with them on your team. there had to be meaning in this, there had to be a reason you insisted on placing him besides his brother even when you made it clear which you favored, there had to be a way to fix whatever he did to anger you. he refused to believe otherwise.

‘You who I called brother

How could you have come to hate me so?

Is this what you wanted?’

no, no, it wasn’t, kaeya never meant for this wedge between them to drive so deep, the chasm that separated the two brothers was never meant to be deeper than his pinky was long. he wanted to reconcile, he wanted to reconnect, this was never what he wanted, he never meant to dissolve his relationship with his brother like this. there were days he spent at the bar, bottle in hand and filled with regret over his decisions, wishing for anything to fix it. he would never want this. but of course, as always, your omnipotent presence dared to accuse what mortal men could never speak.

‘I send the swarm, I send the horde

Then let my heart be hardened

And never mind how high the cost may grow

This will still be so’

diluc’s eyes close, his thoughts a swirling mix of the words he’s hearing and memories of stormy nights. memories of blood on his hands and the glinting light of a fatui insignia burn behind his eyes, the implications of your playing this song knowing that it resonated with the two of them lost in the chaos. his mind echoes words back at him, an apparition only there to eat at him. ‘never mind how high the cost may grow,’ it spits, taunting, and he doesn’t have the energy to retaliate. why would he? hes in no place to protest, not when it’s right.

’I will never let your people go

Thus saith the Lord

Thus saith the Lord

I will not-‘

they ask that you never play this song again.

‘Let your (my) people go’

[newlabournewromantics]

did you guys know tony blair actually wrote supercut by lorde?

this is dedicated to @tonyblairwitchproject thank u for enabling me

the process of putting together a supercut, of rewriting and reimagining an (artificially) positive version of a particular storyline, is eerily similar to what tony blair does in every aspect of his life. this is especially noticeable when it comes to his relationship with gordon though — he rarely goes into detail as to just how ugly their interactions were, and his public statements about why they grew apart are always imbued with soulless language about “professional” and “political” disagreements, rather than any honesty about the deep personal betrayal that was actually going on. plus, whenever tony does express any sense of anguish over the breakdown of the relationship, he’s always incredibly quick to defend his own behaviour (denying granita even happened… what the hell), erasing any responsibility he might bear. he is LITERALLY creating and playing a supercut, one which only has any traction in his own head.

journalists have written about new labour in 1997 being drenched in a certain magic, offering the public something to believe in. “gave” is past tense though, as the tbgb relationship began to deteriorate just months after getting into government, and newlab’s popularity would only dwindle as the years went on.

remember that one clip in the gq alastair campbell interview where tony refused to say he didn’t dream about gordon? yeah i remember it too, isn’t that funny!

two things to say here. one, tony can’t reach for gordon because they are not on speaking terms like whatsoever not even remotely. two, i truly think that tony has repeated his own version of events concerning gordon, both in his head and in public, so many times that he’s come to view them as reality — even if tony did interact with gordon properly, he would only be able to see the version of gordon that he’s created.

1994-2005 (ish), they wanted to reconcile and ease the tensions, but external pressures (teams around them, pressures of the jobs, emotional blockages etc) prevented them from truly fixing anything.

Tthese lyrics give me the impression that the speaker would twist themselves into any shape, fashion themselves into any persona, just to hold the attention of the person these lines are directed at. Very much reminds me of accounts re the 1994 leadership discussions, where it’s said that tony was promising gordon anything and everything to get him to swing behind him, then making similarly wild promises about succession later in government just to keep gordon playing the game. Also, it reminds me of that absolutely fucking awful (positive) rawnsley quote that goes something like “tony would cajole, plead, argue, rail against gordon”, just to get him to talk to him.

in my head, this section relates to his immediate post-pmship period, where he’s taking on international roles left and right to try and recreate the pure magic of newlab (and ultimately failing! lets’s not be dishonest here).

THIS IS THE MOST TONY BLAIR SET OF LINES IN EXISTENCE!!! PAY ATTENTION HERE!!!!!!!

first line relates to the nonsense (very sensible accurate analysis) i was spinning about tony rewriting his and gordon’s history, erasing his own culpability and capacity for TREACHERY! the lines about calling… such an obvious parallel with the infamous three hour phone calls, the “endless circular conversations”, the screaming fits down the telephone line…….

another dreaming reference? more likely than you’d think

this outro, although repeating lines i have already covered is actually very important to cover separately. the way that it just repeats itself, over and over and over and over, until the song finishes is actually incredibly aligned to tony’s mentality when it comes to tbgb. as i said earlier, i truly think that tony has repeated his own narrative regarding the way that he treated gordon — and his responsibility for how their relationship played out — enough times to view it as reality. he is insane and i understand him like nobody else.

[1moremilgram-enjoyer]

Fuuta T1 Cover - Mozaik Role

This song's a bit more odd than some others, but I think it fits Fuuta quite well! Let's see what the connection is, though obviously this is all just my opinion and my view.

CW Online harassment, harmful relationships, sex

Mozaik Role can be read in a few different ways, but the interpretation I'm going with is that it speaks of a romantic relationship between two people which is beginning to break down, as they don't feel satisfied with it. The main reason why is that they feel the connection doesn't go beyond sexual attraction, it's superficial.

Lack of sympathy and superficial sex seem to perfectly describe the unbreakable bond between you and me Saying things like, "Either way, I still love you..." (lol) [...]

In the end, I got tired of you Since I don't know if it's love or lust, what should I call this relationship I'm about to end?

(Translation)

(Note: Purely sexual relationships can still be meaningful and aren't inherently inferior to romantic relationships. But sexual attraction isn't enough to hold up a healthy romantic relationship, the same way romantic attraction isn't enough to hold up a healthy sexual relationship)

Staying together and pretending to be in love only hurts them.

Certain words pierced through you I described the fluid flowing from your wound as "love" [...]

Wouldn't it be better to say you used to love me? We're intertwined, so nobody can touch us Isn't this fate, too? It's just a certain world of love that disappears [...]

Can we say we used to love each other? We were hanging on and struggling Wouldn't it be better if you just killed me, since I hate you?

In fact, in the video, Gumi regains her colors when the other person disappears.

That's the idea. I believe the 'mosaic' in the title refers to a scattered and broken up relationship.

So what's the connection to Fuuta? Well, I believe he's essentially talking to his old 'friends' here. The idea is that their connection is completely superficial, though the 'sex' would refer to as he puts it:

(T1) Q1: What is a friend?

F: Folks you can get hyped over the same thing with.

Basically, their relationship doesn't go further than 'those guys I talk to online to cancel people together and hang out to have fun'. It's all superficial, held together by the shared enjoyment of playing videogames and going on online witch hunts-

(Oh my God that's why Killcheroy is represented by a witch it's because it's a witch hunt-)

Not only that, but they're all bad influences on each other, which is obvious given what their 'friendship' led to. That's why it'd be best if they leave each other behind, if they said they used to 'love' each other. Not to mention that Fuuta's friends do abandon him after Killcheroy dies.

So yeah, a completely superficial relationship. Again, other readings exist, but in my opinion this is the one that best fits Fuuta.

Well that was pretty short. Hope it made sense! Take care!

[bracketsoffear]

Presenting my complete list of Fake Statement Ideas (with some revisions since last time), part 1:

“Play Nice”: statement of Sid Phillips, regarding his childhood toys. (Toy Story, Stranger) Title references Woody's threat to Sid, and Woody is of course empowered by the Stranger in the form of creepy early CGI animation.

“Revelation”: statement of Warlock Dowling, regarding his atypical upbringing. (Good Omens, Spiral?) Title references the Book of Revelation; I'm not sure what Fear this one is since Warlock realizing even part of what was going on with Aziraphale and Crowley would be creepy as hell, but his caretakers aren't actually malicious. Feel free to comment in the notes.

“Seventeen”: statement of Veronica Sawyer, regarding the 1989 suicide epidemic of Westerberg High. (Heathers: The Musical, Desolation). Title comes from the song "Seventeen," and JD is sooo Desolation in his edgelordiness-turned-homicidal rampage.

“Special Effects”: statement of Alissa Denton, regarding the last performance of Misty Moore. (Dimension 20: The Unsleeping City, Stranger).

“Mantle of Whispers”: Statement of Agent Cuspin Clark, regarding a conspiracy of disappearances and doppelgängers. (Dimension 20: Fantasy High, Stranger). Title comes from one of Fig's former subclass abilities, which let her capture the shadows of the recently deceased and adopt their persona to impersonate them; Cuspin Clark is a character from FH: Junior Year investigating the disappearance of "Hilda Hilda" (one of Fig's aliases).

“Romance Partner”: Statement of Riz Gukgak, regarding the abnormality in his reflection. (Dimension 20: Fantasy High, Lonely) Title comes from Baron's self-proclaimed status as Riz's romance partner, and Baron is my beloved awful Lonely Avatar supreme.

“Skulk”: Statement of Steven, no surname given, regarding the creature he encountered during a caving expedition. (Minecraft, Dark) Skulk is the stuff that summons the Warden, who brings a magical aura of blindess with it as it hunts you through the Deep Dark to murder the shit out of you. Why the fuck did Warden lose so hard in the Dark bracket.

“The White Whale”: Statement of anonymous source, regarding how he murdered his stepfather. (The Mariner’s Revenge Song, Hunt/Buried)

“Danse Macabre”: Statement of Gog-Agog, regarding why you should be Gog-Agog too! (Kill Six Billion Demons, Corruption (and, for spoiler-y reasons, Vast)) Title comes from one of the recent strips, which reveals certain things about Gog-Agog's backstory, and also just generally fits her fucked up performance thing.

“Sugar and Spice”: Statement of Ruby, no surname given, regarding the stuffed toy she received from her grandmother. (Desolation, Mr. Hopp’s Playhouse) Title is a reference to Random Encounters' musical about the game.

“Treasure Hunt”: Statement of Stanley Yelnats, regarding his imprisonment in a correctionary boot camp. (Holes, Buried)

“Sickly Sweet”: Statement of Hans Ranstott regarding his sister’s protection of him. (Transformed: The Perils of the Frog Prince, Corruption) Fellas, is it Corruption to (attempt to) murder several people with poison in your misguided efforts to protect your brother, who then was about to finish the job by offing two children to prevent you from facing justice for your crimes?

“Shadow Puppet”: Statement of Lena Sabrewing, regarding her troubled relationship with her aunt. (Ducktales 2017, Web)

“Icarus”: Statement of Donald Duck, regarding his sister’s disappearance in space. (Ducktales 2017, Vast)

“Worldbreaker”: Statement of Gyro Gearloose, regarding a recurring problem with his creations. (Ducktales 2017, Extinction)

“Solemn Vow”: Statement of Twilight Sparkle, regarding her brother’s marriage. (MLP:FIM, Corruption)

“Urban Legend”: Statement of Emma-May Dixon, regarding the local tourist trap in Gravity Falls. (Gravity Falls, Stranger)

“See No Evil”: Statement of Tate McGucket, regarding his fear of memory loss. (Gravity Falls, Spiral)

“War Games”: Statement of Jack Merridew, regarding his time stranded on an island as a child. (Lord of the Flies, Slaughter)

“Dollhouse”: Statement of Coraline Jones, regarding what was behind a door in her new apartment. (Coraline, Stranger/Web)

“God Save the Queen”: Statement of Julie Jenkins, regarding the murders at her high school prom. (The Ballad of Sara Berry, Slaughter)

“Silent Assassin”: Statement of Pam Kingsley, regarding a string of inexplicable assassinations she reported on. (Hitman, Hunt) Title is the highest rating you can get at the end of the mission, after completing it with flawless stealth and little to no extraneous aggression--just go in, murder the target, and slip away undetected.

“God, That’s Good”: Statement of Tobias Ragg, regarding his employment in a meat pie shop. (Sweeney Todd: The Demon Barber of Fleet Street, Flesh) Title comes from the Act 2 opener.

“Future Imperfect”: Statement of Arven Toro, regarding the results of his father’s research. (Pokemon Violet, Extinction)

“This Be The Verse”: Statement of Beatrice Baudelaire II, regarding her a series of unfortunate events her guardians experienced. (ASOUE, Desolation)

“Mayhem”: Statement of Marla Singer, regarding her boyfriend’s involvement in terrorism. (Fight Club, Desolation)

"Bunker": Statement of Henri Clément, regarding the creature he encountered on the Western Front. (Amnesia: The Bunker, Slaughter)

.

[the-whispers-of-death]

Why Those Nicknames?

If you ever looked at the basic info posts for my COD OCs and saw their nicknames and wondered, "why?", this is for you. Just something fun. This is solely for the COD OCs that are in "The Lions" squad (Kali, Sarabi, Simba, & Nala) because there's a post about why Stone's nicknames are his.

Kali:

Mufasa- This is technically a callsign, but I put it in the nicknames section because only The Lions and Stone use it to refer to Kali. Everyone else, including me, uses Kali when referring to him.

The Phantom of the Opera- This was sorta touched upon but here's a more in-depth explanation. Kali's light on his feet, like a phantom, but he also sings (hence the opera part). During his earlier years in the Marine Corps, Kali used to sneak up on people and sing songs from the musical The Phantom of the Opera, just because he could and it sparked the nickname.

Harbinger of Death- Harbinger means a person who announces or signals the approach of something, which is fitting for Kali considering as a sniper, he kills people. But also no enemy has ever seen him and survived, hence the nickname.

Sarabi:

True Leader of The Lions- Partly because he's the one that does the most of Kali's paperwork (because Kali, despite being a captain, hates paperwork) but also because it's a play on the fact that prides of lions are usually a matriarchy. So since Sarabi's callsign is a feminine name whereas Kali's (at least in the squad) is a masculine name, people joke Sarabi should be the actual captain of the squad.

Shadow-Man- Sarabi manages to blend in the shadows somehow, he hides there and no one really knows he's there because he usually doesn't talk much. Also, some people have said he manipulates shadows when he moves (which is just to further the legend of him).

Simba:

Geek-Man- It's not because he's a math prodigy, I swear. It's because he has these "geek-outs" as he calls them, where he just info-dumps about a certain subject. It's mostly about math or animals, don't ask him about fun facts about zebras. He will talk your ear off about zebras.

Greene Day- He loves the band Green Day and if you hear him humming, it's most likely a Green Day song. Combine that with the fact that his last name is Greene, you get the nickname "Greene Day".

Chaos Himbo- You may be thinking, if he's smart, how can he be a himbo? It's the energy. He doesn't seem smart, especially not with the way he has often accidentally set a fire in the microwave by trying to microwave different things. He's also chaotic in the way he has run several times on all fours, like he's a four-legged animal. He surprisingly runs pretty well on all fours.

Nala:

Daddy Williams- He got this nickname before he became an actual father and it's because he made the mistake of saying he once had a partner (not his wife) call him "Daddy" in bed. And no one let him live that down. It's gotten to the point where his daughters call him "Papa" and yes, that was his conscientious choice to teach them to call him that.

Man with a Bunker- It's self-explanatory; he has a bunker. Everyone found out when he just said "I do have a bunker" when someone joked he'd be the type to have a bunker. It's speculated that he might have more than one bunker, but he refuses to give a distinct answer on whether or not he has more than one.

Lord of the Weapons- Just a funny nickname because of the fact that he has a bunker and is a weapons expert. Other soldiers, non-weapons experts, revel at his knowledge of weapons and the fact that he can assemble and reassemble a sniper rifle blind-folded. Yes, people have actually seen him do it. In-universe, there are videos of him doing so.

Reblogs are welcomed & appreciated! Asks are open, feel free to pop in and talk or request something! (SFW requests only, please and thank you)

[foultastemusic]

Power of noises and vaginas - a thought

For two decades now, post-hardcore has been considered a sub-genre descended from hardcore, which in turn was considered a sub-genre descended from punk, and which in turn... well, it's not important to put musical genres and sub-genres into boxes purposely organized to fit people and their ways of dressing and other useless aesthetics promoted by media/digital cultures. But for two decades now, post-hardcore has been asserting itself as a well-defined genre, with well-defined textural characteristics, as well as certain types of chords and experimentalist riffs in the nostalgic-depressive world, heartfelt screams with a poetically sad story to tell in the most imperfect and dirty way possible, where D.I.Y. is valued in the various arts that embrace recorded and live music.

In 2003, music researcher Jessica Hopper wrote the review "Emo: Where the Girls Aren't" for a column in Punk Planet 56. It was already in the cradle of the emo thing at the beginning of the century that we noticed an absence of girls at concerts - at first there was no mention of them playing or making music, but even their absence from the public as listeners / active participants in this subculture and community. Girls began to enter this world in a very controversial and unrevolutionary way, but always with all the freedom.

Obviously, through the promotion that took place on the internet on the various platforms, the genre reached more stages, more people, more musical cultures and gained a large structure. Girls (like everyone else) start going to these places, often through an interest they already had in other genres such as indie, punk, metal, etc., and as soon as they buy a ticket to go to a concert, we have a group of 50 young men talking about love, depression, nature and other "weaknesses" seen through the eyes of toxic contemporary masculinity. And girls are welcome here. They will always be welcome until they start making music out of fear, because in punk they've already had the chance to revolutionize themselves and post-hardcore/screamo gives voice and space to boys who also suffer from prejudice.

Hopper talks about this band that dedicates a song (Strike Anywhere - Refusal, 2001) to the girls about their problems and lives, and claims that we need more of that: protection and respect. But this hasn't happened and girls still don't feel encouraged and empowered: they are an inspiration for the experiences and texts of this subculture, they are desired as artists and recreationists, and even though they aren't sexualized or repudiated in all cases, they feel obliged to get on the boys' knees to make it too, perhaps even better. A fight against meritocracy, male dependency in order to learn or be promoted and supported, where we are ALL programmed to think that we have a sex organ between our legs and that public reception is influenced by this: either in a positive or a negative way.

«And so I watch these girls at emo shows more than I ever do the band. I watch them sing along, see what parts they freak out over. I wonder if this does it for them, if seeing these bands, these dudes on stage resonates and inspires them to want to pick up a guitar or drum sticks. Or if they just see this as something dudes do, because there are no girls, there is no them up there. I wonder if they are being thwarted by the FACT that there is no presentation of girls as participants, but rather, only as consumers – or if we reference the songs directly – the consumed. I wonder if this is where music will begin and end for them. If they can be radicalized in spite of this. If being denied keys to the clubhouse or airtime will spur them into action».

- Jessica Hopper (2003)

Girls are not yet part of this music, or at least not in a direct or comfortable way. Perhaps through music promotion, the organization of concerts, photographs and poster designs, perhaps through their words adopted by these boys or the desires and utopias of an all-embracing subcultural milieu that, although they may all agree and share the same idea, refuses to accept that they are not welcome altogether, completely. Perhaps they are, but ever since men began to dominate this music or all music, they have needed reasons to pick up a guitar without the issue of sexual gender being brought into the listening experience or even to politics. Would it be better to ignore the gender issue at all costs (until this argument is normalized) or to promote the importance of giving girls a voice to help empower them, as has been happening in punk and hardcore (until this issue becomes part of the contemporary elements of screamo)? Maybe no one has the answers, but the reality is that girls continue to enjoy and consume this music without drumsticks in their hands.

[idontwanttospoiltheparty]

On the poll, I agree with you and I'm glad someone said it. Maybe its the inner skeptic in me but if you can't get to a take on J+P without unconfirmed song lyric interpretation then the take is weak. It's annoying as well because even without combing through ambiguous lyrics there's still good evidence of an overwhelming (potentially romantic) love on John's part as well as an overwhelming love on Paul's part (just because the evidence leans to it being platonic doesn't make it lesser gah). Their dynamic was crazy insane enough without having to add fantasy onto it.

oh man. the amount I agree with you right now. Especially this part: "if you can't get to a take on J+P without unconfirmed song lyric interpretation then the take is weak"

Which doesn't mean it's false, per se.

I actually think you can build an incredibly shaky case from Paul's side, based on the few times he talked about his relationship to John like a marriage. To be clear: I think there's essentially platonic reasons to invoke that image because of the way society doesn't exactly make space or have terms for very high-commitment platonic bonds like John and Paul potentially had. But taking the comments more or less at face value is valid as well.

Evidence for sexuality overall plays a role here. You can make an incredibly strong case that John was meaningfully attracted to men while completely taking Paul out of the equation. This fact makes taking his romantically-tinged but overall ambiguous statements about Paul in an explicitly romantic way feel less presumptuous. On the other hand, there is extremely little evidence for Paul not being straight outside certain things he said about John – whether that's because he is in fact straight or because he's kept it to himself all these years, I don't know, but not taking his word for it when nothing major indicates he's lying/in denial just feels kind of contrarian at best and rude at worst.* Thus, I have little reason, in Paul's case, to assume his romantically-tinged but overall ambiguous statements were meant that way.

Regarding the songs: in the end, artistic license exists and Paul and John were, let's face it, pretty vague writers for the most part, in the sense they aren't dropping tons of clues in the lyrics indicating who the muse might be.

Even a song like Call Me Back Again, which I do think is about John, seems that way 1) because of the mellotron flutes (though if I'm honest [with myself as well], associating the instrument Paul played on a John song with John specifically is a little dubious) and 2) because he references the person being from his childhood and no longer talking to him and 3) the way the song fits the timeline to the best of our knowledge.

Again, I want to reiterate: I do tend to believe John was the inspiration for Call Me Back Again. But there's no detail in the lyrics describing what John looks like or his occupation or something specific about him aside from the childhood connection.

And then, even if I accept this song is about John, artistic license makes it hard to conclude more than "Paul missed John at this point" which we basically already know anyways.

*Paul isn't the best at expressing himself, but a lot of quotes people take as evidence are him talking more about gendered expectations he felt. For some reason the fandom is incredibly dismissive of these or appropriates them as purely about sexuality.

[nocturnal-phantoms-fandoms]

Regulus Arcturus Black. in less than an hour:

for @pieceofshitregulus fest

a word, under the cut

Ive no idea if anyone will vibe to it, but alas, I made it, might as well share it. I wanted to focus on what we know about R.A.B: how he joined the Death Eaters so young, how he found out about the Horcruxes, and his journey to the cave.

Icarus - Bastille Natural - Imagine Dragons LOOKATME - Jann you should see me in a crown - Billie Eilish Everybody Wants To Rule The World - Lorde Emperor’s New Clothes - Jann Meet Me In The Woods - Lord Huron Battle Cry - Imagine Dragons We Have It All - Pim Stones What The Water Gave Me - Florence + The Machine The Drink Of Despair - Nicholas Hooper [HP6 Soundtrack] Deep End - Ruelle Goner - Twenty One Pilots In the End - Linking Park

below my interpretation of the songs

Icarus is great for an opening song. It encapsulates the whole of Regulus; his ambition - that led him to join the Death Eaters - was what brought his untimely death and he can blame no one but himself. I especially like the line "you'll drink yourself to death" because his death was, in part, due to the potion he drank. (Also here the part "you leave because you're certain of who you want to be" can be seen as Regulus making the final decision to betray Voldemort and steal his Horcrux, which was the choice that led directly to his death).

Natural is Regulus's internal dialogue, whenever he tries to rationalise the values he was raised with ("In this house of mine nothing ever comes without a consequence or cost"), the sacrifices he needs to make to fulfill the role he's supposed to play in the pureblood society ("That's the price you pay" "You gotta be so cold to make it in this world"), and the choice to join the DE ("rather be the hunter than the prey"). He may battle with himself, but at the end of the day he is a natural - a rightful heir - and he takes great pride in that.

LOOKATME is here because of the lines "I lived for validation I met your expectations Pushed down on my temptation That's not what I want". I see Regulus as a dutiful son, a perfect heir, but one that was craving even more power and raw violence than his parents. He was raised to represent the oldest, most noble pureblood family, in a modest and respectable way - instead his greed pushed him to join the extremist group trying to seize the power by force.

you should see me in a crown is self explanatory. (Though I will admit it fits Bellatrix rather than Regulus a smidge better.)

Everybody Wants To Rule The World is the exact moment Regulus learns about Voldemort’s Horcrux - after joining the Death Eaters (Verse 1) and before planning to go to the cave (Verse 2) to destroy it (Bridge and last Chorus). Here the lines “Turn your back on Mother Nature” and “Nothing ever lasts forever” have a double meaning: they refer both to Regulus (when he joins the Death Eaters; and when he decides to sacrifice his life) and to Voldemort from Regulus’s perspective (what Regulus believes making a Horcrux entails; and what he essentially says in his letter).

Emperor's New Clothes can be a Regulus song if you are delusional trying hard enough. The lines that are repeated for the second time is how Regulus is recalling them after he learns about Horcruxes. While at first he was happy to serve and obey and make sacrifices for his Lord, now he is bitter, thinking about the promises (of power) that turned out to be lies (because apparently Voldemort is trying to become immortal). Regulus betrays Voldemort because he feels betrayed by him in the first place, and the feeling of hurt is so strong, the need to do something about it - throw it all away - so overwhelming, he starts wondering if becoming a Death Eater was ever worth it; to the point of questioning his own hunger for power, even trying to convince himself he never craved it in the first place.

Meet Me In The Woods has some “Regulus learning the truth about Horcruxes and slowly realising what he has to do” vibes. And the lyrics of Battle Cry just scream “Regulus making the final decision to steal the Horcrux”.

We Have It All is another perfectly Regulus song. It’s from the perspective of someone who makes a pact with the devil knowing it was the wrong choice, doesn’t entirely regret it (or is only now starting to) and makes excuses for himself - but in the end calls out to someone who could save him.

What The Water Gave Me: water themed suicide painted as a sacrifice for one’s loved ones. Need I say more? That, The Drink Of Despair from the Harry Potter soundtrack, and Deep End refer to the exact moment of Regulus’s sacrifice via the potion in the cave.

There is a lot of irony in Regulus’s sacrifice that accomplished next to nothing and I believe it makes him that much more tragic as a character. He was promptly forgotten by everyone but a house elf, did not help his cause in any way and Voldemort never even found out that it was him who discovered his secret. Hence the last two songs: Goner, which is another one of Regulus’s letters (begging to be known and remembered after his death) and In the End, because it didn’t even matter.

[dg-outlaw]

X-Men '97 and the Gambit Ford F-150 Trailer Hitch Clutching

So I haven't watched all the episodes yet, but I wanted to address the stuff I've seen/heard about certain dudes in the "fandom" getting all upset about Gambit's crop top and how it made him seem gay or bi coded, even though in the entire episode he's classic Remy LeBeau from the original 90s series--not too interesting in helping out or doing anything other than what he wants to do, shamelessly flirting with Rogue, and busting everyone else's balls/possibly flirting with them too, but will still jump into the fight when it's time.

Oh, and Gambit was my favorite X-Men character growing up and I'm a cishet male, if that matters. Spoiler alert: It shouldn't.

"Holy Sports Illustrated Swimsuit edition, Batman! It's his belly button."

If that's you, you clearly were too young in the 90s to remember the fashion of the day. The top photo and the ending basketball scene (a references to the comics as well), was soooo 80s/90s. Bishop's got a lime green tank top on and Cyclops' tank top is tucked into his shorts. The animators understood the assignment.

If anything, Remy (above) is rock-n-roll coded more than anything else. Just Google most 80s era rock bands that had songs about partying, sex, hot babes, etc. and you'll see big hair, eyeliner, bright colors, leather pants, jewelry, fishnets, fingerless gloves, and yes... crop tops. Maybe the 80s and 90s were "gay", IDK, but I remember most of my childhood clothes in the 80s and early 90s were some variation of a neon color as was every other kid's regardless of gender.

As mentioned above, he soooo badly wants in Rogue's pants, which possibly eliminates any gay coding, which only leave bi coding if a 90s crop top = being bisexual.

Who. Freakin'. Cares. Say this out loud with me. You can like, love, and enjoy a character without identifying with that character in any way, shape, or form (and that's probably a good thing for some characters). This can mean their sexuality, gender, ethnicity, religion, morality, or anything else about them. Yes, we can bring in the Punisher debate and how military and law enforcement appropriated the Punisher logo as their badge of honor and intimidation, and how they cherry-picked traits from that character to signal their toxic masculinity when Frank Castle is not meant to be a patron saint of law enforcement or the military. But it is also possible to just enjoy a character without making that character your identity. You can enjoy their characterization, storylines, or even something as simple as their costume, superpowers, or where they're from because you were born or grew up there too.

As mentioned above, Gambit was my favorite character growing up when I first got into X-Men, mostly thanks to this series, and he and I are very different. To me, Gambit was the cool, confident guy that I wasn't. He also wasn't Cyclops or Wolverine.

As a kid, most kids wanted to be Wolverine when playing X-Men on the playground because he had the claws and the healing factor. To us, he was OP which fit in with the whole childish argument of big, bigger, biggest, and finally infinity whatever... until someone busted out with the infinity times infinity argument. Also, there was no real internet and comics weren't readily accessible, so most of the knowledge at that time was from the show and limited comics one might've had. Plus, I think the whole Magneto pulls the adamantium from Wolverine's body storyline hadn't happened yet so yeah, that would've been a good game changer on the playground.

Anyway, outside of Batman, I was never a fan of the "popular" thing growing up and often preferred more underdog characters, teams, and things. Also, due to self-esteem issues I always felt less than, so while I liked Wolverine it was hard for him to be my favorite since he was everyone else's and I felt like I wasn't cool enough to like him. Cyclops on the other hand was the clean cut boy scout, which also didn't appeal to me because that was also something I didn't relate to. Outside of Beast and Morph, who got sidelined earlier in the series, that then left Gambit. (Note: Bishop wasn't a part of the main group and came later on.) But Gambit also seemed cool to me. He had a cool looking outfit, was agile and knew how to fight (I was into martial arts at the time as well), and could throw explosive cards. He definitely fit the "Rule of cool" in my child brain.

Lastly, and this goes back to point #4 above, it shouldn't matter what a character is like or how they identify. They're fictional and enjoying them as a medium should be fun. They are not you and you are not them, even if you have things in common. That said, I do think it's great when there's representation as well. I don't recall if this was in the OG series, though I seriously doubt it was, and I don't know about main Marvel canon, but I also think it's cool that Morph now has they/them pronouns as seen in the profile credits and Marvel wiki. I'm sure some people have missed this and I'm sure that'll be the next hot-button issue, but whether Gambit is gay, bi, straight, or whatever, he's still one of my favorites and it's why I grabbed this guy when it first came out.

I have more things to say about this first episode and my experience with the X-Men growing up, but I'll save that for other posts as this has gotten long enough already.

[house-of-naga]

The Sound of the Force: A Study on Han Jisung's Perception of the Force as it Relates to the rest of Stray Kids.

Jokes aside, below is a list of what I think the Force might sound like to Hannie in my fic, and some notes on the way I've written it. (note: Art transcends the artists, and the curtains aren't always blue. This music stuff is NOT my forte, so I always welcome other interpretations)(This list will be updated)

Disclaimer: as much as I've attempted to learn, my knowledge of music/music theory/techniques is very limited. I am not musically inclined. Still, I'm going to do my best to find real life examples of some of the stuff I reference.

Before we dive into each member, I wanted to outline some of my reasoning/ideas/thoughts that I have when I choose what instrument someone will sound like:

Does this make sense with their personality/character?

What is the overall purpose of this instrument/sound in a musical setting? Is it meant as a bassline or melody? Is it versatile? Is it meant to evoke a certain emotion?

How does it play/harmonize with the other characters? Are there any duos that stick out?

What does it mean to Han? Is there an IRL element to the choices?

With that out of the way, let's get into it. (I'll be returning to add duos later)

Chan (Piano):

Chan (along with Changbin) was the first one I decided on, and since the piano is one of the most versatile instruments, I thought it would be fitting for him. It's also one of the key instruments for composition with a lot of range and expression of emotion, which I felt fit the leader of SKZ well.

Examples (paired with emotions/chapters when applicable):

Happy/Content: Coffee Jazz (the best music for studying IMHO), or Nocturne op.9 No.2 (Chopin)

Sad/Nostalgic: Moonlight Sonata (Beethoven)

Anxious/Angry: Rush E (the meme one)

Minho (Vocals):

Setting aside his beautiful IRL vocals, his Force, I think, is one of the more difficult ones to describe. However, in 1.5 I mentioned that, to Han, vocal accompaniment is special and carries a certain weight. You'll find I have two people in the group (Minho and Jeongin) who both have vocals as their Force. (Will also note that, obviously, any lyrics to these songs are not in his Force. It's more about the sound, notes, and the vibes)

Examples (paired with emotions/chapters when applicable):

Happy/Content: Ode to Joy (specifically the version from Evangelion because I'm a weeb)

Sad/Nostalgic: Haven't found a good one yet 🤷‍♀️

Anxious/Angry (as in the Ord Pardron Interlude or in the Inquisitor fight): Dies Irae Requiem (Verdi) or Duel of the Fates (Williams)

Changbin (Cello):

And here we get to a bit of a problem (not really). Changbin's instrument was formulated more with his personality and role in the group in mind rather than a specific song. There are a few that I've found that may fit, but overall this is more a case of 'he's the glue/he's the one people lean on/he's the one that serves as the team's emotional support'. So, while I'm sure there are cello pieces out there, the instrument is typically focused on the harmony role to let others shine.

Examples (paired with emotions/chapters when applicable):

Contemplative/Content: Cello Suite No.1 in G (Bach)

Sad/Nostalgic: 🤷‍♀️

Anxious/Angry: I haven't found a good solo example yet in a song, but this is typically pizzicato

Hyunjin (Woodwinds):

A little bit of yet another problem - Han has not heard the full range of Hyunjin's Force due to them HATING each other at this point. That will change with time, but for now, Han has only heard the flute/piccolo in his Force. There wasn't much rhyme or reason to this choice other than I needed something high and nasally and generally annoying to start that downwards spiral of the typical 'Rap better, dance better' duo, and woodwinds seemed like a good choice.

Examples (paired with emotions/chapters when applicable):

Annoyed (because this is all he's heard thus far): Baby Elephant Walk (Mancini) (specifically the solo parts at 2:30) and Viva Italia (Rossini and Verdi)

Felix (Percussive Instruments):

Ah, the duality of man. He can go high, he can go low, he can go in the middle, he can go dee- ahem. Like Changbin, Felix just generally seems like an emotional support person, like the glue to their team, and as such, I gave him percussion. There are so, so, SO many different instruments in the percussive category, harmony, melody, and rhythmic alike, and I thought it fit pretty well.

Examples (paired with emotions/chapters when applicable):

Happy/Content: Usually represented as a triangle, chimes, or something else in the higher register. Also, anything jazzy probably.

Nervous: Usually represented by a snare drum, with a snapping noise.

Anxious/Angry: Whiplash Solo or the Percussive section of the 1812 Overture (Tchaikovsky)

Seungmin (Guitar):

For now, this is acoustic, but I might branch out into more electric versions. The biggest factor here is specifically Han's affection and admiration for guitars, their versatility, and the fact that I wanted something to connect him to Changbin (both string boys). Was originally thinking about vocals or violins, but I thought this suited him better. Since his was finalized pretty recently, I don't have many examples...

Examples (paired with emotions/chapters when applicable):

Nostalgic: The opening riff of Disenchanted by MCR or Good Riddance by Greenday

Jeongin (Vocals):

And finally the Maknae! Like Minho, his Force sounds like vocals to Han, but unlike Minho and unbeknownst to Han, it sounds like Trot! This was the easiest decision for me to make, and didn't take long because it just makes sense to me. His Force sounding like trot will come up later with a tiny bit of angst and a lot of homesickness, but I digress.

Sad/Nervous: Camellia Girl or Busan Seagull (sung by I.N)

I'm still a little new to trot, so forgive me, but I don't have any other examples OTL

And that's it! I'll keep this updated if I run into anything else that I think would work!

[heliza24]

Let's talk about the music in Young Royals! (Part 1)

This post, which will focus on the needle drops used in the show, is the first part of a two-part analysis. Part 2 will focus on the original score.

I love the way music is used in Young Royals. It was one of the first things that attracted me to the show, but it's only recently that I’ve stopped to think about why I find it so effective. I used to (in a pre-disability past life) work in the music industry, and I’ve been missing my old job a lot lately. So I thought I would use some of my knowledge (and my media analysis skills) to write this meta. I've tried to link a youtube video for every song I reference, so you can go and listen to the tracks if you want to.

First, let’s talk about some logistics. “Needle drops” are when a show uses a pre-existing song as part of the score (like literally dropping a needle on a record player; isn’t it weird how that terminology has stuck around even while the technology has changed?). You can also call them music syncs, which refers to the fact that in order to use pre-existing music in film, you have to obtain a music synchronization license from the copyright owner (this ensures that the recording artist and the songwriter get paid for the use of their music). The person in charge of selecting songs and clearing the rights for them is called the music supervisor. The Young Royals music supervisor is Magnus Palmborg, and I think he does an incredible job. (He was also a co-writer on Simon’s Song, so we really have a lot to thank him for).

Music serves a very important role in Young Royals. I believe that the selection of songs and use of the score really helps establish one of the most important themes of the show: the dichotomy between the public and private self. So much of Young Royals is about the images characters consciously try to project and the pressure society puts on them to act a certain way, and the way that conflicts with their actual internal feelings.  And this dichotomy exists very clearly in the music too.

Most of the needle drops in the show are big, bold pop and hip hop songs. They are usually played over montages of the students at Hillerska, often towards the beginning of the episode, and they reflect the “cool” image that the students are trying to project to each other. The very first time we see Hillerska, “Wannabe Ghetto” by Fata Boom is playing, and the lyrics “keep up the front like it’s your mission/Look our best, cover up what’s missing” perfectly sums up the pressure the students feel to fit in at such an elite school. When everyone is getting ready for the welcome back party in 2.1, the incredibly confident "Ripe" by Flavia is playing. The lyrics “no need to go to work unless you're working on my body” are full of sexual confidence, but they also play while students are putting on makeup and trying to look their best, literally working on their bodies. (Flavia is one of my favorite finds from the soundtrack by the way. She makes total queer bangers, I recommend checking her out). 

It’s probably worth talking briefly about the opening title card here. A lot of shows have full opening sequences, with their own theme song. Young Royals eschews this, choosing instead to just flash the title on screen over an existing scene, often with a needle drop (but this changes each episode). I think this approach works really well, because it lets the music clue us in to the mood of each episode. A lot of episodes start with a very intimate scene, like the music room scene at the beginning of 1.3, and then contrast that with a burst of pop music during the title card that reminds us of the front the characters are normally projecting. In 1.3 the title card is shown over a montage of Felice struggling in the stables and is accompanied by a loud, lyricless pop song. That contrast from the intimacy of the music room, to a space where Felice feels like she’s always pretending, is really effective.  

But sometimes needle drops are used to reflect more intimate, genuine emotions. Sometimes the show does this by making the song semi-diagetic. (Diagetic music is music that exists within the story that characters can hear; so Simon’s Song for instance is diagetic). At the beginning of episode 1.1, Wilhelm is listening to “Bad” by Farveblind, which has the lyrics “I think it’s bad/I think it’s lame/I think it’s horrible” over and over again, which is a pretty clear indicator of how Wilhelm is feeling. The show does a similar thing in 2.3, when Wilhelm listens to “The Lonely Ones” by Lova in his headphones when he walks by the lake. He’s feeling lonely! He listens to a sad song! That’s pretty straight forward. 

But sometimes the way the music captures characters’ genuine feelings is a little more subtle. I actually think that there’s a lot more of this in season 2 than there is in season 1. There are a few examples I love from season 1, but most of my favorite examples are from the latter half of season 2. This perfectly reflects the journey that all of the characters, but especially Wilhelm, are going on; as season 2 goes on he gets more and more in touch with his real feelings and less and less able to pretend to please the royal family. These songs tend to be a little quieter than the flashy pop and hip hop that represents the facade of Hillerska, and you sometimes have to think a little bit about how the lyrics are illuminating what the characters are feeling.

Some of my favorite examples in season 1 include  “Holes (Deep Throat Choir Remix)” by Zhala that plays during Erik’s funeral, which has the lyrics “And I lose myself inside”, reflecting Wilhelm’s descent into grief and the way that he’s about to push Simon away, and “Sunday” by Gina Dirawi that plays as the girls are setting up for the sleepover and Wilhelm is going over to Simon’s house in 1.5. The lyrics “but I can see you clear here” reflect the fact that both sets of characters have found a sense of comfort with each other. But my absolute favorite example in season 1 is “Samurai Swords” by Highasakite, which plays while August uploads the video of Wilhelm and Simon to the internet. “I am leaving/I’m unleashing/I unravel to the leeches/I’m unpleasant/I’m unloving/So call out the guys with the samurai swords” plays while the camera focuses on August, reflecting his emotional state and also the fact that uploading the video is an act of self-harm for August (the image of samurai swords makes me think of seppuku, or the ritualized suicide that samurai warriors would commit instead of falling into enemy hands) and an act of aggression against Wilhelm and Simon. And when the camera cuts back to Wilhelm and Simon the lyrics say “someone else will love like a rainstorm”. The melody is so wistful and sad, like the show is already nostalgic for the perfect love that Simon and Wilhelm had which is about to be marred by the outside world. 

In season 2, I really love “My Awe Sustains” by Ari at the top of 1.5, which perfectly captures the feeling of longing between Wilhelm and Simon (this is my other favorite discovery from the soundtrack; the whole album For Evig by Ari is one of my favorites now) and “I Wanna Be Someone Who’s Loved” by Tusse, which is included after the fight in the music room in the same episode. The lyrics to this one are really heartbreaking: “You make me feel like I’m invisible… Thought it would help but no one hears my call/No I won’t give up/I want to be someone who’s loved.” The lyrics capture how much Wilhelm wants to make his way back to Simon, but there’s frustration in melody too, which reflects how trapped he currently feels. “Please Don’t Go” by April Snow and Elias in episode 2.3 is another really interesting example. It plays right before August invites Sara to his room “just to talk” and before Simon tries to break up and Marcus doesn’t let him. The lyrics “I asked you to leave but I meant that I want you to stay/I need you to hear what I mean and not what I say” seem to capture the push-pull in both sets of relationships, and how all of the characters are trying but failing to really communicate what they mean.

But I think my favorite needle drop in season 2 that's used to illuminate the inner thoughts of a character is "Mirror" by Mogli. The song starts playing right after Wilhelm's last session with Boris in 2.5, when he realizes he has a choice: he doesn't have to become king. He could let August inherit and be with Simon. The lyrics "You don't want to be sad anymore/And I can't laugh/ No I can't laugh/I want to win this race but you can't lose/I let you score" underscore Wilhelm contemplating August in the Forest Ridge common room. Letting August inherit the crown would be letting him "win" in their invisible war for power, but what would that matter if Wilhelm gets to be happy with Simon? We see Wilhelm come to that realization, and then in the next scene he tells Simon that he's willing to give up the crown for him.

Since we’ve talked about the opening title card needle drops, we should probably address the fact there is also often a song over the closing credits as well. Again, this doesn’t happen in every episode; sometimes original scoring is used instead. But when a needle drop is included at the end of an episode, it feels like foreshadowing for things to come. My favorite is the end of 2.1, right after Wilhelm has a meltdown on the call to his mom. “Seize the Power” by YONAKA plays, and seems to signify Wilhelm’s arc for the rest of the season: 

“Woke up this morning, I feel so fucking important/Look in the mirror, I’m different, I finally made a decision/All the rejected that lost a lack of respect in themselves cause people get hectic/they hurt you and make you feel helpless/they’re not brave like you/they’re too scared to do/anything that’s different, anything that’s new/I don’t need lessons/I do what I want it’s refreshing/as soon as you taste independence/you start living life in the present”

Season 2 is all about Wilhelm realizing he needs to claim his independence and start living his own life, so the lyrics perfectly represent his arc. Plus, the melody of this song is driving and angry, which helps carry forward the momentum of Wilhelm’s conflict with his mom through the end of the credits and reminds us how urgent this need to stand up for himself is.

You’ve probably noticed that I haven’t talked about “Revolution” by Elias or “The Most Beautiful Boy” by The Irrepressibles yet. I saved these two for last because I think they get the most fan discussion of all of the music choices in the season, and for good reason. To me these two are almost the theme songs of their respective season; everything centers around them. They occur at the same place in the season (at the end of 1.4/2.4 and 1.6/2.6) and they encapsulate the lessons that Wilhelm needs to learn: how to stand up to his mom and defy what is expected of him, and how to prioritize his love for Simon.

(I’ve also already talked about “Holy” by Elias in my post about the sex scenes here).

Overall, I love the way that needle drops are used in Young Royals. I know some people have complained that the songs don’t have much to do with the story, but to me nothing could be further from the truth. The songs capture both the societal expectations of Hillerska and the tender, inner workings of the characters. They help us understand the pressures put on our main characters and illuminate how they are really feeling inside. Plus the soundtrack is filled with queer, female, and POC artists who are a delight to discover.

I would love to hear your interpretation of the needle drops in the show. Do you have a favorite song on the soundtrack? Is there something I missed that you want me to talk about? My ask box is open and I would love to hear your thoughts!