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dizzydispatch · 1 year

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My journey towards self-actualization began with Mamma Mia and ended with me becoming the love of my own life.

(long post, TW: mention of SA, description of PTSD events, themes of religious trauma, allusion to mild body image issues)

Growing up, whenever I watched read anything that featured or even implied premarital sex, I got this sinking, disappointed feeling, like a parent finding condoms in the shoebox under their teenager’s bed. It a this sort of disapproving sadness that somewhat tainted everything I read or watched that had such content or notations. It felt like betrayal, a loss of representation in every character who ignorantly committed these sins, unwary of how harmful the simple act of something as socially normalized as premarital sex was.

Sex was forbidden, but not taboo. My parents discussed the matter liberally with me, with the conversational condition that it was a beautiful and holy institution ONLY when indulged within the confines of traditional Christian marriage. So, I didn’t want to have it. I didn’t have sexual urges. I was a good girl, wrapped in the Holy Spirit, freed from sex as a vice, an obsession, a possibility.

In fact, I was so obsessed with the idea of a sanctified chastity that the principle of it became more of a vice to me than the pursuit of sex ever would have been. I had been warned that men (or, in my case, boys) only wanted one thing, and were so pathologically obsessed with it that a good man could be tempted and thus forever laced into the shoes of a deviant, even a rapist, just from seeing my exposed midriff. It didn’t matter that my particular midriff didn’t hold much (if any) sex appeal to my peers, because the presentation of absolutely anything “sexual” was sufficient motivation to ruin both him, this hypothetical boy/man with weak to no control over his primal urges, and me, the chalice of holiness whose very worth was, in no small part, dictated by the virginal status I held.

When I was seventeen, I went to see Mamma Mia 2 in theaters. My mother and maternal grandmother and I made it into a “girls’ night” in celebration of Grandma’s visit to our (the better) side of the States. It was strange, experiencing such a sexually-oriented film with the two women who most often told me how beautiful a “pure” bride was on her wedding night. Especially since these very women were now fawning over a movie that so heavily centered around the lead-up to a teen pregnancy that resulted in a single mother raising her daughter on an island without any of her potential baby-daddies even knowing she’d been expecting. I didn’t know it, but a seed had been planted while I sat in that theater, and it was about to be watered by my craven need for freedom and the innate desire for self-actualization.

The next day, I was home with my mother, doing chores. The events of the night before inspired me to play the first Mamma Mia movie while she ironed and I pretended I cared about the state of my bedroom. In reality, I was listening in rapt awe to “Honey Honey,” the scene where Sophie (the protagonist, former teen mother Donna’s now grown daughter) was reading her mother’s diary from the summer before her birth. In between narrating to her friends the portions alluding to three incidents that were each equally likely to be responsible for Donna’s pregnancy, she sang a song that celebrated the revelations, wondering which man could have contributed the necessary DNA that led to her existence. She was not only approving of, but practically celebrating the sexuality the diary expressed. Instead of disappointed, it made me feel… jealous. I was so envious of these girls, who had the freedom to wear tiny bikinis and openly ogle the agile Greek boys, all lined up to flirt and perform ostentatious dives off the docks for their benefit. They just seemed so… free.

When she’s sober, an addict may keep the source of her temptation out of reach. Before experiencing a relapse, there is often a distinct moment where a critical part of her willpower just… crumbles. She doesn’t decide to relapse then and there, but she subconsciously gives herself permission to use, or smoke, or gamble, or whatever it is. Whenever I start smoking again after a period of abstinence, there is usually a shift that takes place, when I’m weak or in a state of lowered inhibitions. Then the dopamine hits. Dopamine, you know, doesn’t hit when you engage in an activity that is neurologically rewarding, such as sex or drug use. It hits when you decide to do the thing, when your hand stretches out for the bottle, when you begin to salivate in anticipation of that Big Mac and large shake. It hits when you decide, whether knowingly or subconsciously, to reach for the cigarette pack, when you plan to take the long way home, the one that passes the casino. Being hit with a gut-wrenching envy for Sophie and her friends, for teenage Donna, for the archetypal, sexually-liberated young woman with the agency to give her virginity to her high school sweetheart, or enjoy a one night stand with a Tinder date— for me, admitting that jealousy to myself was that shift. I hadn’t actually decided I was going to have premarital sex. But something had permanently altered inside me, and it wouldn’t be long before I became the girl I so envied.

For a while, I clung to the concept of virginity. It’s a lot harder to get past the “zero to one” threshold than it is to go from one to two, two to three, and so on. The technical loss of my virginity happened when I was sexually assaulted, just after I turned eighteen. After that seemingly insurmountable landmark was passed, it was almost arbitrary to continue. So in college I decided to be an absolute whore. I slept with anyone and everyone who I could get into my bed.

And… I hated it. It didn’t feel good. It didn’t give me any sort of pleasure. In fact, penetrative sex usually hurt. If it didn’t hurt, I mostly just felt bored, compelled to fake enthusiasm in order to cajole my partners over their edge so we could just be done, and I could collapse in sweaty exhilaration into their arms. It was a sense of pride, and really nothing else, that motivated me to even wait until they were done. At first, I couldn’t even get through to when my partner finished. But it only took me a few times before I had control over the panic attacks. I knew I could breathe, stay present, and be in the moment. I could ward off the crippling anxiety and darkness if I just stayed here. But sex was such a chore, such a burden that I sometimes found myself allowing the suffocating alternate to overtake me, just so I could, in good conscious, halt the act mid-stroke, to be freed of the discomfort in lieu of the part I really wanted: the part where they held me, kissed away my tears and told me that everything was going to be okay.

Then I met... let's call him Elliott. With him, the first time, it was just as it was with everyone else. I laid down and let it happen, giving enough verbal affirmation to encourage him to continue while staying as distant from the act as I could inside my own mind and body. After a few enthusiastic minutes, he abruptly stopped. He kissed me, then got up, removed and disposed of the condom, and then crawled back into bed.

“That’s… it?”

He laughed. “Now, now,” he chided. “Before you go and pull out the stopwatch, I didn’t finish.”

I was puzzled. “Why… not?”

He shrugged. “Just wasn’t happening. Sorry to disappoint.”

As I got to know him, I learned that Elliott had a slightly unique sexual appetite. It wasn’t that he didn’t find me attractive. He enjoyed the idea of having sex with me, and responded to me whenever I initiated (and even sometimes when I didn’t). He simply needed something other than just ‘urge’ to be, shall we say, successful in the act. For him, sex was cool, but the simple primitive urge to spill seed was more easily satisfied without a partner. In those cases, he was in complete control of the act. With the help of his imagination, a landscape so vivid and detailed and perfect that it made reality pale in comparison, there was no need for me, or anyone else. So, for him, the benefits of sex over masturbation were purely rooted in the one thing another human could offer: intimacy.

Elliott doesn’t need sex to feel love. He loves himself. He doesn’t need sex to feel pleasure or satisfaction for the same reasons. The only thing sex with me could give him that he couldn’t give himself was kindred spirit, and while that was lovely and wonderful, he didn’t need it to live, or even to be satisfied. Everything he needs to be happy, he can provide for himself with just a piece of paper and a pencil, a hiking trail, and adequate space in which to do a cartwheel. Elliott, like me, is autistic, but unlike me, his entire life revolves around his special interests. For him, there's nothing that anyone could give him that would satisfy him more than what he did himself.

I fell so hard, so fast. When we first started dating, I confided in him late at night that my biggest fear was of the phenomenon of love-hate dynamics, wherein the very quality or characteristic that you fall in love with almost inevitably becomes the same quality, recontextualized by circumstance and time, that drives you out of love again. He was always honest about who he was, never trying to hide his self-centered priorities or disguise the incorrigibly free spirit that makes him so unique and wonderful. So of course I can’t really be angry about what led me to end things with him, because they’re the same qualities I loved and admire even now about him. But even if his unfailing commitment to his own creative satisfaction at all costs made him unsuitable as a life-partner, that doesn’t mean they’re all bad. Quite honestly, even single, he’s one of the happiest people I’ve ever known. I envy that, and I wish more than anything I could be more like that.

Coming to terms with my asexuality meant giving up on the idea that a sexy, sordid love affair would bring me satisfaction in my life. In doing so, I allowed my priorities to shift past seeking romance around every corner, and began to focus on other things that gave me satisfaction. Following in Elliott’s footsteps, prioritizing self-actualization and personal growth and my own goals over the fleeting butterflies of romance— I started to do things.

I moved home, finished my college degree and fulfilled my dream of becoming fluent in sign language. I reconnected with my estranged childhood best friend, finding in him the inspiration in him to write the novel I always wanted to write. I found a job that, despite it being the last thing I actually wanted to do, benefitted me as a mode of improving my newfound bilinguality. I made friends at that job, and made a new life from the pieces of the one I left behind. I let my satisfaction come from the girl group I forged in the trials of the job, not the endlessly uninspiring monotony of the work itself. The friend group as a whole might’ve fallen apart after I left, but I held on to my roommate, someone who has taught me how to value myself and not settle for anything less than what I deserve. Having gotten everything I wanted from that job, I quit and found something I want to turn into a career. I started to learn to code, spent endless hours editing and drafting my novel, took up kickboxing and knitting, and discovered that I have a knack for bringing near-dead houseplants back from the brink until they're thriving. Just like I'm thriving, here, having left my own 'brink of death' long in the past. I finally found someone to love: I found myself.

I’m not saying that feeling lonely or wanting love is somehow wrong. But maybe, if you refocus your priorities onto the things that cannot be given to or taken away from you in this life, just maybe you’ll find a happiness that isn’t conditional, or inexorably tied to somebody else’s existence. More than anything else in the world, if there’s one thing I can say is worth the effort, it’s this. Find yourself first.

Life will probably throw me plenty more curveballs. But I've got somebody really great in my corner. She's a total badass, she's smart, resilient, and happy. And she'll be there for me even when I'm not thriving. She is... me.

#ace #ace spectrum #asexual #asexual spectrum #asexual stuff #sexuality #ex religious #writing #vent post #advice from a thriving twentysomething #long post #story time #autistic and queer #religious trauma #healing journey #self care #self improvement

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abecedarienne · 1 year

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The supposed importance of libraries

I'll be studying library science soon, but for reasons that are not moral or sanctimonious. What those reasons are I can't fully articulate, so I'll approach this observationally instead. Observations are only interesting when they're made by poets or contrarians (who are really one in the same--suspending their values momentarily in order to elucidate those of others). As someone who hasn't even started her library science courses yet, the most salient point I already know I can make about the field is this: there are no attractive men in it. Whether they're turned off by the seemingly pointless professional accreditation, the institutional obsession with DEIB initiatives, the unattractive people who end up in the profession, or simply the sheer number of middle aged women, I don't know. But it's an observation I can make from a mile away, and one to which I'll refrain from adding any moral judgment...for now.

From the outside looking in, I predict that everyone will be ideologues and that they'll all want to march in lockstep with whatever the mass-media flavor-of-the-month is. Libraries are a dying institution, and the only way to keep them alive--or at least undead--is to revive them with the spirit of the culture. Appeal to the masses and thus libraries will live on, they may say. This is how things end up centered on sex, money, and drama, I would say. But this cannot be admitted, so we must coat the sex and the money and the drama in an overtly moralizing glaze: "libraries are important not because we librarians need jobs, but because knowledge matters! Information matters!" The books I just bought for a YA literature course emphasize the importance of connecting young people with as much media as possible--literature, movies, magazines, music, video games, social media, or other websites. (McLuhan would have a field day with this.) This over-emphasis on consumption of information is frightening. It wants to create a media dependency, an addiction so bad that it keeps the morally righteous employed behind a circulation desk (BA: Interdisciplinary Studies, MLIS). Consume, consume, consume... with neither respect for creation, nor a nuanced understanding of what it even means to be literate.

But whatever. I need money for food and a roof over my head. With my own beliefs somewhat solidified, I will soon turn to this profession and let it have its way with me. Writing about it will be the gag stuffed in my mouth.

#me #libraries

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bleedinknight · 7 years

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Nene Raju Nene Mantri

Wht a movie..

RANA shines through. He has perfected tht smile from years of being Bhalla..

The other Rana was brilliant too. He is actually wasted in cliché politico roles. But here, he comes off as equally deranged as the hero.

I began the movie with the expectation of it being a political drama with the love story back drop. But it turns out to be somewhat the other way round. In some places, though, its a totally political piece.

Midway though, I had to stop n take a break. It extended to 4 days. I would not have gone back if not for @sleepiszindagi.

Now that I finished it, I’m not sure what to think about it.

Do watch it for Rana n Kajal. They have brilliant chemistry. Love her saris n his ear ornament.

The colours.. I loved the colours in the movie. Be it the yellows n lovely pinks in the first scenes. All sedate and loving. The stark whites and gray blues of politics; the bright coloured petals against the starkness of the journalist’s house; browns of dirt and fighting and that red stain on his shirt that Radha rubs off with a chalk before Siva’s sister’s wedding.

Yes, it’s somewhat cheesy with the politics, the game of chairs. And the bombing and the Flag..

But the climax is a clincher.. Tht was an experience..

#nene raju nene mantri #nrnm #rana daggubati #kajalaggarwal #ashutosh rana #thus movie is somewhat off-center #rana with n without beard #golden earpiece

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leupagus · 2 years

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PLEEEASE any sort of modern AU, PARTICULARLY washed up rocker Ed. There are a few fics in this vein but not enough. THANK YOU ETERNALLY.

Getting Louis to sleep is fairly straightforward: a few chapters from the latest Wings of Fire book and he's out like a light, drooling trustingly into his pillow. Alva, who selects and reads her own books, ta ever so, usually needs an argument or two before she can lay her weary head to rest. Divorce is the theme for this evening, though not quite in the way Stede's been dreading for the past few months.

"Why didn't you get divorced sooner?" she demands, shoving her seventeen different Pusheens into a vaguely better arrangement so that she can sleep amongst them and suffer only mild hypoxia. "Doug is so cool, he took us to the museum and we got to paint our own versions of the portraits. And he has a cat."

"Well, if your mother and I had gotten divorced sooner," Stede points out as he settles her blanket over her shoulders, "Then your mother wouldn't have taken that art class in January, and hence wouldn't have met Doug, since he only moved here from the States in December."

Alva is only temporarily stymied by this, pointing out that perhaps Mum would've found someone even better, like someone with a dog. Stede meekly agrees, and pinky-swears that anyone he himself falls in love ought to at least have a convertible or a pony or a swimming pool.

Mary and Doug are back by nine, slightly wine-flushed and trying to tell Stede about the Lyft driver's cologne while they pull out the various desserts they'd nicked from Mary's gallery opening. "Sort of a rotted cinnamon? Flavor? I can still taste it," Mary says, dropping an absent-minded kiss on the top of Stede's head as she passes his chair on the way to the kitchen. Stede collects the essays into a haphazard pile — Frenchie's the only one getting an A thus far, with a somewhat bewildering theory about colonialism and split infinitives that is oddly compelling — and opens the boxes.

"It did kind of get into your respiratory system," Doug admits, setting out the plates quietly — any louder and the kids will be up in a flash demanding that they share, and none of them want that. "How was everything on the home front?"

"We watched Moana again, and Alva wanted to know when Disney was going to make a movie about the Heartman. I told her that's probably not a family-friendly sort of story, which she took offense at, since the Heartman only carves out bad children's hearts and there are apparently a few of her classmates whose deaths could be very funny. At which point Louis asked what the Heartman was and the evening got a bit away from us."

"Oh Christ, he's going to have so many nightmares," Mary sighs, plunking some silverware down on the table. "Stede—"

"It's not my fault! Besides, it's part of his heritage!"

"Just because we were born in Barbados doesn't—"

"You should try this chocolate cake pop," Doug says, waving it between Stede and Mary like someone in a dinghy, desperately flapping a white flag between two battleships. "Has a raspberry center that'll really knock your socks off."

Stede frowns, but he takes the cake pop. It really is delicious. "Anyway, it's fine, he got much more traumatized by what happened with Luna and the Othermind in the latest chapter."

"Spoilers!" Doug says, cheerful, as he digs into a tiny cheesecake. Stede fights back a smile, which fails completely when he catches Mary's eye. They all sit down and grab more treats, and Stede gets to tell them about his insane new client. Or Oluwande's insane old client — but until he comes back from paternity leave, it's up to Stede not to mess things up.

"So this weirdo musician offered you a job helping him write lyrics," Mary says, "And invited you to his exclusive performance tonight? And then you watered his plastic plant?"

"Please don't say that like it's a euphemism," Stede sighs. "It was a very realistic-looking fichus."

"I'm sure it was." She taps her fingers absently against her thumb as she stares into the middle distance, the way she always does when she's thinking. It used to worry him, before — about what she might be working out, what she might be trying to fix or change or realize. Now, he's startled to discover it's… cute. "If he's paying someone to mind his fucking plants, he's got to have money, right? So was he not offering enough?"

"I know I'm a mere adjunct professor right now," says Stede, sniffing a bit, "But it wasn't the money that was the issue."

"Who is this guy, anyway?" Doug asks, snagging a coconut ball. "Country music star or something? One of the Mumford sons?"

"Mmm, no, no one I've ever heard of. An Edward Teach? Used to be in a band called—"

"Blackbeard?" Doug shoots out of his chair so fast it clatters to the ground; from down the hallway Stede can hear the telltale double-thumps of small children alerted to adults having fun without them. "Ed Teach from Blackbeard invited you to an exclusive concert tonight?"

"…yes?" Stede says, glancing from Dough's round eyes to Mary's covered ones. "Should be starting in a bit, actually."

"Honey, I love you, me and your ex-husband have to go," Doug says, and drags Stede out of his chair just as Louis comes round the corner, demanding to know if there's any biscuits.

#is this a scene from Music & Lyrics? MAYBE #do I love the idea of Ed bullying Stede into being his lyricists? MAYBE #ofmd fic #our flag means death motherfuckers #ficcage of interest #promptfest '22

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beccanoodles · 4 years

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Spike and Faye Pairing Analysis

March 2021

Ah the hit or miss pairing of the century! If you don’t love it, you probably hate it lol. I’m a very analytical person so I love analyzing works of art and overall enjoy deep discussions about them too. I have SO much to say when it comes to Cowboy Bebop (and oh I plan to), but I have decided to start with my very own OTP. Here, I am not really going to discuss Spike and Faye’s feelings for each other, but rather why I think people are drawn to this pairing and why I think they're totally valid. Get ready for a long read!😁

⚠️SPOILER WARNING!!! [Major Cowboy Bebop and the movie Out of the Past spoilers]⚠️

First off, let’s clear something up. I am confident most of us can agree that Spike was in love with Julia. Some people assume Spike and Faye fans are deranged and disregard Spike and Julia’s romantic relationship to try and make something of Spike and Faye that never was. While some people may have their various theories and opinions on this, generally, I don’t think anyone denies Spike’s love for Julia. As we will see, this pairing is not really driven by who loves who...let’s first look on the surface.

I don’t know your experiences with the series, but in mine, every time I show this to people it never fails for someone to say something along the lines of,

“Wait, they don’t end up together?”

“Why didn’t he kiss her!?”

“He should have stayed with her...”

and so fourth.

Naturally, this pairing catches many eyes.

Think about it, you are given two really cool, really hot and really deep characters that are really fun to see together! There are so many parallels between the two and they are arguably the strongest characters of the bunch. Granted, you can agree with this and still not ship them, but these aspects are part of what opens up the door for many fans of the pairing.

However, there is certainly more to this pairing than them simply looking good together right? As the years pass and I’ve now seen the show multiple times, my understanding of it has evolved in many areas, Spike and Faye included.

Spike and Faye really couldn’t have ended up together. Sure, it’s a nice thought, but It would have been an entirely different show if they had. I don’t feel that the show should have happened any other way and I don’t think many other fans would either.

So, what am I saying here?

What’s the point of this paring if I don’t think they should have ended up together?

It is what's so frustrating about them, yet keeps you coming back and what honestly validates this pairing in my opinion. Spike and Faye are not driven by what is, but rather, what could be.

I personally feel the themes of classic film Noir are not discussed enough when it comes to Cowboy Bebop! This is one of the show's major influences, especially when it comes to the plot and characters.

One of the common tropes of a film noir is that of a protagonist who is drawn back into his past and ultimate doom, usually by the “seduction” of a femme fatale. In these movies, the women are either a femme fatale [devious, dangerous, mysterious, greedy, troubled, or unreliable] or a woman of virtue [reliable, dutiful, trustworthy, conventional and loving].

I am going to use the 1947 classic, Out of the Past to make my comparisons from here on out.

In Out of the Past, Jeff is a former detective who gets caught up in a love triangle between a gangster and his girlfriend Kathie, sound familiar? He attempts to run away with her, but is betrayed and runs off to start a new life in a new town. Here, he meets Ann and falls in love with her, but of course, his past catches up to him and he is drawn back into the world of criminals (largely by Kathie’s involvement). This ultimately results in his and Kathie’s deaths and Ann’s heartbreak.

Even though Kathie is the femme fatale in this movie, I found myself comparing her more to Julia’s role in the show, than to Faye’s and I found that Faye actually fit best in Ann’s role (this is a bit unusual considering Faye is typically seen as the femme fatale of this show).

Does that mean I think Julia was as ill intentioned as Kathie or that Spike fell in love with Faye? Well, not exactly, let’s look at it a bit further.

“The kind of beautiful, dangerous ordinary that you just can’t leave alone...Like an angel from the underworld or a devil from paradise.”

Most of what we get about Julia is from Spike’s point of view. From this, we learn she is at the center of Vicious and Spike’s conflict, but aside from that she is basically depicted as “The Virtuous Woman” of a noir. The colors around her are warm and she is shown caring for Spike. There is an innocence and modestly about her as well.

Yet, when we finally do meet Julia, we get a different image. We know she is tied up with dangerous men, but is she herself a dangerous woman?

She is certainly capable of betrayal.

Suddenly she is a bad-ass-gun-toting woman in leather and black, surrounded by hues of grey and dark blue. Intentional or not, Julia is a major part of what lures Spike back into the past and ultimately to his death. In this case, Julia is the femme fatale of Spike’s story and thus, their relationship is doomed from the start.

Faye, on the other hand, is portrayed in somewhat of a contrast. When we first meet her, she is the clear cut femme fatale, appearing cunning, strong willed and seductive. However, we soon find that she has quite a bit of kindness and naivety hidden behind her facade. She uses the former tactics as a way of emotional (and probably physical) protection. Gren points this out in his conversation with her.

Gren,

“You’re just afraid they’d abandon you so you abandoned them. You distanced yourself from the whole thing.”

As the show progresses, we start to see less of her “femme fatale nature” and something more genuine. Think about it, between Hard Luck Woman and RFB Part 2 we don’t see much of Faye as her typical conniving or unreliable self, aside from changing the course of the Bebop maybe. Sure she takes off, but it isn’t at all for the same reasons she did in Jupiter Jazz or Speak Like a Child, for example.

I would argue we actually see her more trustworthy and caring than ever. Since I don’t want to spend too much time talking about Faye’s character development (not here at least) I’ll give one example of this.

When she returns to the Bebop after her encounter with Julia in RFB Part 1, she gives Spike the message, even though the outcome might hurt her (i.e. he leaves and/or dies). While she does first say “It’s gonna cost you,” she doesn’t really mean it because she tells him without hesitation only moments later.

This isn’t to say Faye good, Julia bad. Both women have their layers and even though we know way more about Faye, I don’t get the impression that Julia is selfish and cunning like Kathie was. But I do get the feeling she was enclosed in a world of crime and betrayal the way Kathie was. We really only know the basics of Spike and Julia’s situation. Who knows the details like motive or how long it lasted etc. etc. We can only speculate...

There is a scene towards the end of Out Of The Past, where Kathie tells Jeff to go away with her. This time it is her asking him, just like Julia asks Spike. During this she mentions,

“I never told you I was anything but what I am, you just wanted to imagine I was. That’s why I left you.”

This got me thinking...did Spike imagine Julia as something she wasn’t? Or something he wanted her to be that she just couldn’t be?

It could explain why we get such contrasted images of her.

There are themes of this “dreamlike” relationship between Jeff and Kathie, similar to Spike and Julia’s “It was all a dream.”

The two of them were going to “live and be free,” probably something neither of them knew how to do and most likely wouldn’t have been able to get away with.

When Jet asks Spike if he can just forget the past, this is his answer.

Spike,

“There was a woman. For the first time in my life I saw a woman that was truly alive. At least that’s what I thought. She was the part of me I had lost, that part that was missing, that I had been longing for.”

I always wondered about this, because Spike is clearly talking about Julia, but right after is when Faye shows up. To me, that spoke volumes...

Faye is a woman who is terribly human and terribly alive.

Going back to Faye and Ann, I find their similarities shine not so much in the “Virtuous Woman,” concept, but rather in Ann’s dedication to Jeff and her optimism for the future. She is also the last person to talk to Jeff before he leaves for the final time, as if he were being presented with one last alternative. Spike spends his last moments with Faye as well, in which she basically begs him not to go and keep him in the present that she has now discovered for herself. She may be stuck, but she is definitely someone that yearns for human connection, love, and life.

The problem is, Spike and Faye are both set in opposite directions. Her’s leads to a future and Spike knows this because he points it out early on (My Funny Valentine). He also knows, his most likely does not. He has already dug himself too deep into this hole, if you will, that there is really no turning back.

But let’s say none of that was an issue? What could be?

I sat and watched this movie (Out of the Past) with my mom. She didn’t know anything about it and didn’t know why I was watching it. I wanted her genuine reaction. The whole time she was getting mad at Jeff until the very end. I asked her why and she said that she wanted him to be able to live happily with Ann. I explained to her why he had to do what he did. She understood this, but still couldn’t help but be sad at how things turned out for him, when they could have been good.

Even though Kathie and Jeff are the “lovers,” of this movie, you don’t really want them to end up together. Forget that Kathie has a devious nature, regardless, you know where it has to end and you don’t want to see your hero die.

Like Kathie, Julia symbolizes Spike’s inevitable doom and Like Ann, Faye symbolizes his possible future.

“I’ll be with you till the end”

“You’re the one still tied to the past Spike!”

“Why do you have to go? Where are you going? What are you gonna do, just throw your life away like it was nothing?!”

It’s two sides of a sad coin...

We want Spike to have a future and because we love the characters of the show, it would be really great if he could have it with them, but that is where the tragedy is. It's only an idea we can think about, a possibility presented to us as it was to Jeff and Spike before their deaths.

The bottom line is, when it comes to Spike and Faye you are really only given a taste. You are not given what you expect to see, which is why I say this ship is driven by what could be. As it is with most of the character relationships in the show, no major breakthroughs are made until the very end, when it's too late. Then it just feels like such wasted potential, but sometimes in life, that's how it is. And thus, we have been given a very classic noir here ladies and gentlemen!

So no, I don’t think people miss the mark when they ship Spike and Faye, nor do I find they invalidate the show by any means. I kind of like that Watanabe switched it up and didn’t do the expected, but left us those subtle hints. He didn’t outright give Spike another lover, but he gave us someone that represents what he could have. Kind of does that with the crew as a whole too!

UGH. I love-hate this show and I love this pairing! Thank you for reading my thoughts and I know this may not be the case or reasoning for everyone, but just based on what I have seen around the community and where this show draws inspiration, this is what I have concluded. I didn’t get into Spike and Faye’s feelings for each other because it gets a little more theoretical there, but I would like to do a post on my thoughts on that as well sometime. I also didn’t touch too much on Spike’s reasoning for choosing to face Vicious in the end, just because I know that will only lead into a whole other analysis lol. But you know I have my thoughts on that and certainly plan to share them 😎 Also, I know I basically spoiled it, but Out of the Past is such a great movie!! I think if you’re a fan of this show it's definitely worth a watch! There are so many more parallels to Cowboy Bebop that I didn’t even mention. Anyways, thanks again and talk to you soon!

#Cowboy Bebop #Spike and Faye #spike x faye #analysis #cowboy bebop analysis #pairing analysis #pairing #my ship #out of the past #film noir #did i mention #I LOVE THIS SHOW #YES i've been working on this for two weeks like i was writing a midterm essay for school #DON'T JUDGE ME 🤓😂#OOTP is really good watch it #last scene gives me chills😨#spaye #faye x spike #faye and spike

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orlissa · 3 years

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So now we have “BatCatPussyGate” or whatever, and I have some thoughts on it—I mean, it does intersect with my area of research.

In case you missed it: a scene where Batman goes down on Catwoman was not included in the Harley Quinn animated series, because, basically, a Batman who gives oral is bad marketing, and makes merchandise hard to sell (they did use the word “toy” in the statement, but you just know they meant action figures aka collectibles aka whatever older male fans buy). It is not even the first such scandal involving Batman in recent years, but we’ll get to that later.

There is a LOT to unpack here, so let’s get started. I’ll try to make it as coherent as I can, but this post still might be a bit of a mess.

First of all, we have to make one thing clear in which Marvel and DC differ from each other (I think I might have talked about this before, but it bears repeating): it’s what I like to call “hierarchical structure of characters.” Basically, Marvel’s structure is like the nervous system: there are interconnected nodes, but no one, clearly defined center. The Avengers are important, but so are the X-Men, and Spider-Man, and the Fantastic Four… Plus Wolverine has been an X-Man and an Avenger, Spider-Man has his own lore, but he has been a member of the F4… you get the picture. A big pro of this structure is if that one node falls (a series doesn’t sell), it’s no big deal, because the system remains standing, so, basically, you can experiment with stories. If it doesn’t stick, it doesn’t stick, you move on. DC’s structure, on the other hand, is more like a spider web: you have the Holy Trinity—Superman, Batman, Wonder Woman—in the middle, and everything else connects through them. And if the center falls… everything falls. Which means that even though the Holy Trinity has HUGE cultural visibility (greater than of any single Marvel character), they are pretty much set in their ways. They cannot change much, because what they are now is what sells, and any significant change in representation might lead to failure, which then in turn would lead to the failure of the whole spider web. (I have a like 40 pages long paper on how, because of this, Wonder Woman needs to continuously appeal to both the male—sexualizing male gaze—and the female—identifying female gaze—gazes, compared to Carol Danvers, who keeps jumping between the two ends throughout her publication history.)

And within this scheme, Batman is the picture of hypermasculinity. He is powerful, intelligent, cannot do wrong, closed off from his emotions, and women fall for him, even if he cannot properly commit to a romantic relationship (this last thing is something that goes back to the Silver Age of comics, because male heroes just cannot have love, because nothing can be more important than their vigilantism, while female superheroes are lesser, because they are ready to hang up their capes for love).

Then what does academia has to say about this? Note: I’m going to be talking a lot about stuff that film criticism came up with, but since both movies and comics are a visual narrative medium, I’ve found that you can pretty much project everything about movies to comics.

So, first of all, one big shortcoming of feminist film criticism is that (not entirely unjustly) it is mostly focused on how women are portrayed in movies—especially how they are oppressed and objectified, while it leaves men/male characters… unstudied. Masculinity studies exists, but it’s pretty new and marginal. The availability of male bodies in film to the female gaze is also mostly unexamined (but I’ve dabbled in it! Talking about sexy male bodies in a detached academic manner is fun!), and it’s somewhat of a problem.

Richard Dyer studied the peculiarities of male pinups, and he came up with three instabilities: 1, it violates the codes of looking (because traditionally it’s the men who look, and women who are being looked at), 2, it rejects passivity (because being looked at is read as being passive, and the male body is supposed to be active, so, usually, male and female pinups are posed in a totally different way), and 3, it breaks the myth of the phallus (male power signified by the penis)—because once we start looking into it, we’ll discover that the phallus just… cannot live up to the hype. Therefore not studying the male body/male presence and focusing on the female body/presence actually serves the patriarchy, because the phallus can only keep its central, dominant position until it remains unexamined. Once we look into it, we discover that it’s not that great, and then we can displace patriarchy.

And then what does it mean in practice? Here comes the other Batman scandal I mentioned: about three years ago, DC came up with their new line of comics, where the big draw was the total lack of censoring. It was promised to be super bloody and full of gore and cursing and stuff. The first series of this line was Batman Damned, and the first issue featured the… batawang. I mean Batman’s penis. Returning from some mission, Batman starts undressing the moment he steps into the Batcave, stripping naked, and on some panels one can clearly see… little Bruce. It had no point. It could have easily been brushed out, and it would not have looked out of place. Or course, the internet had a field day with it, about the same way they are having a field day with his lack of oral sex now. It grew so big that within a couple of days DC announced that they’d airbrush out the batawang in the second printing and in any subsequently sold digital editions (which then caused the price of the first print editions skyrocket, to some $300, I believe). So to sum up: DC showed Batman’s penis for shock value. Seeing Batman’s penis wasn’t awe-inspiring, a show of power, but the butt of the joke—because examining the phallus shows that it cannot live up to the hype! So Batman’s power, his standing as a masculine ideal/male power fantasy was misplaced in a moment. (Something similar was happening behind the scenes of the Watchmen series as well: when Tom Mison had a full frontal nude scene, they actually used a penis-double—as there was no shot where his face and penis was shown at the same time—now imagine the casting for that role!)

In some way, this is happening now as well—not showing Batman performing oral sex is not because it “hurts toy sales;” it’s because it breaks the myth of the phallus, thus it breaks the myth of the Batman as an immaculate male power fantasy. Batman receives—power, admiration, and, of course, sex. But within the framework of sex, he needs to be the one that dominates, the one that mostly on the receiving end of the pleasure. What is important is that 1, he gets the woman and 2, he gets off. Whether the woman gets off is unimportant within this framework, because it doesn’t serve the myth of Batman/the male power fantasy. Within the fantasy, women need to want to sleep with him because he is Batman (because the male reader identifies with Batman, and he needs to feels as if the women in the comic want him just because he is him/Batman), but if he performs oral sex on the woman, it presupposes an active need for effort from his part from her to want him. It gives her agency, which elevates her to a partner, not an object to-be-looked-at.

So if Batman performs oral sex, his body will be put on display as something beyond the realm of the male power fantasy; it will be examined, and thus determined he is not all-powerful. His dominance within the narrative will be questioned. The role of the woman will be elevated. The patriarchal dominance displaced. So, yeah, that’s why Batman can’t give oral—not because it will hurt the toy sales.

I mean, it might. But because it will hurt Batman as a hypermasculine ideal

#batman #dc #masculinity #male power fantasy #batcatpussygate #mine

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filmtalks4filmophiles · 3 years

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Horror - The Host

Good evening readers, I hope your night has been comfortable and peaceful, because we're about to change that! Turn off the lights, lock your doors, and hide under your coziest blanket because this week's horror movie is critically acclaimed Korean director Bong Joon-ho's The Host (2007)!

I feel that in our modern era we've somewhat lost our appetite for a good monster movie. In order to understand just why monster movies have fallen out of fashion, we have to take a look at just why monster movies are made in the first place, in which case I think that The Host is a great modern example to discuss.

SPOILERS AHEAD!

The Plot

Our plot centers primarily around Park Gang-doo, a bumbling single father who, despite his good intentions, initially doesn't seem cut out for the job of raising a child. Thus he and his daughter, Park Hyun-seo, live with Gang-doo's father, Park Hie-bong, who works as a snack vendor next to the Han River. The quaint opening scenes are cut violently short when out of the still, murky waters of the Han River a huge, fish-like beast emerges to rain chaos on unsuspecting bystanders. Unfortunately, Gang-doo and his family are no exception and are caught up in the hysterical evacuation. Tragically, due to his own incompetence, Gang-doo loses Hyun-seo in the crowd and witnesses the horror of the beast swallowing her whole and jumping back into the river. Gang-doo and Hie-bong are joined by Gang-doo's sister, Park Nam-joo, and brother, Park Nam-il, at the mass funeral where they mourn Hyun-seo. However, that night Gang-doo receives a call on his cell phone from none other than Hyun-seo who is miraculously still alive. When authorities don't believe the family, they set off on a vigilante mission to save Hyun-seo, which makes up for the rest of the film.

Digging Deeper

As American movie-goers, we often get caught up in the bubble that is Hollywood, skipping over international films simply because they are not as readily presented to us. Even English-speaking films from different countries seem to be pushed to the wayside by big blockbusters. That's not to say I don't enjoy a good blockbuster, but I think it is necessary to step outside of our bubble of American film in order to examine the full scope of what really makes a monster movie. Generally, horror movies are made to reflect what audiences fear at that point in time. When we consider monster movies, there exists that distinct element of otherness. The core of a monster movie relies on some tangible outside force, a beast to be specific, which invades the sanctity of our main character's environment. While this format could easily be used to demonize the opposing end of a war, it is more often and in my opinion more interestingly used to condemn the act of war itself and the unnecessary peril which civilians are put through during times of war. We see this done in Godzilla (1954) which originally served as a critique of emerging nuclear weaponry, as Godzilla himself was born out of radioactivity resulting from said nuclear experimentation. The monster in The Host is born of similar circumstances. In the very first scene of the film, we see an American doctor and his Korean assistant working after hours in a lab. When the assistant asks the doctor what to do with the array of expired formaldehyde found in their lab, the American tells him to simply pour it down the drain. Despite his concerns that this action might poison the water of the Han River, the assistant does as he is told when the doctor dismisses this as none of their concern. You may be thinking that this metaphor is extremely on the nose, and that's because it is. The entire movie serves as a direct critique of America's interference with South Korea and dehumanization of South Koreans and other East Asian countries and civilians. There is even an element introduced which references Agent Orange directly, a gas which was used inhumanely against civilians during the Vietnam War.

The Takeaway

I find that it is so necessary to step outside of the U.S. to explore these themes because we cannot let ourselves be propagandized to dismiss the actions of our own military, actions which are often reflected in the monster movies of the countries we terrorize.

I cannot recommend this film enough, as beyond having a poignant metaphor, it is one of the funniest and at the same time most tragic horror movies I've watched to date. I implore you to watch this movie, with the lights off of course.

Until next time!

- Taylor (your horror movie expert)

#horror #the host #bong joon ho #film

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thoughts-on-bangtan · 4 years

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Do you think BigHit pays attention to how much things to show to be able to "please" each ship, esp the maknae ships? For example, If a run ep/any content showed a little bit more of vmin, it will somehow highlight jikook or taekook next. For sure, the boys are not faking their interactions, but do u think BigHit consciously monitor these interactions and edit it in a way that can avoid violent reactions from diff ship groups? Sorry I cannot word this ask well. 😕 I'd love to hear ur thoughts.

Thank you so much for the amazing question! And your wording was really good and clear so don’t worry about that.

I think the first major thing we need to remember is that BH is a company, and a company’s main purpose, above all else, is to generate revenue. Which isn’t a bad thing in this case seeing as, depending on how much BH makes, so do the members since their contracts, compared to others in the same industry, have some great percentages in their favor.

With that in mind, the answer to your question is a very simple and straight forward yes. BH monitors and plans things accordingly to please (paying) costumers, in the context of this answer, shippers. Fan service and showing certain interactions in certain ways are a great marketing tool that every idol agency uses for decades now, it isn’t anything new or revolutionary in any shape or form, though it’s clear that the type of fan service the BTS members do nowadays has changed in comparison to earlier years, like Jimin being required to perform shirtless at an award show.

In the context of this answer when using “ship”, I simply mean two members interacting with each other and are liked together by a certain community of people, and not actual pairs that have (in my opinion) chances or signs of being real (in a romantic sense) at all, except for vmin and namjin, since those are the only two we see as fulfilling that criteria of romantic potential and are the only two we focus on on this account. But that at large is a post/discussion for another time.

When it comes to showing different interactions between ships, or even really any kind of duo or trio in the group, editing and what does and doesn’t get shown certainly plays a role and follows some kind of idea as well. A good example of that would be how following the release of Dynamite there was a bigger “focus” on J*k*ok, seeing as they had their own moment together in the choreography and we were shown more of their interactions/”moments” in content around that time. But, while that satisfied one major ship and its devotees, it didn’t satisfy another, so it needed to be balanced out. Which is exactly what BH did.

More below the cut since this got a little long:

If you look at the Break the Silence: Persona movie commentary done by the members, the maknaes sit together in the middle of the sofa (and the screen) with JK between vmin, meaning that both major ships could pay attention to their two members and be “pleased” at the same time by any and all interactions or “moments”. A counter argument to moments involving all three of them working in a positive manner would be the Dynamite performance at Jimmy Fallon (x) that ended with the members skating around on roller-skates where at one point the maknaes were together, JK holding Tae’s wrist while Jimin had his hands on Tae’s hips (?). It was a cute and funny moment of them just helping Tae since he can’t skate, but it caused a plethora of negative/awful reactions among those who ship one and the other “main” maknae ship with, in both cases, either Jimin or Tae being on the receiving end of awful accusations, insults, and alike. Then again, to balance out J*k*ok Dynamite content, we can look at the BE-hind Story video where JK and Tae sat together and were seen interacting more, while Jimin interacted more with Yoongi, where Yo*nm*n is also a rather popular ship.

Perhaps it sounds mean or calculated or like I’m badmouthing other ships as just “tools”, but the thing we have to keep in mind is that every piece of content is planned in a certain manner (BTS are seven people after all so you can’t just tell them to do something and hope it’ll just magically work out somehow), is filmed by a giant crew of staff from stylists to PDs and lighting crews, and while there are certainly also genuine interactions between the members, simply because they enjoy spending together and interacting, being close and have no issue touching each other etc, many of these things are not really anything that would really count as “intimate” moments due to the nature of the content itself. But shippers oftentimes ignore that in favor of enjoying whatever content of their ship they are given, which makes sense, as vminnies and namjinists we do too, but we also know that BH certainly has a hand in what is and isn’t shown, and the way in which it is shown.

Look at the trailer for Memories of 2019 and the famous J*k*ok moment that was front and center. From a marketing standpoint it was a genius move since it made sure that shippers would go and buy the DVD regardless of its price. Look at what we’ve gotten for Winter Package 2021 so far, J*k*ok being playful in the trailer, T*ek*ok squished together in the picture on IG, and J*k*ok next to each other, along with Seokjin, in the preview pictures on Weverse. Of course, there was also a picture of Yoongi and Hoseok together (a popular ship) as well as Namjoon with Yoongi and Namjoon with Tae (far less popular), but those three aren’t really selling arguments the way the major maknae ships are. Even vmin isn’t, seeing as the vmin community is much, much smaller than the other two maknae ships, and also vmin moments are often times written off as ‘friends’ interacting anyway and thus not taken seriously (or being paid attention to), if you know what I mean.

(Admin 1: I, for one, would really love to own the 5th Muster DVD because I love the concert itself but also because the famous vmin dancing together to Spring Day sequence is immortalized in picture form in the photobook, so I’m not innocent or “different” in any way since I fall for this marketing stuff just as much as everyone else.)

But on the other hand, there’s also content that isn’t as controlled by BH as pre-recorded and edited videos or DVD’s, as in their vlives or live content, like the BE/LGO release day vlive in pajamas where, sure, the members were given a general plan of what they’ll be doing and a timeframe for it, but certain things seemed more spur-of-the-moment and unplanned, like the vmin lipstick moment (Tae putting on the lipstick was planned, but the final executions likely wasn’t) and the way the other members reacted to it. Or things they do at concerts, which some of it is surely also rehearsed and planned, we saw Hoseok ask JK if he’d do a heart with him at some point during one of the concerts, as example, or Tae and Seokjin planning their typical moment that happened at every concert, but other ones are more in the moment and not controlled.

When it comes to concert DVDs, that is again a different story seeing as a camera can only show as much at a time, so the editors are presented all the footage from the concert and then decide which to show and which not. So, if we see an interaction between JK and Hoseok, for example, at the same time somewhere else Namjoon might be dancing with Seokjin or vmin could be doing something, but we’d simply never know since they can’t show us everything.

That, in a way, is also the case with actual concerts where there’s a difference, somewhat, between concerts that get filmed for DVDs or streamed online, and those that are not. Something that comes to mind would be a vmin moment during Best of Me in Busan on the day that didn’t get filmed where they skipped the first half of the choreography and vmin stood together, half of that sequence being just visible in the background while JK is the primary focus of the cameras that are shown on the side screens, and this whole thing only happened this one time and never again. (x) That’s a moment that, in my opinion, isn’t planned, or other similar moments where vmin change the choreographies (even if just a little) to do something together, like during Spring Day during WINGS Tour Final where Jimin adjusted his solo moment so that he ended up in front of Tae. (x)

youtube

There’s also this whole mythos I’ve heard/read about a lot about how supposedly at some of the not filmed Japanese concerts (where I’m not sure if people mean LY:SY or just LY) had some crazy moments between the members (in the sense of “ship” moments and alike) BUT I couldn’t find any proof of that, so if someone perhaps knows anything about this, let me know.

Finally, there’s also things like Bon Voyage and In the SOOP which, you’d expect that they would be less edited and less controlled, but even here a selection takes place of which scenes are shown and which are not. Something I find interesting is how the first half of In the SOOP feels very different to how the second half does when they return to the house after being gone for a few days. In the first half vmin (as well as namjin) seemed to “satellite” around each other and interact much more, playing ping pong or doing things together in some shape or form, but in the second half that was (nearly) completely gone and neither interacted much with each other, if at all. We even had Jimin who outright refused to join Tae and Hoseok on their car adventure, or we saw Seokjin wake up Namjoon to go jogging yet never got to see said jogging happening (if it did happen, that is).

So, to sum all of this up: Yes, BH definitely monitors and guides the way certain things are and aren’t shown in order to achieve certain things or avoid certain reactions, though it’s a complex balancing act and doesn’t always work out. There are things that are unplanned and not controlled, of course, but there’s also a fair amount of marketing play involved.

After all BTS aren’t rookies anymore, instead they are giant household names and their actions and words move people, move money, and on top of that they are still idols, and part of what it means to be an idol is differentiating between your idol appearance/persona (so what we see in screen) and your personal private life, which is usually kept as secret as only possible. How much they themselves choose to share of their real selves and real feelings toward each other is up to them (as well as up to BH and how much they “allow” them to/don’t edit out). But that, too, is a whole other discussion for another time.

#answered ask #answered by admin 2 #bts #marketing is quite the tricky beast #discussion

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captlok · 4 years

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Pacifism Isn’t A Character Trait

Or: MLK Day is Upon Us so Let Me Do You a Learn

Or: As An Aang Stan I Got a Bit Over-Zealous But Lemme Explain Why For A Hot Minute

Plus some History and Tumblr commentary that even non-ATLA fans can chew on

And by ‘hot minute’ I do mean this is going to be a long meta, so strap in. For those of you who just might be tuning into this debacle, I, a person who has not used Tumblr, much at all, except for the last half year, ran into some trouble.

If you wanna skip the whole TLDNR interpersonal stuffs and get straight to Why Aang is the Best Thing Since Sliced Bread, I will embolden the relevant parts, and italicize the crit of Korra, if you want that alongside.

I was excited that ATLA was seeing a resurgence due to the Netflix remake. I wasn’t even trying to apply any steep expectations for it. (learned not to do that the hard way with the last live action adaption, and to a much lesser extent, ATLOK, since it had good . . . elements, *ba dum tsshh*)

So, these are a couple aspects of the issue: (1) Even on the internet, I am extremely introverted and until recently mostly came for content, not socializing. My main online interactions thus far have been in forums and artist-to-artist on DA. Tumblr is still very strange to me because it splits up its ‘threads’ so you can’t see all the replies if a certain pattern of users responds in their own space. I’m not even 100% sure it’s in chronological order, and replies are not nested next to each other so you can look in the comments and someone will be replying to something you can’t see in that window. And also since it is a bizarre hybrid of a blogging system, posts are somehow considered ‘owned by’ or an ‘extension of’ OP in a way forum threads are not. (2) ATLOK was good in a cinematic and musical way, to be sure. It also had some good concepts. I can go into it just appreciating it for the worldbuilding and be somewhat satisfied. But the execution was terrible. I was on AvatarSpirit.Net for years, and If I had maintained my presence on ASN to current day and had gotten around to downloading their archive now that the forum is dead, I would include some links to other peoples’ detailed analyses on just how flawed both the plotting and Korra’s frustratingly flat learning curve was especially in the first two seasons. But, that is a task for another day, and only if people are interested.

No, what I’m addressing today, on the issue of Korra as a writing exercise, is how Mike and Bryan said specifically they wanted to make her ‘as opposite to Aang as possible’ and in so doing, muddied the central theme of the original ATLA series.

Now, again, I was mainly an art consumer for my first major round of ATLA fandom. Tumblr is an alien beast to me. But, after I write my first major Aang meta, talking about how amazing it is that he has the attitude he does, and how being content in the face of this overwhelming pain and suffering is an ONGOING PROCESS and an INTENTIONAL DECISION and not a simple PERSONALITY TRAIT, I start hearing that Aang gets a lot of hate from the fandom. Now this would be bad enough if it were merely people not liking his crowning moment of pacifism because they don’t understand the potential utility (I’ll elaborate on that in another post) or the ethics involved.

Aang is easily the most adult member of the Gaang. But he apparently gets hate for his few moments where he actually acts his age, a preteen, and maybe kisses a girl in a historical timeframe in which ‘consent’ discussions were probably nonexistent. Even in the present day, we are still practically drowned in movies that reinforce this kissing without asking trope. And even some female bodied people complain that asking kills the mood! But somehow he is responsible and reprehensible for this, even though the first time she kissed him back. I’m only going to get into the pacifism discussion today, but that was just another layer of annoyance bouncing around in the back of my head. Other peoples’ crit of Korra that was stewing in my subconscious, plus this Aang bashing, which thankfully I had not directly read much of, made up the backdrop of gasoline for the match that set it off. Even that seems a pretty melodramatic way to phrase what I actually said, which was: Aang, on the other hand, lost dozens of father figures and was being steamrolled by Ozai who was gloating about genocide TO HIS FACE, yet he still reigned in all that quote, ‘unbelievable rage and pain’ (The Southern Raiders). We Stan Aang, the Superior Avatar. No I did not f**king stutter. #AangSupremacy In another meta, someone complained that I was too defensive of Aang as a character and didn’t apply literary analysis enough, which I quickly rectified.

What set this off? Someone was kind of indirectly praising the line from Korra, “When I get out of here, none of you will survive” To them it was emotionally resonant or whatever, and I have to point out that no, it was a martial artist not having control of their state of mind, as is the bedrock of the practice. It was never addressed by the narrative, which is a severe oversight. I had a conversation with someone in the chats, making this distinction between Korra’s character traits and life philosophy. If she were to kill people while enraged and she was fine with that, that’s one thing. But if she regretted it, that’s a whole other kettle of fish. People argue that she comes from a warrior culture, unlike Aang.

Never mind that warrior monks are a thing. That’s what Shaolin monks are. You can be a pacifist and skilled at fighting. Those things are not mutually exclusive, which is the whole point of Bagua, Aang’s style. And also, Katara’s style.

That’s one reason I like Kataang so much- their congruent styles. Both of their real world martial arts are dedicated to pacifism, even though ATLA specifically doesn’t spell that out for Katara and her learning arc.

There was a meta where someone briefly tried to argue that knowing “martial arts” is against pacifism. No. Quite the opposite. I’d argue that you are not a true pacifist unless you know exactly how to handle yourself if someone attacks you. If you are not in a position to make conscious decisions about how much force to use, rather than merely operating on survival instincts, that is not pacifism. Or at least, not any energy or effort towards pacifism as a practical everyday tool. I’ve made a few attempts to learn some tai chi and aikido, and it’s improved my physical and mental health, but some other things have gotten in the way. #lifegoals

I’m not going to tag the unfortunate soul whom I was replying to, because they’re probably tired of all this, but I’ll be sending them a PM to say that I’ve made this into a different post, because as I mentioned before, threads are somehow considered “owned” by OP, so it’s been pointed out to me that I should separate it. I also said, I have basically ZERO respect for Korra uttering violent threats when the writers already minted a far more emotionally devastated and yet still resilient and centered character earlier in their franchise. People always try to excuse away people who genuinely like Aang more. As if it’s just nostalgia or whatever. For me, no, it’s absolutely not. It is respect for a character who stands toe to toe with real people who are kind in the face of overwhelming injustice. (I have another meta on that).

Both OP and people in the chats try to make excuses that she wasn’t raised as a pacifist, and that would be fine if they had addressed it with Tenzin and she had stated outright that she was rejecting pacifism and mind training. As it is, we are left with this nebulous affair where the lines between ideology and personality traits are blurred.

We are told she “has trouble with spirituality” but what does that even mean? Does she have trouble with focus? Does she have trouble relating to the canonically real spirits? And pacifism specifically nor inner peace that it flows from is never even talked about as an extension of spirituality, which is canonically tied to airbending.

“Aang didn't have to deal once with the loss of his autonomy in atla” OP claims.

This was after I had noted that Aang was getting kicked around by Ozai and was most likely going to die. Similarly, someone in the chat rejected the idea that a 12 year old trapped in a stone sphere that is heating up under a cyclone-sized blowtorch feels powerless.

Sorry but that’s flat out ridiculous.

No one wants to admit that both of these people were faced with similar situations, and when push came to shove, one showed his LIFE PHILOSOPHY through conscious effort, and the other was abandoning the basis of martial arts, which is, no matter what the situation, keep thinking. Hold the panic at bay. Non-attachment would have served her well in this situation. Tenzin should have told her this. Before, or afterwards. It should have been addressed in the writing.

People see this as “bashing” Korra, and oh well, can’t help that. If I think the writers didn’t follow through on their themes, that is my concern. OP said I was “offended.” No, not really.

I wasn’t offended by the post itself, or its commentary. Thought I made that pretty clear.

This is not dramatics. Let me be blunt.

As a ideological pacifist, and an actual practitioner of meditation, based on Buddhism, NOT just the fan of some show, I am for calling out writers who write one way from the survivor of genocide, and then stray from that ‘thoughtless aggression is immoral no matter HOW hurt I am’ to ‘let’s not address this character’s aggression in the narrative whatsoever.’ OP attempted to derail by accusing me of being racist or sexist against Korra. Also ridiculous. It honestly should have set me off more, but it didn’t.

Meditation is about reigning in your emotions. Managing your anger when it gets out of hand, and digging down to the roots of it. Being responsible for your own behavoir. Acknowledging ownership of your own actions. Not blaming anything YOU DO on anyone else or any circumstances in your life. Like an adult, or should I say, an enlightened adult.

Or at the very least, that is the ideal ypu strive towards while being imperfect in the present.

. . .

Now.

I’m going to quote a passage in a Google Doc of mine, even though I’d really prefer if you asked to read the whole thing, with context.

“What do humans do when it is necessary to, or greed makes a nation want to recruit?

They go to the army to get trained, right?

Granted, having someone scream and get spittle on your face is, in the grand scheme of things, poor preparation for having bullets whiz past your chest and grenades shatter your ears. And, what do you do to prepare you for the pain of getting your leg blown off? Hopefully, nothing. Like taking a test where you only got half the study guide. But, it’s about the most ethical way to go about it, right?

Not everyone even sees action. So any more more extensive mental preparation for physical pain than that, and you’d have people definitely protesting.

Well, as it turns out, pacifistic protestors themselves, if they were in the right time and place, also very intentionally do this type of mind training. Except, when they did it, they actually did sit still and took turns roughly grabbing each other and throwing each other down and in some cases, even kicking and bruising each other.

Turns out, those pacifists are, in some ways, more hardcore than the army.

Why is this?

Because a pacifist’s aim, unlike a unit, who wants to gain the upper hand in a situation, is to grit their teeth and grind their way through all those survival instincts, and totally submit.

In this, they aim to get the sympathy of the public, who clearly sees they are not aggressive, or a danger, no matter how much the footage is manipulated or suppressed.

In this, they hope to appeal to their attacker’s better nature.

Make them stop and think, wait a second, are these people a threat like we’re told they are? I’m attacking someone who’s letting me beat them up. Or a bunch of people. All forming a line, and letting us peel them off. Or sitting, and bowing their heads. If I’m on the ‘right’ side of things, the law, why am I doing this?

It’s not like a bully, who’s just a kid.” They’re more self-aware.

And might I add the situation influences a pacifist’s actions too. There’s no reason to let a single or a few random attackers beat you up if you can evade or disable without permanent damage.

Pacifism is a dynamic set of responsive actions informed by values. Not a proscribed set or a checklist.

But in terms of organizing against state power, and recording wrongdoing, which unlike during the Civil Rights can happen from all angles from smart phones nowadays, these are the motivations.

“So, the pacifist knows this, and that’s why they go through all that trouble of training themselves to, not only submit, but not turn tail and run, either.”

See, a character trait is something like being a morning person, or ways of handing information, or a given set of emotions a character feels. Once you cross over into actions, you must make the distinction of whether an impulsive character agrees with their own uncontrolled actions, or is embarrassed or remorseful. Those are life philosophy. Now sure, one type of person or character may be more likely to subscribe to pacifism, but there is no gatekeeping on what you have to feel or how you look at things. You can be easygoing, or feel all the rage in the world, but as long as you at least attempt to have a handle on those desires and feelings to where they do not cross into actions, you are still doing the work of metacognition, which is what martial arts and its accompanying mind training are for.

It’s what we see Aang do.

He’s informed us, during the Southern Raiders, on how much rage and pain he feels.

Pain points, TRIGGERS, that were directly struck at when Ozai gloated over him.

He joins with all the past Avatars for several moments, and just like every other time he is in the Avatar State, he is enraged. He wants to exact revenge on the unrepentant grandson of a baby murderer.

We see it when he turns his head away, face still screwed up in anger.

For another example, I could cite my difficulties in being aware and reining in my tongue sometimes. I know the roots of these issues and I seek to let them go.

It’s just that process takes way longer than Guru Pathik would have us assume.

In fact, I would even say that Aang’s portrayal throughout the three seasons is not strictly a realistic representation of at least the sad side of grief. I addressed that a little when I talked about real life figures. But what it IS, is a metaphor that cuts very deep to the heart of pacifism. As I showed in that Doc . . . There is no limit of suffering a pacifist is willing to go through, internal or external, for the preservation of peace.

This was demonstrated during the Civil Rights, and with Gandhi and all his followers beforehand, inspiring them. The pacifists’ method of swaying hearts is probably the reason BLM exists in such numbers as it does today. Will the types of narratives that correspond with their full stories of the way they collectively planned and trained for and approached conflict make it into fantasy media? I’d say, probably not. For a host of reasons.

It could be hoped for, I guess.

But we DO have Aang.

As for myself, whether speaking sharply is an “action,” per se is up for debate- certainly it doesn’t seem to violate the non-aggression principle put forth by the vision of a “stateless society.”

For another example, let’s take my explanation at the beginning. I am examining how circumstances affected my actions, and now am attempting to fix it, if indeed it needs to be fixed.

At least one person said that it not so much what I said, but how and when I said it. I don’t actually think I’ve said anything “wrong” per se. So I have to figure it out.

[I’m considering splitting up this next part into a second post, as it only slightly relates to pacifism itself and is just kinda some more commentary on Tumblr itself- Tumblr discourse, as it were]

[I’ll put more brackets when I’m done in case you want to skip this part as well]

An interesting social difference between Tumblr and other places is this command you often get, “don’t chat/reblog/message me back.”

This is interesting for several reasons. For chats and reblogs, other people may be following the “conversation,” so it’s actually pretty rude and presumptuous to tell a person not to respond to whatever you said, because other people watching still may be interested in your take.

In a forum setting, if someone involved in a conversation doesn’t have anything left to say, usually they just don’t respond.

This method would work perfectly fine for Tumblr, but for some reason, maybe its super odd format, probably due to the “ownership”/“extension of self” I mentioned at the beginning of the essay, people don’t tend to do this.

Now, in comment sections, sometimes you’ll run across an amusing sort of “mutually assured destruction” where two people both say this to each other. You’d better stop responding. Omg just give up. Why are you still arguing. Etc.

But see, no matter where this behavoir pops up, and no matter who starts in on it, those who do this usually want to have the last say on the matter.

Instead of merely not replying, they want to assert verbal control over the conversation.

Tumblr, in its weirdness, is also sort of like a mutant comments section. You can post comment section threads as your own post.

Which is one reason why I’m puzzled when people say ‘don’t read the comment sections’ when Tumblr is so popular.

I’m an oddball in that I browse comment sections for fun.

Probably due to alexithymia, I didn’t really comprehend the emotional toll it takes on many people, so the warnings to “stay out of comment sections” read to me like “hey don’t eat that dessert.” After I’m done with the ‘meal’ of an article or art, I like to see what lots of different people have to say about it. The fluff. Anything vitriolic I either blip over, or extract anything useful, or if I judge the person is reasonable enough, I might engage.

Sometimes I mis-judge on how reasonable someone is, and I shrug and move on after being cussed out or whatever.

In this, I suppose I succeed much of the time in being a verbal pacifist.

[But let’s get back to the more serious stuff.]

We’re talking about what is done in life or death situations, here.

For myself, I may in the near future be working more with dangerously mentally ill people. I’ve had a little exposure to it through various means. Nurses are obligated not to retaliate against patients, and those who have, have been fired in some situations. Again oddly, this is not primarily what triggers my anxiety. Unfortunately enough, this requirement has also resulted in nurses getting seriously injured and violated. I hope to influence whether “no harm” techniques such as tai chi and aikido and arm locks may be allowed. The voluntary philosophy I was luckily already on board with is enforced by bureauacracy, directly relevant to my potential profession.

Were someone to get involved in a dangerous profession, such as a police officer, their moral duty would also be to own up to any spur of the moment anger or fear they acted on.

It’s just that their bureaucracy acts differently, in excusing their actions.

Ideally, they would be taking steps far in advance, to avoid this often-cited fear of death reaction. As training pacifists like Aang do.

And yes, army people are trained differently than police officers because the army, often, even when threatened, is supposed to avoid engagement or deploy deterrents that are non-lethal almost all costs, unless ordered otherwise. Whereas American police are given pretty much complete discretion and often not taught de-escalation techniques. Even police from other nations are better trained in that regard.

Enter the ironically named @avatarfandompolice whose account description should really speak for itself. Combative, dismissive, and their attention-hungry bread and butter is to find people they think it’s acceptable to ridicule. They basically tried to say trauma was a valid excuse to take out your anger on other people, and in this situation, potentially kill.

Now, does this hold up in the real world? Yeah, sometimes. Especially if some law breaker or law keeper has not been given the anger management tools, they perhaps could be excused, or better yet, rehabilitated.

But especially if anyone finds themselves in dangerous situations, or intends to put themselves in such, it falls to them to do this preparation.

As an aphant, I am at a bit of a disadvantage, compared to an average martial artist, being unable to visualize an attacker. But I still attempt it.

As the main “police officer” of the world- the coincidentally blue clad figurehead that is supposed to keep order, it is apparently fine for Korra to not do the work Aang did to keep level. To blow it off as too much trouble: clearing the First Chakra of fear. For herself or others. And its resultant anger. Had she had access to the Avatar State, the authority figure pretty much would have killed people. This is what the “fandom police” and a certain chat goer ultimately support. Maybe they didn’t understand it that way, and since the second had blocked me, they will also never see this explanation. Unless I were to share it in Google Doc form I suppose.

So, I responded. “Remember kids, you are not responsible for your own behavior if you have the excuse that someone else did something bad to you.” A frighteningly common sentiment on this site.

When it’s low stakes like CAPSLOCKING or internet fights, that’s not such a big deal. But what happens if this attitude leaks into the real world? This isn’t even about Korra or Aang anymore, it’s about toxic mindsets. I didn’t know fans taking pro-Korra posts as anti-Aang was a common in the fandom. I’ll say again I’ve only just gotten really active on Tumblr like the past few months. This is about pacifism itself. MLK and his hardworking, training followers (yes some of them sixteen and POC and not super-powered like Korra) facing down firehoses and staging sit-ins long trained for would shake their heads at this defense of reactionism.

Pacifism is not a Personality Trait.

It is deliberate actions and preparation taken over a period of time.

Then the “fandom police” tried more of this, and these two conversations ensued, the comments with another user resulting in the title and main thesis of this essay:

https://captlok.tumblr.com/post/638777472806273024/avatarfandompolice-response-to-my-independent

https://captlok.tumblr.com/post/638806142933467136/the-plight-was-not-what-i-was-getting-at-it-was

#atla #lok #atlok #atla meta #pacifism #martin luther king #civil rights era #history #blm #mlk #mlkday2021

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stewblog · 3 years

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ROADRUNNER: A FILM ABOUT ANTHONY BOURDAIN

Roadrunner: A Film About Anthony Bourdain, for the majority of its nearly two-hour runtime, is an often moving, warts-and-all portrait of a complex man who both was and was not the personality that millions watched travel the world.

Director Morgan Neville’s film gives a largely unbridled look at the way the late Anthony Bourdain unwittingly went from exposing the dark underbelly of restaurant kitchens into fostering an entire career that became as much about examining the human condition as it was about eating exotic food. Roadrunner isn’t what one would declare to be a definitive examination of Bourdain as it all but ignores his life before reality television came calling. But as a film that digs into the question of “Why would a guy like Anthony Bourdain spend half his life on television?” it’s a fairly thorough, albeit problematic, examination.

And that question does seem to be one worth asking. Bourdain’s nature as an acerbic, brash, occasionally crass, personality seems like the complete opposite of what some would consider to be a foundational source for years worth of television programming that would come to be considered beloved, even inspirational, by countless viewers the world over. This seems like the perfect time to note that I was one such viewer. I’ve watched nearly every single TV episode Bourdain ever filmed (A Cook’s Tour, his first show, is hard to find so I’m more than a bit behind on that one). I’ve read his breakout book, Kitchen Confidential. And I wept on the day the news broke about his death by suicide. Bourdain’s work through No Reservations and Parts Unknown had become beacons of comfort and inspiration for me, especially over the last several years when it began to feel like empathy for anyone beyond our national borders grew more and more scarce. There was nowhere, literally nowhere, in the world where he would go and wouldn't find something and someone worth lifting up and showing the best of. He saw beauty and grace no matter where he traveled.

It’s clear Neville himself was similarly impacted and thus goes to great lengths in this attempt to unravel the knot that was Bourdain, interviewing everyone from the producers who first put him on television to Bourdain’s second wife to the various chefs, artists and musicians he considered friends or peers. All of them remember the man in a largely similar way: What you saw on-camera was very much who he was, albeit amplified. Yet he also relished his time off-camera both because he was often fairly shy and taciturn, and also because it allowed for a brief respite from the perpetual grind of traveling and filming more nearly 300 days a year.

What’s somewhat frustrating, however, is that the film doesn’t really reveal much in the way of new or enlightening information about Bourdain, at least if you’re already a fan or follower of his work. Such, I suppose, is one of the challenges of documenting a life already thoroughly documented. There is little to chew on here that one wouldn’t also gather from watching a half dozen or so curated episodes of his shows, or in his writing. But if you, unlike me, aren’t terribly familiar with Bourdain, then Roadrunner will provide a succinct primer.

Neville’s real sin, however, is in how he handles the topic of Bourdain’s death. His suicide, more specifically, and what may (or may not) have lead to it.

Roadrunner is not shy about the topic of Bourdain’s death. The film is, arguably, entirely centered around the subject, often in the form of Bourdain’s own words. He had no qualms joking about death, about killing himself. Often it comes across as simply his own morbid sense of humor and the fact that he often enjoyed making others feel uncomfortable. Bourdain also had an addictive personality, kicking a heroin addiction and, as the film and its interviewees suggest, simply substituted drugs for whatever would become his new, immediate obsession. This would range from movies to studying and practicing jiu-jitsu.

This all comes to a head once Neville begins to touch on the subject of Asia Argento, Bourdain’s girlfriend at the time of his death. Estranged from his wife, Bourdain and Argento dated for about two years. Over that span she became more and more involved in the production and crafting of Parts Unknown, much to the distaste of Bourdain’s longtime production crew. Neither the crew interviewed nor Neville himself ever explicitly blame Argento for driving Bourdain to suicide, but that’s practically a technicality given the presentation. Neville at one point has someone very directly state that Bourdain was solely responsible, but it almost feels as though Neville inserted the statement to cover his own legal hide as much as anything resembling a fair portrait. The insinuation is made all the more frustrating given that, according to his own statement in an interview, Neville didn’t even attempt to interview Argento.

Thankfully, this material makes up a relatively minor portion of the film. The way it’s handled isn’t enough to make me steer anyone away from it, but it is something viewers should very much be prepared for.

Ultimately, Roadrunner is worth a watch. It may not present much new, but I must admit it was still a joy for me to be able to watch one of my heroes on the big screen and to hear people who loved him speak so fondly about their time with him.

#anthony bourdain #bourdain #tony bourdain #no reservations #parts unknown #asia argento #roadrunner #morgan neville

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aer-in-wanderland · 4 years

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구미호뎐 | Tale of the Nine Tailed - Lost in Translation EP02

Back by, possibly not popular, but certainly very enthusiastic demand: my sister’s and my continued adventures in mistranslation and cultural subtext. You can find EP01 here. Buckle up and settle in for another monster post because, wow, a lot happened in this episode. Contains spoilers.

Prologue

We open with a sweeping view of Baekdudaegan as Yeon narrates about his past as the god who presided over it. For context, Baekdudaegan is the biggest and most famous mountain range in Korea, taking up an enormous swath of the Korean peninsula (to the extent that it’s often referred to as its ‘spine’ or ‘backbone’). So Yeon wasn’t lying when he said he was a ‘major’ mountain god. ;)

Yeon: You could say these were my Leeds Days. I was the master of Baekdudaegan, a mountain god who controlled the wind and rain,* and a gumiho who was, from the start, of a different caliber than the mongrel foxes you see in Hometown of Legends. ...Or, I was.”

[*Note: Can also be taken to mean ‘the natural elements’ in general.]

When Yeon refers to his ‘glory days,’ the term he uses is ‘Leeds Era’ (리즈시절). Originally a sporting term for the height of a footballer’s career, in Korean, the expression has come to be used to describe a person’s bygone glory days. The modern figure of speech (complete with English loan word) makes for a funny counterpoint to the Yeon we see on screen and recalls the mint-chocolate loving American TV show enthusiast we’ve known him as so far.

The other modern reference he makes is to Hometown of Legends (전설의 고향), which has been the title of numerous dramas and movies (1977-2018) centered around Korean myths and legends. This is basically the equivalent of an alien referencing the X-files. Overall, the narration serves to remind us just how modern our gumiho has become and clashes humorously with the visual onscreen.

Yeon’s above narration concludes with the first appearance of little Ah Eum, who immediately proceeds to pet the mighty master of Baekdudaegan as if he were her pet dog pfft (thus the ‘....or I was.’)

As an aside, tvN released some backstory information revealing that Ah Eum had gone to find Yeon in order to pray for rain. Which means she pet him in spite of that lol We also know from the past-life sequence in episode 10 that she had actually been warned never to venture anywhere near his mountain because a 1000 year old gumiho lived there. It’s almost as if her guardians don’t know her at all...

For anyone keeping track, Ah Eum uses banmal with Yeon from the very beginning. We find out why later. As a princess (even one who had been discarded), she’s used to outranking everyone around her and therefore speaking almost exclusively in banmal. To be fair, with her temperament, Yeon being a 1000+ year old mountain god probably just wasn’t enough to get him an automatic pass from her. Point for Ah Eum/Ji Ah character continuity.

Yeon: If I could rewrite* my past just once, I would return to this moment without hesitation. So that that child could never find me.

[*Note: Literally, ‘A/S my past,’ which I’m pretty sure has its roots in computer usage. So again, thoroughly modern vocabulary from the former master of Baekdudaegan.]

We transition from young to grown Ah Eum with a sweep of the Red Umbrella. According to tvN again, this umbrella was actually a gift from Ah Eum to Yeon, and it’s also the same umbrella Yeon still carries everywhere. It’s somewhat poetic, then, that it was this umbrella that lead Ji Ah to him. So, a meaningful item on multiple fronts.

Yeon: Some called it, ‘the scandal of the age that shook Baekdudaegan.’ To think, a mountain god who had given his heart to a human... Nowadays, it would have felt like a disciplinary hearing, but I didn’t care a whit. I liked her [presence] permeating my woods.

As you might have guessed, this love story ends in tragedy. Someone stole her life. Once she crossed the River of Three Crossings, I would never be able to see her again. I couldn’t hold on to her, but nor could I bear to let her go...so I resorted to abusing my power.

The BGM playing as Yeon narrates the ending of his tragic story is ‘The Parting at the River of Three Crossings,’ which I think of as the epic love theme of TotNT alongside ‘Sad Fate.’ Why do I keep mentioning the BGM? No reason, other than that it interests me. ;)

On a linguistic note, Yeon’s line, ‘Someone stole her life’ caught my attention from the first time I watched this due to his unusual usage of the word ‘life.’ Korean has multiple words for ‘life.’ The one that would typically be used in this context is ‘moksoom’ (목숨), which I think of as having the nuance of one’s life force. So to steal one’s ‘moksoom’ would mean to kill them. Instead, he uses ‘insaeng’ (인생), which is more like the life one leads. To steal someone’s ‘insaeng’ sounds more like a case of identity theft. As we find out later, that actually is what Imoogi did, and this hinted at that linguistically.

I’m not sure how well this translated, but the gesture of Yeon kneeling is both epic and heartbreaking. Kneeling is a very weighty gesture in Korea, so for Yeon to use his godly powers to freeze the very River to the Afterlife only to kneel and beg for one last moment with Ah Eum is just... It’s a momentous enough gesture for Taluipa, the ultimate stickler for rules, to make an exception and grant his request.

The fox bead: In Japanese lore, a fox’s bead is often akin to its life force, but that’s clearly not the case for Yeon. In Korean lore, fox beads are sometimes called ‘the treasure of a fox’s lips,’ since the bead is supposedly located within the fox’s mouth (and can thus be stolen/gifted with a kiss). Some tellings claim that someone who swallows a fox’s bead gains understanding of all things and phenomena in the universe, while others say they grant the bearer’s wishes.

Yeon continues his narration, describing how he’s encountered women with Ah Eum’s face over the centuries, but that none of them were her. For anyone interested, you can find my hot take on that here.

Okay, can we please have a spin-off of Yeon hunting down folklore monsters in Japanese-occupied Korea Gaksital (2012)-style?

Fun fact: Based on some of the still cuts they released, there was actually a deleted scene in which Yeon pulled the late-Joseon era Ah Eum look-alike aside, checked her for the fox bead, and then erased her memories. (And by ‘fun’ I mean, ‘why would you delete that??’)

“I’ve been waiting for you.” Iconic.

Fun fact: Lee Dong Wook picked this as the most memorable line of the drama due to it’s thematic echoing across multiple episodes.

On the topic of the tranquilizer, there was a deleted scene in episode 1 in which Ji Ah very openly 'borrowed’ it from Shin Joo’s vet clinic because she already suspected Yeon was a fox: fox fur, Fox Ridge... She was taking a pretty big gamble though since he’s not exactly your average fox.

It’s worth noting that Ji Ah doesn’t say she was ‘looking’ for Yeon (although she was, because she’s a go-get-‘em kind of girl); she says she was ‘waiting’ for him. I took this to mean she was waiting for him to return and make good on his threat to kill her (since, not only had she not forgotten, she’d been actively sticking her nose into anything remotely supernatural or unexplainable), at which point, presumably, she planned to turn the tables on him.

Episode 02 Title Card: I’ve Been Waiting for You

For anyone wondering how Ji Ah managed to get Yeon back up to his penthouse, apparently she told the security desk her boyfriend was drunk and boldly took him back up in the elevator (presumably with help) haha

Possibly coincidentally, Yeon’s first line to Ji Ah when he regains consciousness is the same as his first line to little Ah Eum: ‘Do you want to die?’ (minus the sageuk speak)

Ji Ah’s line, “I wouldn’t be sipping tea here if I was worried about that,” would more literally be: “If I valued my life, would I be sitting here drinking flower tea?”

Lol Ji Ah. “Want a cup?” is such a classy power play.

Sub: “After the stunt you pulled, you’re actually offering me tea?” Ha. Also, what Yeon literally says is: “You pulled that variety-esque stunt, and your next line is what? ‘A cup of tea’?” ‘Variety’ here is an English loan word meant in the sense of ‘variety shows’ (ex. Running Man or 1 Night 2 Days), though to my knowledge, no one has ever been tranquilized on one.

The following exchange was littered with enough small things I would have changed that I’ll just translate the whole thing here for reference:

Ji Ah: When a man and a woman have that level of physical contact, don’t they usually also drink tea or eat meals together, too? These days, the whole pure and noble act doesn’t go far.

Yeon: Whether it does or not, when you’re at a disadvantage, isn’t it considered common courtesy to come [to the table] having put aside either your pride or your self-esteem [i.e. at least one of the two]?

Ji Ah: Listen until the end before you determine who’s at a disadvantage.

Yeon: (Nodding) In exchange, if my thinking still doesn’t change, you’ll pay the price for having tested me.

Ji Ah: Price?

Yeon: Your sight (literally ‘eyes’). I’ll be taking your eyes that have seen what they shouldn’t have.

Ji Ah: Deal. (literally, ‘call’ as in poker)

Rang & Yoo Ri Crash a Funeral

In the off chance you were wondering why this is basically the only time we see Rang driving Yoo Ri and not the other way around, it’s because Yoo Ri is ‘in character’ as the daughter of a major conglomerate and wouldn’t be expected to drive herself if there was another person in the car. In Korea, there’s a whole code of etiquette around who sits where in the car.

Instead of ‘Lee Rang-nim’ the subs have Yoo Ri addressing Rang as ‘sir.’ That just strikes me as so distant and cold...

To my thinking, this scene was peak ‘Hoket-dan.’ It was nearly the same level of over-the-top campy as some of the old supervillains. If I’m being perfectly honest, I was worried at this point that Rang’s character would turn out to be equally 2D. Joke’s on me though, ‘cause this later became a hilarious character quirk when Sajang says to Rang, “It can’t be that you came to enjoy watching me die?” and Rang responds, “I love doing that! Look, I even brought popcorn. I even go about visiting funeral homes and stuff on purpose.” lol

Ji Ah’s Gamble

Okay, but Yeon actually took her up on tea haha I love it.

Subs: “So you’re a fox that’s pretending to be human.” The word they use here (and throughout the drama) is ‘doongap’ (둔갑), which is literally ‘to assume the form of.’ Unfortunately, there’s no verb in English that neatly conveys that, so this gets subbed a lot of ways. I’ve mostly been translating it as ‘transform,’ but that’s more properly ‘byeonshin’ (변신). Sometimes with translation, the best option still isn’t great.

It’s also worth noting that this is actually not what Yeon is doing here, since he sees those sorts of tricks as beneath him. Yeon is a cheon’ho; his human form is his own.

Sub: “What a lame reaction. A normal human being would scream...” More literally: “What kind of reaction is so lacking in sincerity? Generally, if [you’re] a human, I should at least get a scream...” Again, both ‘reaction’ and ‘scream’ are in English, and, somewhat humorously, Yeon uses the verb + juda (주다) form, implying he was hoping to elicit a scream with his reveal pfft

Sub: “No. I knew something like you would exist somewhere out in this world. I started directing a TV show about urban legends so I could catch you myself.” This is mostly fine, but what she says more literally is: “No. I knew something like you would exist somewhere in this world. In order to catch [one] myself, I buried my bones in a TV show about urban legends.” To ‘bury ones bones’ means ‘to devote oneself entirely to’ and implies more drive and dedication than in the sub. The subject is once again omitted, so she could mean Yeon, but I think she actually means ‘things like Yeon’ more generally.

Yeon’s line to Ji Ah when she asks him about their long ago encounter was subbed as: “I followed the smell of blood, and I ended up saving a little kid. But I can see that she’s very ungrateful.” I would translate this as:

Yeon: I smelled blood and followed it, and ended up saving some little girl (lit. young child), but now I see that that child is trying to repay a favor with enmity.

The expression Yeon uses here, to ‘repay a favor (eunhye) with enmity (wonsoo),’ is a common turn of phrase. It’s the Korean equivalent of ‘biting the hand that feeds you,’ or ‘repaying good with ill.’ Considering eunhye has actual consequences for Yeon, he doesn’t seem all that put out.

Lol Something about Lee Dong Wook’s delivery of Yeon’s line, “So you lost your parents...” reminds me of the Oscar Wilde quote: ‘To lose one parent may be regarded as misfortune; to lose both looks like carelessness.’

Sub: “I’m not threatening you. I’m taking my chances.” This should be: “You’re mistaken. I’m not threatening; I’m gambling.” This turn of phrase is rather clever in Korean since ‘threat’ (협박) and ‘gamble’ (도박) are only one syllable off. In terms of the subs, while ‘gambling’ and ‘taking my chances’ are similar on the surface, they’re different enough in nuance that I would consider this a mistranslation. ‘Gambling’ implies an informed, calculated risk, whereas ‘taking my chances’ gives the impression of improvisation and leaving everything up to luck.

The Funeral Parlour

This scene is Rang in a nutshell. I actually don’t have much to comment on linguistically, but it was definitely an important scene for establishing Rang’s MO and motivations.

Shin Joo & Yeon

Yeon and Shin Joo meet up at the ice cream parlour to debrief on the situation with Ji Ah, and it’s cute how Shin Joo is more indignant over what went down than Yeon.

Subs: “It’s like we exist to repay people for their kindness.” This has been grossly paraphrased due to lack of cultural context. His line is literally:

Shin Joo: It’s not as if we’re magpies meticulously repaying our eunhye! Geez, how long do we have to be bound by that sort of premodern contractual relationship?”

This is another Korean folktale reference, this time to the story of The Grateful Magpies. I elaborated on it a bit here.

Yeon: “It’s old-fashioned but romantic. And it's also a fox’s dignity.” ‘Romantic’ here is the French loan word ‘romang’ (로망). In contrast to the English ‘romantic’ (which is also used), ‘romang’ is used to refer to ‘anything marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious, or idealized.’ ‘Dignity’ could also be translated as ‘grace of character.’ Yeon’s preoccupation with style/swagger/dignity is enough of a recurring theme (and occasional joke) that it features in his character profile.

For anyone keeping track, Shin Joo refers to Ah Eum as ‘Ah Eum agasshi.’ ‘Agasshi’ meaning ‘miss’ or ‘lady.’

Shin Joo’s line is subbed, “Does she bother you?” but it should be: ‘Does it bother you?’ where ‘it’ refers to the fact that Ji Ah so closely resembles Ah Eum.

Sub: “I’ve seen tons of people who looked like her for hundreds of years.” It’s actually not ‘tons of people,’ but ‘a couple’/‘several’ over the course of hundreds of years. Let’s be honest, people as pretty as Jo Bo Ah just aren’t born every day. ;)

Yeon’s line may be overly blunt, but it’s sweet that he calls Shin Joo, ‘Shin Joo-ya.’

Back over to Ji Ah. The way this scene suddenly switches from sentimental to horrifying is great. I also like that it’s unclear when she fell asleep. The boundary between reality and unreality is as blurred for the viewers as it is for Ji Ah, and it leaves us with a similar sense of disquiet.

In case it wasn’t already clear, it’s the tooth on this skull that leads Ji Ah to Eohwa Island. She sees a skull with an identical tooth in the news and goes to investigate.

Afterlife Immigration Office

LOL Hyeonuiong briefing the newly departed on death via powerpoint is hilarious. The powerpoint reads: ‘A Guide to Hell for the Dead, Presenter: Hyeonuiong.’ The red sigil on the right bears the characters ‘十王’ (the Ten Kings), so I guess this is an official, Afterlife-approved slideshow. heh

Side note: I’m impressed with the way this show seamlessly shifts between genres. We went from emotional to creepy to funny without it feeling forced or jarring (or at least, it didn’t to me).

The powerpoint (complete with webtoon) continues cheerily: “Hell! What is the Afterlife?” / “The 10 Types of Hell.” pfft Who made these slides? Whoever they are, point to them.

Subs: “You know King Hades, right?” WOW This is bordering on cultural whitewashing if you ask me. This should be King Yeomra (aka King Enma). He’s one of the Ten Kings of the Afterlife, and quite arguably the most famous.

The sub here says Taluipa is Yeomra’s older sister, which is understandable since the antiquated word Hyeonuiong uses (누이), doesn’t specify older or younger. We find out in the final episode, though, that Taluipa is actually Yeomra’s younger sister. As far as I’m aware, this is not part of the original lore.

Lol Yeon being a drama king: “I’m going to take revenge! Thanks to her, my obligatory military service has already gone on for 600 years~!” (You’re not fooling anyone, sir)

“No way! A man’s hair is his life! My red-brown...” Fun fact: It was actually Lee Dong Wook’s idea to make Yeon’s hair red-brown, both as a nod to him being a fox, and to give him a more otherworldly look.

Why do the gods keep saying reincarnation is random when everyone we see reincarnated kept their face??

‘Oh my god” lol Watching kdrama characters react in English never gets old. Possibly because there’s something exaggerated or overdramatic in the conscious decision to use English instead of Korean.

A++ response from Yeon. I saw something going around to the effect of, ‘this show really just said love is love,’ and I love that. Point to the writer.

The BGM here is once again ‘Thread Rings.’ Given where it keeps being used, I’m fairly certain they’re somehow related to Ji Ah/Ah Eum... (So I guess there actually is a reason I’m paying attention to the BGM ;p). Lee Dong Wook just disclosed the behind the scenes scoop on the rings in his latest VLIVE.

This bulgasari is such a mild-mannered person. Like Shin Joo, he calls Ji Ah ‘PD-nim’ and speaks politely and deferentially.

Not for anything, but I really liked Jo Bo Ah’s delivery of Ji Ah’s line, ‘I saw a corpse.’ Her little mannerisms really sold Ji Ah to me as a person and not just a character.

Bulgasari: “That dream, can you sell it to me? I want to play the lottery.” In addition to the concept of symbolism in dreams, Koreans also have a common notion that dreams can be bought and sold. It’s funny, though, when you consider he’s probably just planning to eat the dream.

I love whenever Taluipa calls Yeon, ‘Yeon-ah.’ She’s normally so prickly that it’s notable when she's affectionate. Also, seeing as Yeon is older than 95% of our characters, there aren’t many who might address him like this with the affectionate diminutive.

Heh, Yeon refers to Ji Ah’s favor as a ‘civil complaint.’

When Yeon asks Ji Ah for her parent’s times and dates of birth, what he’s actually asking for is their ‘saju’ (literally, ‘four pillars’). You can find my explanation here.

The Snail Bride

Bok Hye Ja: “It’s the first time he’s brought someone (literally ‘a person’).” Normally this would mean, ‘it’s the first time he’s brought a guest,’ but in this case, I’m fairly certain she means, ‘it’s the first time he’s brought a human.’ ;)

“I won’t ask you to understand.” This was another exchange that made me love Ji Ah. I found her frank and sincere apology refreshing.

On a personal note, I loved watching Yeon recalibrate his estimation of Ji Ah in this scene. And it was also a scene in which viewers got to recalibrate their impressions of Yeon. Yeon is feigning indifference, but he makes a point of asking after Ji Ah’s feelings, which is not insignificant. It’s also in sharp contrast to what we’ve seen of Rang so far.

Oh my gosh, THAT PUFFBALL DOG (and it’s name is Bean-ie) XD

Minor detail, but where did Shin Joo get his necklace? Wait. OH MY GOD. Shin Joo is the Aquaman of TotNT. Yeon gets to be Batman and Superman rolled into one and Shin Joo’s power is that he ‘talks to fish animals.’ Dead.

Lol Ji Ah watching Yeon eat. I feel like this is a running joke. In the tales, gumiho notoriously eat people’s livers, so seeing him eat normal food must be a bit eye-opening.

The text description for Shin Don was left untranslated in the version we’re watching but it reads: In A History of Goryeo, there’s record of Shin Don, a monk from the time of King Gongmin’s reign (1351-1374 C.E.), having been an old fox.

Subs: “Is it true that the monk of Goryeo Dynasty was a fox?” Us: ‘Yes, the one monk in all of Goryeo and for all of Goryeo. Guess he’d have to have been a fox in that case.’ This should probably have been translated as: "So then, Shin Don...is it a fact that the Goryeo monk Shin Don was a fox?”

Ji Ah: “Oh my god.” heh

Do You Really Want to See It?

Wait, they walked all the way from Insadong to Digital Media City? Okay, this is one of the (few) pitfalls of being fairly familiar with Seoul. Sometimes it’s really obvious when two locations don’t connect and then it pulls me out of the drama. I think we’re supposed to believe that the Snail Bride is in the vicinity of Ji Ah’s broadcast station, seeing as her team are lunchtime regulars, but the the two neighborhoods are nowhere near each other.

Yeon’s line in the subs here is: “A. I’m a busy man. B. We may currently be living in the same world, but there is a big difference between where we come from.” Personally, I would have translated this as: “Firstly, I haven’t got that much free time. Secondly, we may be unavoidably living mingled together, but the world I belong to and the world you belong to are incontrovertibly different.”

Subs: “Those who got a peek at my world ended up going crazy or dying young.” More literally: “In the past, there have been those who got a glimpse of the world’s secrets. Well, most of them either went mad or had their lives cut short.”

Minor detail, but Ji Ah’s response subbed as: “I don’t care. I’ll stay out of your way. Just don’t disappear.” should more literally be: “Just don’t disappear from my sight (lit. ‘from before me’).”

The sub on Ji Ah’s line here reads: “She (Sae Rom) and I both had nightmares.” What she actually says is: “Me and my hubae also had nightmares,” meaning that she (Ji Ah) and Jae Hwan had nightmares in addition to Sae Rom. Which is why Yeon refers to them as ‘contagious’.

Okay, is it just me, or does LDW look exceptionally unreal in this scene?

Bulgasari

I’m not familiar with the actor who plays the bulgasari (pretty sure he’s a new face), but he did a great job making his movements uncanny here. The firey CG effects are fun too.

Heck yeah! Yeon sure knows how to make an entrance. Seeing as how he instructed Ji Ah on what to do, I’m pretty sure he was there the whole time......show-off.

Once again, I’m digging the fight scene underscored by ‘The Uninvited.’ I would happily watch an entire series that’s just Yeon and Ji Ah solving supernatural cases and hunting down baddies who disturb the peace.

The Smirk™ XD I’m 90% sure this was another LDW ad lib.

Lol Yeon. Subs: “Really? Then am I the jerk here?” More literally: “Really? Then I guess I’m the only bad guy, huh?”

On a linguistic note, the bulgasari speaks to Yeon in old-timey speech, once again playing up their mutual identity as creatures of lore.

It’s only at this point that, prompted by Ji Ah, Yeon finally reveals the bulgasari’s identity. This is accompanied by a brief chyron telling us that they appear when the world is in disorder, and Ji Ah supplies that they eat nightmares.

To elaborate a bit, bulgasari are one of the better known Korean creatures of lore. There are two different sets of hanja for them: (bulgasari 不可殺伊 ‘can-not-kill’) and (bulgasari 火可殺伊 ‘fire-can-kill’), which explains why, depending on the telling, they’re either un-killable or only die by fire. In traditional lore, feeding them metal makes them grow larger and stronger, which, while not the case in TotNT, is probably what inspired the coin-gobbling.

Subs: “Yes they are especially fond of broadcasting studios, which are packed with people. Eating metal reveals their true identities.” That subtitle went a bit sideways. It’s not that they like broadcast stations in particular, but crowded places like broadcast stations. So it should read: “They like places with lots of people, like the broadcast station, and if you feed them metal, they reveal their true colors.”

Okay, Yeon’s line that’s subtitled as, “The hostage will answer,” is more literally: “Hey, hostage. Try answering me.” It’s worth noting that, while he calls her ‘injil-bun’ (injil = hostage + bun = the polite word for a person), he’s still speaking to her in banmal, so he’s once again being cheeky.

It’s taking some license, but I would translate Yeon’s question to Ji Ah here as: “In this moment,* what exactly can you do other than rely on me to save you?” which is essentially what he means. [*Note: literally, ‘at this timing,’ and once again, ‘timing’ is in English.]

We get a series of short scenes lining up some of the side characters who will become our key players on the island: the fisherman find the severed head, Ji Ah grills Detective Baek about the case, and Rang approaches Pyung Hee with his usual devil’s bargain pitch. I didn’t really notice anything here that I think is important enough to the central plot or characters that it’s worth commenting on (especially given how massively long this post is already), so I’m just going to call it good and move right along. ;)

Pfft I definitely wasn’t expecting the bulgasari to be literally chilling in Yeon’s freezer (not that he had a choice). This is somewhat interesting given they’re typically thought to be weak to fire, not ice.

Subs: “I’ll die even if I tell you where he is.” More literally: “Whether I die in this way [by Yeon’s hand], or that [by Rang’s], it is all the same.”

Brother Complex

Sub: “Don’t even think of hurting her.” More literally: “Just try touching one hair on her head.”

Oh my gosh Rang’s face ㅠㅠ This was the first time I felt Kim Beom really got to display his acting chops in this role, and boy, was I glad to see it. This was also when I knew Rang was going to make me cry.

Yeon: “You’re acting like this because you lack affection.” The expression Yeon uses is ‘aejeong gyeolpip,’ which literally does mean ‘affection lack/want/absence,’ but I would have translated it as ‘affection-starved,’ since saying Rang ‘lacks affection’ could also be interpreted to mean Rang is incapable of expressing affection.

Yeon: “Why’s that?” Lol Lee Dong Wook. Also, this one line is cheekily in polite speech.

Subs: “Just because of a woman you gave up your position as a mountain spirit, left the mountain, and you even...” More literally: “Just because of one mere human woman you gave up your position as a mountain god, turned your back on the mountain, and..!!”

Yeon: “Yes, I know. I even abandoned you.” Rang-ah~ ㅠㅠ I recently received an ask as to whether or not I believed Yeon had truly abandoned Rang, which I answered here.

Oof, Yeon giving Rang advice as an older brother. In Korea, nagging is seen as a sign of affection. You may recall Ji Ah was very excited for her dad to nag her about her boyfriend in episode 12.

Sub: “You crazy fool.” Rang literally calls his brother a ‘michin nom,’ ‘michin’ meaning ‘crazy.’ ‘Nom’ is a pronoun that, depending on how it’s used, can mean anything from ‘guy,’ to ‘jerk,’ to ‘bastard.’

Sub: “I don’t need to know.” Actually: “There’s no need [for you to tell me].” The two are subtly different. Yeon’s saying he’ll find out on his own, not that he doesn’t want to know.

Fun fact: Kim Beom said in his script reading interview (before they started filming) that he was a bit worried about his onscreen dynamic with Lee Dong Wook because, while Rang has to hate Yeon, LDW is a hyung that KB likes so much in real life. What a cutie.

We cut briefly over to Ji Ah on the phone with Jae Hwan, asking him to look after Sae Rom while she chases down the skull lead.

As an aside here, Ji Ah calls Sae Rom, ‘Kim-jak’ (short for ‘jakga,’ meaning ‘writer’). In Korea, it’s common to refer to someone by their role or title. This might indicate distance, but Ji Ah’s shortening it makes the term familiar and speaks of their camaraderie. In the subtitles, this has become, ‘Ms. Kim,’ which is oddly distant given their frenemyship.

The Island

Is it just me, or does it feel like there should have been a scene here explaining how and why Yeon came to be on the boat? I’m assuming it got deleted due to time constraints, but I feel like it was needed.

Pfft The way Ji Ah pops up from behind Yeon, cutting comically into the dramatic shot of Lee Dong Wook’s windswept profile + BGM was great.

In case it wasn’t already apparent, Kimite patches are used to alleviate sea sickness, so this is further undermining the mood of a second ago haha

Yeon’s line is subbed: “I’d like to keep it to myself,” but this should more literally be: ‘Let’s each work individually/play it solo.’

Sub: “No, thank you.” What Yeon actually says: “Hard pass.” hahaha (Literally: ‘I’ll immediately/urgently decline,’ but tonally, ‘hard pass’ is closer).

The subs have Yeon’s line as: “You need to be careful what you pay attention to.” I would have translated this as: “If that’s the reason [you’ve come], go back. You mustn’t recklessly lend an ear [to such things].” His tone and phrasing are both surprisingly gentle.

Subs: “My guts keep telling me, that this is a very suspicious combination.” Well, my guts keep telling me, that this is a very suspicious sub haha I would have translated Yeon’s voiceover as:

Yeon: The same boat...the same island...a woman with the same face as that girl. My instincts speak to me relentlessly, telling me there’s something amiss about this combination.

Pfft The contrast between Ji Ah's dismount from the boat and Yeon’s.

Lol Yeon’s ‘excuse me’ was totally rude

For the record, from the moment Yeon sets foot on the island, he speaks to everyone in banmal. That’s bad form towards any stranger, but it’s especially rude considering their age. Sure, Yeon’s way older, but they don’t know that.

Ji Ah mouthing “What?” in English haha

Yeon clocking the effectively creepy villagers. Turns out the right BGM and camerawork can make anything creepy. Point to the director.

Settling in on the Island

Ji Ah’s line subbed as, “I thought you didn’t want to be involved,” should more properly be: “I thought you just said we should each play it solo?”

Yeon’s line is similarly mis-subbed as: “I changed my mind. Don’t let it bother you.” What he actually says is much ruder: “I’ll do what I want! Butt out.” Which explains Ji Ah’s affront heh

Lol Yeon walking right in front of the camera. Anyone who has ever had a pet recognized this moment.

I love how Yeon is being completely tactless and insensitive but then grudgingly course-corrects when Ji Ah glares daggers at him.

Fisherman (subs): “It gives me a bad feeling in my mouth.” Excuse me, what? haha The line is: “The more I think about it, the more it bothers me.”

Lol Ji Ah: “In the documentaries I watched, they say digging holes is your speciality” (complete with digging gesture).

Fun fact: Ji Ah blocking the way with her leg and Yeon burrowing under it was something Jo Bo Ah and Lee Dong Wook came up with themselves. Ji Ah’s line was scripted, but I’m nearly positive Yeon’s comeback of, “Burrowing is my speciality,” was an ad lib by Lee Dong Wook. Once again, casting Lee Dong Wook is the gift that keeps on giving.

WAIT. Subs: “You can’t go.” / “Borrowing is my specialty.” Hahaha What even? Cheon’ho Lee Yeon: professional mooch.

The way we then cut to Yeon ‘burrowing’ into a freezer of ice cream is just perfect. Point to the director.

Once again, Yeon is talking to all the village elders in banmal.

“You have a terrible service mentality.” pfft

OH. Ji Ah’s response to the misogynistic fisherman is just A++

Her line here is literally: “Oops, I’m afraid I’m overflowing with ‘jeong.’” ‘Jeong’ (情) can be a little hard to translate. It literally means ‘emotion’ or ‘affection,’ but the way it’s used linguistically can be a bit complex. The sub here was: “I’m afraid I was too generous,” which I actually think is pretty decent. The turn of phrase in Korean though, using the word ‘overflowing’ while over-pouring on the man, made her response doubly witty.

Hah. I love the way Yeon just raises his eyebrows when he comes out of the market and spots her.

Subs: “How dare a witch from outside come here and...” He actually calls her a ‘michin nyeon’ meaning ‘crazy bitch,’ so the line is: “Crazy bitch, where do you think this is that you dare...”

Ji Ah’s line that begins, “If you’re going to hit me...” is just SO great. We stan (1) queen.

Subs: “Nice. You’re tough.” This is a bit hard to translate. Yeon’s line is literally: “Oh~ What ggang is like this?” ‘Ggang’ can be translated as ‘guts,’ ‘tenacity,’ or ‘persistence.’ Naver dictionary describes it as: ‘a personal trait found in one who never gives in, when put in whatever difficulties,’ which is so spot on for Ji Ah. I might approximate this as: “Woah~ Just how gutsy are you?”

The way he's just like, ‘I approve. Here, have a shikhye~’ is mildly adorable. Did you buy that for her, Yeon, or were you planning on having two but decided she’d earned one? haha

Ji Ah’s response is equally great. The sub says: “That was nothing.” which isn’t a bad option for a subtitle, but what she literally says is ‘saesam-seureopge’ (새삼스럽게), where ‘saesam’ means ‘now? at this point? after all this time?’ So she’s basically saying, ‘You’re bothering with that observation, over that little stunt, after everything else you’ve seen me do?’ haha

“I plan to mooch off of you as much as possible.” Pfft I love how Yeon actually moves to stand behind her just to underscore the point. That’ll be Lee Dong Wook again.

Wow, these are some sketchy old people.

Subs: “People aren’t the only ones with eyes and mouths.” What he actually says is, “Are people the only ones with eyes and ears?”

The Forest Spirit

Wow, the lighting in this scene is just A++ Point to the lighting team (or is that just natural? It feels almost too pretty to have just been natural).

I was too distracted by Lee Dong Wook to notice the first time, but Ji Ah’s face when Yeon shushes her is great haha

On a linguistic note, this scene is one of the few in which Yeon code switches to archaic speech as he’s addressing the tree spirit. It’s the linguistic equivalent of him putting on his ‘mountain god’ hat. (He still speaks to Ji Ah normally, though).

We cut briefly to the mudang (shamaness), and I’m sorry, I know this is a traditional way of speaking, but it always makes me laugh because it’s so over-the-top.

The spirit addresses Ji Ah as ‘agasshi,’ which would be strange if she was actually a modern young girl, but makes sense for a spirit who’s at least 600. Overall, it helps to remind viewers of her supernatural-ness.

Yeon telling Ji Ah she did a good job is so cute. I feel like they’re rapidly becoming a quirky tag-team duo and I’m 100% here for it.

Mudang: “His body returned to shore before his head did! Your father!” This line was explained in the backstory collection.

Okay, the mudang needs to dial it back like 10 levels here.

Possibly just me, but Yeon swatting the air with his hand as he peers into the cave struck me as vaguely fox-like.

Minor detail again, but the chyron here is subbed as ‘Jangsansa Cave.’ It’s actually ‘Jangsan sagool,’ not ‘Jangsansa gool.’ ‘Sagool’ is written with the characters 蛇窟 meaning ‘snake hole.’

Lol Yeon freezing mid-motion when Ji Ah tells him to stay put. That is 110% Lee Dong Wook’s sense of humour. Praise the drama gods for Lee Dong Wook - this show wouldn’t have been half as fun without him.

Fun fact: This cave is actually intimately tied to Ah Eum’s past with Imoogi and the story of how she came to be his ‘bride’ (read: sacrifice). I translated the tvN description here. I actually think this was fairly important information, so it’s a shame it wasn’t covered in the drama.

Sleepover with a Gumiho

When Ji Ah asks Yeon why he’s insisting on staying at Pyung Hee’s, his response is subbed as: “I have my reasons.” This is more properly: “You don’t need to know.”

Sub: “We don’t eat that crap!” Yeon’s line doesn’t have a subject, but this should properly be: “I don’t eat that crap!” We know from Yeou Nui that some gumiho in this world actually do eat liver.

“Heard of the Chinese liver fluke?” Ha. Yeon literally says ‘kan distoma,’ i.e. ‘liver distomiasis’ or ‘liver fluke’. While there was a well-known outbreak in China, it isn’t inherently Chinese. There’s a Korean word for it too (간흡충), but once again, Yeon opts for the loan word, adding further humour to the gumiho disavowing liver consumption - for health reasons, no less pffft

The BGM playing as Yeon sees Ah Eum in Ji Ah is once again ‘Parting at the River of Three Crossings.’

Bok Hye Ja’s line to Shin Joo is subbed as: “He went to the island to find this reincarnated girl?” The word she uses is actually ‘gakshi,’ which is an antiquated word generally meaning ‘bride’ (as in ‘the Snail Bride’), but it can also just mean ‘young woman.’

For the record, the Snail Bride speaks to Shin Joo in banmal, who speaks to her in jondaetmal

Shin Joo: “Contrary to how he looks, he’s the devoted type, after all.” Et tu, Shin Joo?

Shin Joo’s line is subbed: “As if that’s a good thing,” but I would have translated it as: “Romantic, my foot!”

Sub: “At least once in our lives we come across that one person we want to give our lives to.” This should be: ‘risk our lives for.’

Sub: “I won’t ever devote myself to love. My goal will be to protect Mr. Lee.” Actually: “I won’t ever risk my life for love. I’m going to protect Lee Yeon-nim!”

“Well that can also be called love, can’t it?” Thank you for this, Show. I know some people think TotNT champions romantic love above all else, but I simply don’t agree.

When Yeon checks Ji Ah again for his fox bead, the BGM playing is once again ‘Thread Rings’

I love how they did the CG on whatever is happening with Yeon’s powers here. I would have loved to have gotten more of an explanation of the fox bead and its powers (and Yeon’s, for that matter), but alas.

I love that Yeon tucks Ji Ah in even after re-confirming (or so he thinks) that she isn’t Ah Eum. It was important to me that he came to like and appreciate her for herself before learning that she was, in fact, his lost love.

Morning on the Island

Ji Ah wakes to find Yeon gone, the blanket tucked around her, and her expression tells us she’s onto him: sure, Yeon can be a grump, but he’s also a complete softie. heh

Yeon is, once again, talking to the elders in banmal. Why do I keep mentioning it? Because no matter how many times I see it it’s still funny.

Okay, Lee Dong Wook has this way of pointing at things with his entire arm that I find ticklish. Yeon ends up coming across like a petulant child. On a cultural note, in Korea, pointing at people like this is considered impolite.

Yeon dangling the ginseng behind Ji Ah as extra incentive pfft Wild ginseng can be massively expensive in Korea (on the order of hundreds of dollars), so this is actually a very effective bribe.

Also, can we take a moment to appreciate that Yeon woke up before dawn, and, instead of going back to sleep, went into the mountains to hunt for wild ginseng, then set about using it to bribe the elders into answering Ji Ah’s questions for her. Entirely of his own accord. Like I said: softie.

Side note: Lee Dong Wook’s eyebrows are working overtime in this scene and I’m honestly a little jealous.

The newspaper Jae Hwan finds at the library is dated August 13, 1954, which Ji Ah immediately recognizes as having been just after the Korean War (if you’ll recall, this is when the forest spirit told them something ominous had come to the island).

This newspaper is actually really cool. You can see how, in the past, Korean newspapers used a lot of hanja in addition to the phonetic hangeul, similar to modern Japanese. The headline reads, “Headless Corpse, Discovered on Eohwa Island, Investigation Hits Dead End.” (頭 없는 屍身, 漁花島에서 發見, 捜査迷宮으로).

Okay, to be honest, this final scene - absent the extra context given in the next episode - made me question Ji Ah’s smarts again. I wondered why she was chasing down the clearly unstable guy just to question him, but it makes sense once you know she meant to warn him his life was in danger.

As usual, Yeon knows how to make an entrance. Cue ‘Gumiho’ theme.

Yeon stopping when Ji Ah tells him to never stops being satisfying.

The BGM playing as we cut over to Rang is ‘The House of Ghosts.’

Okay, those shots of Thirsty and Hungry were full-on horror movie and I actually kind of like it? I never watch horror as a genre, but for some reason, I found I missed this spooky element when it dropped out of the later episodes.

Oh, I like that Yeon went and made her a poultice. Very ex-mountain god of you, sir.

“Long time no see, Lee Yeon.” Iconic. And creepy. I love the attention to detail Jo Bo Ah displays in the difference between how she acts Ji Ah vs. Imoogi. Imoogi’s voice is higher pitched, and gives off more of a loose-cannon feel compared to Ji Ah, who speaks in a lower, more grounded tone.

Sub: “It’s me. The person you’ve been waiting for.” Imoogi literally says: “It’s me. That thing you’ve been waiting for.” This is obviously a big clue since normally one wouldn’t refer to oneself in such a way. It also reflects the fact that, unlike Terry-Imoogi, Jimoogi perceives no value in Ji Ah herself. (Yes, I call Ji Ah-Imoogi ‘Jimoogi,’ and sadly, no, I didn’t come up with it).

Yikes, Jimoogi tracing Yeon’s face was all menace and zero cute. Point to Jo Bo Ah.

Boy, this show really knows how to make an exit.

Blue Mooooooooon!! The guitar (bass?) riff is just so catchy.

And that concludes Episode 2. Thank you to everyone who commented on the first one. If not for your encouragement, I probably wouldn’t have continued. I also genuinely enjoy hearing from people, so send me your thoughts! This is a weird, unprecedented mashup of a live reaction post, behind the scenes info, and detailed language and culture notes, and I’m still learning how to balance the three. Your feedback is always welcome.

I’d also like to take a moment to credit my sister, who, in addition to weighing in on a lot of the translations, is also the chief researcher and fact checker for these. I, meanwhile, am in charge of bad jokes and snark. I mentioned before that these take longer than you might expect, but it’s really true. The time we spend watching the episode is actually the least of it, and as much as I enjoy them, they are a huge time suck.

So. This is what I’m going to do. If you’d like to see more of these, or if you enjoyed this, or if you’ve enjoyed any of the translations or commentary or whatnot I’ve been posting recently, please consider buying me a coffee. If you follow the link, you can buy me a $2 cup of virtual coffee. I’ve never done this before, but I’ve decided to give it a try. It’ll help me to gauge how much interest there is, and, possibly more importantly, it will help me to justify all the time haha. If and when I’ve established there’s enough interest, I’ll proceed with Episode 3. ;)

#tale of the nine tailed #totnt #lost in translation #구미호뎐 #kdrama #korean language #korean culture

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oscopelabs · 4 years

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It’s Arrested Development: How ‘High Fidelity’ Has Endured Beyond Its Cultural Sell-By Date by Vikram Murthi

It’s easy to forget now that at the beginning of 2020, before the pandemic had taken hold of our consciousness, for a brief moment, High Fidelity was back. Not only did Nick Hornby’s debut novel and Stephen Frears’ film adaptation celebrate major milestones this year — 25th and 20th anniversaries, respectively — but a TV adaptation premiered on Hulu in February. In light of all of these arbitrary signposts, multiple thinkpieces and remembrances litigated Hornby’s original text on familiar, predictable grounds. Is the novel/film’s protagonist Rob actually an asshole? (Sure.) Does Hornby uphold his character’s callous attitudes towards women? (Not really.) Hasn’t the story’s gatekeeping, anti-poptimist approach to artistic taste culturally run its course? (Probably.) Why do we need to revisit this story about this person right now? (Fair question!)

Despite reasonable objections on grounds of relevancy, enough good will for the core narrative—record store owner seeks out a series of exes to determine a pattern of behavior following a devastating breakup—apparently exists to help produce a gender-flipped streaming show featuring updated musical references and starring a decidedly not-middle-aged Zoë Kravitz. I only made it through six of ten episodes in its first (and only) season, but I was surprised by how closely the show hewed to High Fidelity’s film adaptation, to the point of re-staging numerous scenes down to character blocking and swiping large swaths of dialogue wholesale. (Similarly, the film adaptation hewed quite close to the novel, with most of the dialogue ripped straight from Hornby.) Admittedly, the series features a more diverse cast than the film, centering different experiences and broadly acknowledging some criticisms of the source material regarding its ostensibly exclusionary worldview. Nevertheless, it seemed like a self-defeating move for the show to line itself so definitively with a text that many consider hopelessly problematic, especially considering the potential to repurpose its premise as a springboard for more contemporary ideas.

High Fidelity’s endurance as both a piece of IP and a flashpoint for media discourse is mildly baffling for obvious reasons. For one thing, its cultural milieu is actually dated. Even correcting for vinyl’s recent financial resurgence, the idea of snooty record store clerks passing judgment on customer preferences has more or less gone the way of the dodo. With the Internet came the democratization of access, ensuring that the cultivation of personal taste is no longer laborious or expensive, or could even be considered particularly impressive (if it ever could have been). Secondly, as one might imagine, some of Hornby’s insights into heterosexual relationships and the differences between men and women, even presented through the flawed, self-deprecating interiority of High Fidelity’s main character, are indeed reductive. Frears’ film actually strips away the vast majority of Hornby’s weaker commentary, but the novel does include such cringeworthy bits like, “What’s the deal with foreplay?” that are best left alone.

Accounting for all of that, though, it’s remarkable how many misreadings of Hornby’s text have been accepted as conventional wisdom. It’s taken as a given by many that the novel and film earnestly preach the notion that what you like is more important than what you are like when, in fact, the narrative arc is constructed around reaching the opposite conclusion. (The last lines of the novel and film are, literally, “…I start to compile in my head a compilation tape for her, something that's full of stuff she's heard of, and full of stuff she'd play. Tonight, for the first time ever, I can sort of see how it's done.”) That’s relatively minor compared to the constant refrain that Rob’s narcissism goes uncriticized, even though the story’s thematic and emotional potency derives from what the audience perceives that Rob cannot. To put it bluntly, High Fidelity’s central irony revolves around a man who listens to music for a living being unable to hear the women in his life.

While Hornby’s prose immerses the reader in Rob’s interior monologue, providing ample room for the character to spout internal justifications of his behavior, the novel hardly obscures or conceals this conclusion. Moreover, the film makes it unavoidably explicit in numerous scenes. Rob (John Cusack) triumphantly pantomimes Rocky Balboa’s boxing routine soundtracked to Queen’s “We Are The Champions” after his ex-girlfriend Laura (Iben Hjejle) confirms she hasn’t yet slept with her new boyfriend Ray (Tim Robbins), but doesn’t hear the part where she says she prefers to sleep next to him. When Laura informs Rob that she did eventually sleep with Ray, Rob completely falls apart. In an earlier, more pointed scene, Rob goes out with his ex-girlfriend from high school (Joelle Carter) to ask why she chose to have sex with an obnoxious classmate instead of him. She venomously informs him that he actually broke up with her because she was too prudish, an abrupt, cruel bit of business we actually witness at the film’s beginning. It was in her moment of heartbroken vulnerability that she agreed to quickly sleep with someone else (“It wasn’t rape because I technically said, ‘Okay,’ but it wasn’t far off,” she sneers), which ultimately put her off sex until after college. Rob doesn’t hear this explanation or the damning portrait of his teenaged self. Instead, he’s delighted to learn that he wasn’t actually dumped.

These are evidently low character moments, one’s that are comedic in their depiction of blinkeredness but whose emotional takeaways are crystal clear, and one’s that have been written about before. My personal pick from the film, though, comes late when Rob attends Laura’s father’s funeral. He sits in the back and, in typical fashion, turns to the camera to deliver a list of songs to play at his funeral, concluding with his professed wish that “some beautiful, tearful woman would insist on ‘You’re The Best Thing That Ever Happened to Me’ by Gladys Knight.” It’s a really galling, egotistical moment that still makes me wince despite having seen the movie umpteen times. Yet, it’s immediately followed by the casket being lowered to the ground as Laura’s sobs ring out in the church. In a movie defined by John Cusack’s vocal timbre, it’s one of the few times when he completely shuts up. From two-thirds down the center aisle, Frears’ camera pushes into Cusack’s face until tears in his eyes are visible, but what you really see is an appropriately guilt-ridden, ashamed expression.

However, none of this evidence carries any weight if your objection to High Fidelity is that Rob suffers no material consequences for his behavior. While Rob is frequently called out for his actions, he is never actively punished. He doesn’t, say, receive a restraining order for continually calling Laura after they’ve broken up or end up alone mending a permanent broken heart because of his past relationships. By the end, Rob and Laura get back together and Rob even starts an independent record label on the side. It’s a stretch to characterize Hornby’s High Fidelity as a redemption tale, but it is a sideways rehabilitation narrative with a happy ending that arises at least partly out of mutual exhaustion.

Those two elements—Rob’s asshole recovery and the exhausted happy ending—rarely seem to factor into High Fidelity discourse. Granted, there’s credence to the idea that, socially and culturally, people have less patience for the personality types depicted in High Fidelity, and thus are less inclined to extend them forgiveness, let alone anything resembling retribution. I suppose that’s a valid reaction, one against which I have no interest in arguing, but it’s somewhat ironic that High Fidelity has endured for reasons that have nothing to do with its conclusions regarding inflexible personal principles and the folly of escapism. Both the book and film are specifically about someone who slowly comes to terms with accepting reality rather than live in a world mediated by pop cultural fantasies whose unrealistic expectations have only caused personal suffering. It’s not unfair to characterize this as a fairly obvious epiphany, but considering we currently live in a world dominated by virtual echo chambers with an entertainment culture committed to validating arrested adolescence, it retroactively counts as “mature” and holds more weight than it otherwise should.

Near the end of High Fidelity, the book, after Rob and Laura have gotten back together in the aftermath of Laura’s father’s death, Hornby includes a chapter featuring five conversations between the couple unpacking the state of their relationship. During the third conversation, Rob and Laura fight about how she doesn’t care about music as strongly as he does, catalyzed by Rob’s objection to Laura liking both Solomon Burke and Art Garfunkel, which, in his mind, is a contradiction in terms. Laura finally admits that not only does she not really care about the difference between them, but that most people outside of his immediate circle of two don’t care about the difference, and that this mentality is indicative of a larger problem. It’s part of what keeps him stuck in his head and reluctant to commit to anything. “I’m just trying to wake you up,” she says. “I'm just trying to show you that you've lived half your life, but for all you've got to show for it you might as well be nineteen, and I'm not talking about money or property or furniture.”

I fell for High Fidelity (first the movie, then the book) as a younger man for the reasons I assume most sensitive-cum-oblivious, culturally preoccupied straight guys do: it accurately pinpoints a pattern of music consumption and organizationally anal-retentive behavior with which I’m intimately familiar. I spent the vast majority of my early years listening to and cataloguing albums, and when I arrived at college, I quickly fell in with a small group of like-minded music obsessives. We had very serious, very prolonged discussions filled with impossibly strong opinions about our favorite artists and records. Few new releases came and went without them being scrutinized by us, the unappreciated scholars of all that is righteous. List-making wasn’t in vogue, but there wasn’t a song that passed us by that we didn’t judge or size up. I was exposed to more music during this relatively short period of time than I likely will ever absorb again. Some of these times were the most engaging and fun of my life, and I still enjoy discussing and sharing music with close friends, but I’m not such a true believer to fully feel comfortable with this behavior. It’s not entirely healthy on its own and definitely alienating to others, and there comes a point when you hear yourself the way a stranger might, or maybe even catch a glimpse of someone’s eyes when you’re midst rant about some stupid album, and realize, “That’s all there is of me. There isn’t anything else.”

This is what Rob proclaims to Laura in the conversation when she tells him she was more interested in music during their courtship than she is now. It’s a patently self-pitying statement on his part that doesn’t go unchallenged by her in the moment or bear fruit in the rest of the novel. Yet, it’s this type of uncomfortably relatable sentiment that goes under-discussed. If High Fidelity will continue to have a life well after its cultural moment has passed, then it’s worth addressing what it offers on its own terms. Near the end of the book, Laura introduces Rob to another couple with whom he gets along quite well. When the evening comes to an end, she tells him to take a look at their record collection, and it’s predictably filled with artists he doesn’t care for, e.g. Billy Joel, Simply Red, Meat Loaf. “'Everybody's faith needs testing from time to time,” Laura tells him later when they’re alone. Amidst Rob’s self-loathing and sullen pettiness, Hornby argues that one should contribute in some way rather than only consume and that, at some point, it’s time to put away childish ideas in order to get the most out of life. It’s an entirely untrendy argument, one that goes against the nostalgic spirit of superhero films and reboot culture, but it doesn’t lack merit. Accepting that some values aren’t conducive to a full life, especially when it’s shared with someone else, doesn’t have to mean abandoning interests or becoming an entirely different person. It just means that letting go isn’t an admission of defeat.

It’s why I’ve always found the proposal scene in the film to be quite moving, albeit maybe not specifically romantic. It plays out similarly in both the book and the film, but the film has the added benefit of Cusack and Hjejle’s performances to amplify the vulnerability and shared understanding. Laura meets Rob for a drink in the afternoon where he sheepishly asks if she would like to get married. Laura bursts out laughing and says that he isn’t the safest bet considering he was making mixtapes for some reporter a few days prior. When asked what brought this on, Rob notes that he’s sick of thinking about love and settling down and marriage and wants to think about something else. (“I changed my mind. That’s the most romantic thing I’ve ever heard. I do. I will,” she sarcastically replies.) He goes on to say that he’s tired of fantasizing about other women because the fantasies have nothing to do with them and everything to do with himself and that it doesn’t exist never mind delivering on its promise. “I’m tired of it,” he says, “and I’m tired of everything else for that matter, but I don’t ever seem to get tired of you.”

This sort of anti-Jerry Maguire line would be callous if Laura didn’t basically say the same thing to him when they got back together. (“I’m too tired not to be with you.”) It’s possible to read this as an act of mutual settling, but I always thought Hornby’s point was personal growth and accepting one’s situation were intertwined. The key moment in High Fidelity, the film, comes when Laura finds Rob’s list of top five dream jobs. (In the book, Laura makes Rob compile the list.) At the bottom of the list, after such standard choices like music journalist and record producer, lies architect, a job that Rob isn’t entirely sure about anyway. (“I did put it at number five!” he insists.) Laura asks Rob the obvious question: wouldn’t you rather own your own record store than hypothetically be an architect, a job you’re not particularly enthused with anyway?

It’s Laura who convinces Rob that living the fifth-best version of your life can actually be pretty satisfying and doesn’t have to be treated like a cruel fate worse than death. Similarly, Rob and Laura both make the active decision to try to work things out instead of starting over with someone else. Laura’s apathy may have reunited them, and Rob’s apathy might have kept him from running, but it’s their shared history that keeps them together. More than the music and the romance, High Fidelity follows the necessary decisions and compromises one has to maneuver in order to grow instead of regress. “I've been letting the weather and my stomach muscles and a great chord change in a Pretenders single make up my mind for me, and I want to do it for myself,” Rob says near the end of Hornby’s novel. High Fidelity’s emotional potency lies in taking that sentiment seriously.

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prettyboongi · 5 years

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BTS Imagine - BTS as Boyfriends

Seokjin

Goofy and optimistic

Always manages a neat and clean appearance

Listens to you attentively as you go on about your day or pretty much anything you want to talk about...

Just as long as he gets a chance to talk about what’s on his mind.

Often goes on hilariously heated tangents

Wants to know everything about you; no question is too personal for him

Will put a smile on your face whenever you’re down

Is somewhat introverted

Can be really blunt at times

Doesn’t back down easily during an argument (if at all)

Despite coming off as confident, he can be doubtful about himself and his personal relationships

Wants to establish a honest relationship where you both can open up about anything and everything

Yoongi

Caring and creative

Mostly wear comfy and casual clothes

Often shares his hopes and dreams with you

Excel in the arts, particularly in writing and music (–ᴗ–)

Loves writing you thoughtful love letters and romantic poems

Can sense your emotions before you even tell him

Daydreams a lot

A quintessential introvert; often able to keep his calm

Date nights are spent staying inside, binging on TV series or movies

Not a fan of confrontation and would rather avoid any arguments at all costs

Laziness can get the better of him

Moody bitch

Is a kind and loving boyfriend who will always take your feelings into consideration

Hoseok

Eccentric and hardworking

Has a very playful fashion sense; you never know what to expect from him

Easy attract people with his outgoing personality thus making him extremely popular

Values his independence and encourages you to do the same

Very passionate about his interests and issues going on in the world

Always working on different projects, sometimes more than one at a time

Is patient with you and responsive to your needs

Though he does have an issue expressing his true emotions

Maybe not the best person to turn to when you want to vent

His unpredictability may be too much at times

Is a charming and thoughtful guy who wants to make a difference in the world (with you by his side of course)

Namjoon

Brilliant and conscientious

He's not fussy when it comes to his appearance

The biggest perfectionist you've ever known

Being the egghead that he is, he enjoys studying and learning new things

Would want an equally as cultured significant other; someone would accompany him to museums and plays and share a love for literature

He likes cute and tiny things

His breathtakingly adorable smile never fails to make your knees go weak

Any problem you'd come across, he’ll be there to help you solve it

Although he's not good at initiating physical affection, he's still a huge romantic

Encourages you strive for the best

Super opinionated but will try to hold back on it when it comes to you

Travelling is a must for him and always wants you to tag along with him

Extremely loyal, you appreciate that fact that you can rely on him for absolutely anything

Jimin

Gentle and sweet

A very snappy dresser, maybe even better than you

Extremely affectionate, especially in public

Indulges you with random, but thoughtful romantic gestures (a surprise bouquet of your favorite flowers, bring you your favorite coffee drink, etc)

His charming and friendly nature makes him a social butterfly (your friends and family absolutely love him)

Favors compliments coming from you above anyone else.

Always strives for a sense of balance in your relationship and will want fix any problem that arises

Loves the finer things in life (designer clothes, extravagant outings, fancy restaurants, etc.)

He loves taking you out shopping, spoils you endlessly

Actively avoids confrontation because he knows how angry he could get.

Can be quite emotional

You will never have to worry about losing his attention since you will already be the center of his universe

Taehyung

Driven and Insightful

Has a very sensible fashion sense; appropriate and not too outrageous

Is discipline and works hard to achieve his goals

Similar to Jimin, he has a sophisticated aura about him

He does his best to never disappoint you, so you can always count on him whenever you need something

Whenever he has free time, he enjoys doing fun activities with you (ex. sightseeing, taking photos, etc.)

Whenever he gets upset about something, he'll be open about it with you. Tends to pout.

Will take your relationship with him seriously as he plans to marry and raise a family with you

Jungkook

Perceptive and diligent

Like Namjoon, he doesn't spend too much on his appearance

Huge ass gamer, loves playing games with you

What attracted you the most about him was his calming and good natured personality

A shy and old fashioned boy

At first, he would be hesitant when expressing his feelings but will eventually open up to you

Big on romance

While reserved in nature, he wants nothing more than to be loved by you

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myacademia-susuganan-deku · 3 years

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✌ STREAMING MEDIA ✌ Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the procedure of delivering or obtaining media this way.[clarification needed] Streaming identifies the delivery approach to the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies especially to telecommunications networks, as almost all of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio tracks CDs). There are challenges with streaming content on the web. For instance, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of this content. And users lacking compatible hardware or software systems may be unable to stream certain content. Streaming is an alternative to file downloading, an activity in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user may use their media player to get started on playing digital video or digital sound content before the complete file has been transmitted. The term “streaming media” can connect with media other than video and audio, such as for example live closed captioning, ticker tape, and real-time text, which are considered “streaming text”. This brings me around to discussing us, a film release of the Christian religio us faith-based . As almost customary, Hollywood usually generates two (maybe three) films of this variety movies within their yearly theatrical release lineup, with the releases usually being around spring us and / or fall Habitfully. I didn’t hear much when this movie was initially aounced (probably got buried underneath all of the popular movies news on the newsfeed). My first actual glimpse of the movie was when the film’s movie trailer premiered, which looked somewhat interesting if you ask me. Yes, it looked the movie was goa be the typical “faith-based” vibe, but it was going to be directed by the Erwin Brothers, who directed I COULD Only Imagine (a film that I did so like). Plus, the trailer for I Still Believe premiered for quite some us, so I continued seeing it most of us when I visited my local cinema. You can sort of say that it was a bit “engrained in my brain”. Thus, I was a lttle bit keen on seeing it. Fortunately, I was able to see it before the COVID-9 outbreak closed the movie theaters down (saw it during its opening night), but, because of work scheduling, I haven’t had the us to do my review for it…. as yet. And what did I think of it? Well, it was pretty “meh”. While its heart is certainly in the proper place and quite sincere, us is a little too preachy and unbalanced within its narrative execution and character developments. The religious message is plainly there, but takes way too many detours and not focusing on certain aspects that weigh the feature’s presentation.

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✌ FINAL THOUGHTS ✌ The power of faith, “&e2&”, and affinity for take center stage in Jeremy Camp’s life story in the movie I Still Believe. Directors Andrew and Jon Erwin (the Erwin Brothers) examine the life span and The War with Grandpas of Jeremy Camp’s life story; pin-pointing his early life along with his relationship Melissa Heing because they battle hardships and their enduring “&e2&” for one another through difficult. While the movie’s intent and thematic message of a person’s faith through troublen is indeed palpable plus the likeable mThe War with Grandpaical performances, the film certainly strules to look for a cinematic footing in its execution, including a sluish pace, fragmented pieces, predicable plot beats, too preachy / cheesy dialogue moments, over utilized religion overtones, and mismanagement of many of its secondary /supporting characters. If you ask me, this movie was somewhere between okay and “meh”. It had been definitely a Christian faith-based movie endeavor Bookmark this web site (from begin to finish) and definitely had its moments, nonetheless it failed to resonate with me; struling to locate a proper balance in its undertaking. Personally, regardless of the story, it could’ve been better. My recommendation for this movie is an “iffy choice” at best as some should (nothing wrong with that), while others will not and dismiss it altogether. Whatever your stance on religion faith-based flicks, stands as more of a cautionary tale of sorts; demonstrating how a poignant and heartfelt story of real-life drama could be problematic when translating it to a cinematic endeavor. For me personally, I believe in Jeremy Camp’s story / message, but not so much the feature.

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